Integrated Design Audit Diary

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INTERGRATED DESIGN AUDIT DIARY MOHIBUR RAHMAN

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CONTENT

1. DOMESTIC SCENE 1.2. PRECEDENT 2.1. SITUATION 2.2 URBAN GESTURE 2.3 CITY LIVING FACTORY VISIT PRECEDENT STUDY CASE STUDY

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Introduction Studio 6 focus is around London apartment and its relation to the city.

From the idea of ‘Home’ and its privacy to the house within the City how does this domesticity sit inside the city?

What does it means to be at home and to live in the city, individually as well as collectively. We will explore themes such as decorum and ritual, character and lifestyle, density and generosity.

With the Cultural context being the current narrative of the London ‘Housing Crisis’ what are the solutions to the idea of affordable housing against a market-led investment that housing has become.

Through the study of London typologies of housing from Georgian housing, social housing to mansion blocks a program will be devised to look at alternatives.

The themes for the studio will be around the tensions between contextualism and typology. Also the Interior and exterior relationships in particular within repetition.

This book will contain the years work in the Studio 6 covering the process and thoughts that go into each Brief and looking at the issues of Housing.

_______I.D.A INTERGRATED DESIGN AUDIT DIARY 1. DOMESTIC SCENE MOHIBUR RAHMAN

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Drawings: To begin with you will explore your chosen room through drawings; initially through sketches and as we progress through precise measured drawings. Consider the size and proportion of the room and its relationship to both adjacent rooms as well as the exterior. What do you see through the window? Examine the material reality of the room. Is the construction of the building present or not? How are the walls, the ceiling and the floor finished? What is the quality of the light? You should also make a precise record of how the room is furnished and inhabited. What is the character of the furniture? Is it solid or lightweight, brand new or falling apart?

What peripheral objects affect the atmosphere of the room?

Is it tidy or messy?

Model: After a clear set of drawn information has been produced you will begin to build a large scale model of the room. This model will need to contain all the elements that affect the character of the room as previously established in your drawings. The principal output from this model will be a carefully staged photograph for which the model is to be built as a stage set.

For the photograph you need to determine a specific situation.

What time of year and what time of day is it? What is the weather like? Has something just happened, or is something about to take place? Describe the room and the situation in a short text (max. 200 words).

Final Deliverables Reference material Old family photographs showing the space occupied and in use Development sketches Sketches, aborted options, research work etc. Within the portfolio it is neccessary to show the ways in which your ideas and the project developed. Retain key pieces of work which describe the development of the final pieces.

Drawings 2D drawings describing the princiapal room(s) of the home. Drawings to include plans and internal elevations. As with the model these will express the details of the rooms and show it as it looked in daily use - furnishings, plants, scattered books and tea cups, shoes or a coat thrown over a chair etc.

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1.1 A Domestic Scene /Brief

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The Briefs aim for this assignment is to look at ‘autobiographical’ aspect of what Home means to us.

Exploring the personal and memories that a room can create, how can it be explored? What ways can this be represented?.

The aim of the exercise will lie not in any notion of what a home should be, but, rather, in the vivid representation of the reality of life.

The task will be the recall a room that we feel represents what a ‘Home’ should be and represent it in a drawing form and a model form.

Stephen Shore /1970s mass culture /Jack Keroc /Photographed Main streets /Venecular /Pic source: http://uk.phaidon. com/agenda/photography/articles/2014/september/24/how-a17th-century-painting-inspired-a70s-la-photo/

Thomas Struth /German-after the War /Tri-pod- middle of the street /taught by Bernd/ Hilla Becher /Pic Source: http://www. camdenreview.com/ node/987380

Bernenice Abbots /She looked at the past/present New York (mass change) /taught by Man Ray /’unemployed and huts, Westhouston,1935 /pic of the first model tenement house.

New York / Pic Source: http://www.ultravie.co.uk/ blog/wp-content/uploads/2014/11/3.Berenice-Abbott-Night-view-New-YorkCity-1932.jpg

Walker Evans /Social Commen / http://www.the picture.com/wptent/uploads/20 Walker-Evans-.j

Julius Shulman /Glossy /Edited / Case Study Ho #22 /Pic Source: htt www.port-maga com/architectur tographing-cons ed-worlds-the-b can/

Lucien HervĂŠ /Le Corbusier /Helped photogr Chandigarh for L Corbusier /Pic Source: http www.dezeen. com/2014/09/2 barbican-constru ing-worlds-photo phy-exhibition-le busier-elias-reds

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Ed Ruscha /Quick shots /Some Los Angles apartments /small book- ‘no style’ of apartments /Pic Source: http:// images.huffingtonpost. com/2014-10-25-ConstructingWorlds2.jpg

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Bernd and Hilla Becher /Vernacular Industrial Architecture /’’Anonymous Sculptures’ /Critical position and creating dialogue with these

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Guy Tillim /Largeformat /Looking at the state of modernist building as the fall /Opposite to their utopian ideal /Pic Source: http://www. tate.org.uk/art/artworks/ tillim-grande-hotel-beira-mozambique-p79830

Andreas Gursky /Manipulation of pic /Pic Source: http:// artblart.files.wordpress. com/2012/09/gursky-web. jpg

Hiroshi Sugimoto /’Theatres’ - single frames of film, blurred /Pic Source: http://www. architectural-review.com/Pictures/web/f/d/o/Constructing_ worlds_636__636.jpg

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Constructing Worlds: Photography and Architecture in the Modern Age /Exhibition /At the Babican

Article Source: http://architizer.com/blog/constructing-worlds-exhibitat-the-barbican-will-make-you-fall-in-love-with-architecture-all-overagain/

Before the introduction of the new brief, Studio 6 met at the Barbarian Centre to visit the ‘Constructing Worlds’ exhibit.

This exhibit explores the relationship Photography has in created a narrative with the public over the past 100 years.

The following pictures and notes are the photographers and pics in particular that stood out and would like to explore more.

In particular, Thomas Struth series of pictures and Bernad and Hilla Bacher stood out by their style and would like to incorporate that into my work.

Walker Evans i have been admirer of from his social commentary about the Great Depression that was happening at the time. I would like to incorporate this but not sure how. Whereas, Thomas Struths use of taking pictures from the middle of the street at eye level seems to give a practical way to take his style on board.

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Ten rooms

Stephen Bates, October 2009 Published in ‘Urban Picturesque’, Mendrisio Academy Press, 2009.

An earlier version of the paper was given as a lecture at the Accademia di Architettura, Mendriso, Switzerland in October 2009 Reading Source: Given by Tutors Picture Source: Taken from the Reading material

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One of the first reading given by the Tutors was a piece written by Stephan Bates and what i found very intriguing about this was how the use of words to describe the rooms from memory can be more illustrative than a picture itself.

The aim of our brief was to look at a ‘domestic scene’ from childhood, yet the place i chose was one from a place i stayed with a friend for a short period. It was an important moment and i did not have any pictures of that place. With Bathes writing i found a way to recreate this place or ‘scene’.

In this piece Bates writes about ten rooms from his memories. He explains at the end of describing the rooms (before the pictures are shown of each room) that with the exploration oof these rooms he has asked himself ‘What moved me and why have i been moved? carrying on to say that ‘What are the processes at work here?’ and the bit that i found most useful to help in this brief was ‘..our memories contain the deepest architectural experience and that they become a source to which we can return when designing. But as i reflect on these memories- as they are to some extent impermanent, exaggerated, constantly re-imagoned plays a fundamental part in informing my reaction to all

rooms This i feel is the most important point to take across in working this brief.

The memories that i have are emotive and over time will change with parts being worn down and other bits becoming exaggerated.

A process of collecting these shards of memory together will help in creating the ‘domestic scene’ that i have created in my head.

With no photos and kust the memories i feel this will create a more stark an vivid architectural response to what the brief is looking for.

It might not be the exact or real place but a emotional recreation of what i consider to be the domestic scene that been described.

The best way start would be to collect the shards of memories that i have about this room written or drawn down then i can start to work from that.

Barbara’s House Notes • Lived there for over a year at my friend’s Nans house, Barbara, in Catford. This was a transient time and I stayed in a few places but looking back this period was the starkest, in a good way. There seems to be the most vivid response in the routine that took place in this house and in particular what Barbara did.

• Barbara was in her late 50s but her face was worn giving her a much older look; most of which came from the 20-a-day cigarettes taking their effect (Always Mayfair Superkings 20 deck). She raced Greyhounds for a living, which was not through choice but an inheritance from her late-husband, which I got the feeling she carried on doing to remember him by.

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Due to her age, most of the duties and responsibilities came to her son and her nephew,

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Graham- my mate and connection to this house.

• These routines of walking the dogs and cleaning etc became a grounding to the place and the idea of what ‘home’ was to me. The idea of certainty of what was going to happen tomorrow creates a sense of security and connection to a place.

• Barbara was the other sense of ‘homeliness’, and the living room was also a point we all had our Sunday dinner or tea in. This was also where she slept on the sofa, which gave a certainty that she was always going to be there. It was ‘Barbara’s Room’.

• Layout: Filled with ‘Clutter’_ Papers/ Books/ Photos / Mainly old racing schedules, all pilled up in corners of the room, no real orders just moved out the way to keep easy movement.

• The centre would be the fireplace with two wooden glass cabinets on either side. One housed the T.V, which everything gravitated toward. This affected all aspects of the room from the side of the sofa Barbara would sit on and sleep on, all to get the best view of the T.V, to how we would act when entering the room. Everything would constantly be repositioned to get a good view of the T.V and to eat on Sundays with extra members jostling for the best views.

• Everything was worn. The carpets had paths laid out from years of the walking the same route. The chairs had their groves. All the colours were faded.

Next to the Sofa/bed the most vital part, of what I saw, of Barbara’s room was the table.

This would have the ashtray, remote control and the weekly T.V guide, all of which created the perfect ecosystem for Barbara; the ash tray would sometimes overflow and few free newspapers would appear but the constant would be the Ashtray/remote control/ weekly T.V Guide.

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• Main Colours seem to be brown/ Orange/ Green all worn and dated. The room felt stuck at a point that suited Barbara fine.

• When entering the room there would always be a haze, a layer of smoke lay constant in the room, from her smoking and our insistence to have a cig always in Barbara’s room.

• It always seemed dark, from what I can remember. Even though, there were double doors pouring light in, it was east facing, but maybe this could be due to our routines, generally we would see Barbara later in the day or evenings, due to work maybe.

• The white part of the wall, the top half meeting the ceiling, would have a tone of yellow/Orange, the effects of the smoking the tar stained the walls pretty well. One occasion we painted the top part white and within a day or two the yellow seeped back through.

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SketchBook Notes /Writing Exercise About Barbara’s Room

The first task to the project was to first identify the room which i identified as my chosen room.. Then look at the emotional impact the room has or had.

With this task i did not find a real connection to my childhood home but had more if a connection to the places I lived in my teenage years. This period being quiet tumultuous I had more vivid memories due to the nomadic way of living.

I chose Barbara;s house, my best friends Nan who I lived with for year in Catford, London. An old lady in her 60s with not a lot yet still made time for me and put me up. The emotional attachment and the way the arrangement of the house had a clear ideas which i could put towards the brief.

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SketchBook Notes /Sketches and Writing Towards a Booklet

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SketchBook Notes /Sketches and Writing Towards a Booklet

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Booklet: Domestic Scene, From Memories /Sketches and Writing Towards a Booklet /Looking Through Memories Exercise

Due to not having any photographs to use as a point to study the chosen room from I felt the best way to understand the room will be through a series of writing and drawing to accommodate.

All of it will be put together into a small booklet, with the aim of understanding the scattered memories and to draw upon them to fully realise the ‘Domestic Space.

The following are the pieces used in the booklet. With these I was able to make a more ordered look at Barbara’s room.

The main points seem to be the clutter the room was swamped in but also the way the room was used. In particular, how Barbara and others interacted in the room.

These will be taken on board for the next part of the exercise and try to re-create Barbara’s Room.

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Left: Sketchbook drawing illustration my initial memory of the spacial arrangements in the room.

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SketchBook Notes /Sketches and Drawing Process 1. Notebook sketches_ Initial elevation of Barbara’s room. Looking at the eleva -tion with her sofa and what is also her bed.

2. Developed elevation drawing, printed CAD drawing and then redrew the sofa in.

3. Mixture of CAD drawn and pencil, again getting the character of the room developed from notebook sketches. The worn sofa with the creases and boxes stacked up on top of the shelves 4. Final CAD drawing of elevation facing the sofa. The main point of showing a worn sofa and close proximity of the walls to it; showing a smaller room.

Also i took the door out of this drawing as it should have its own elevation as the door is on angle linking to this elevation.

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SketchBook Notes /Sketches and Drawing Process 1. Notebook sketches_ Sketches of T.V and Sofas. Also dimensions working out Barbara’s room.

2. Notebook sketches_ Sketches of Fireplace; also quiet a important point of the room.

3. Notebook sketches_ Sketches and dimensions of the table and more about the sofa designs trying to work out more from what i can remember.

4. Notebook sketches_ Sketches of Fireplace. Also quiet a important point of the room.

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SketchBook Notes /Sketches and Drawing Process 1. Initial elevation sketches of Barbara’s rooms. Elevation of the fireplace and wooded cabinets.

2. A developed drawing with more of a clutter and details.

3. Initial CAD drawing based on the developed sketches.

4. Developed CAD drawing based on the developed sketches.

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CAD Drawing /Sketches and Drawing Process 5. Final elevation The emphasis is on the clutter, my way of showing the room being lived in; the domestic life.

I think showing the clutter as a way of conveying the room being ‘lived’ in has been done successfully.

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CAD Drawing /Final CAD Drawing 1. CAD drawing of the cabinet.

2. Final version of the Deliverable. Plan and elevation of Barbara’s room.

Includes, all of the details from the clutter to the worn carpet and sofa.

Figure 1. Main Square for a Housing Settlement in Klosterneuburg, Lower Austria

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Josef Frank Essays ‘Architect and Designer’

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Figure 2. Municipal Apartment House on Kongressplatz, Vienna

........................................................................................................................................................................................................................... create a link between individualism and collective.2 This is a interesting concept to take on board, how the individual and collective interact and how will this translate into home or homes?

One of the recommended book to read by the Tutors was the book ‘ Accidentism’ by Josef Frank. The book itself was impossible to find unless i had to few hundred pounds to spend on Amazon. I was able to find a collection of essays about him.

The first should be stated is the term ‘Accidentism’ coined by Frank which became the ‘Scandinavian interior design style’ used thoughout the 30s and onwards. He was also noted as a leading figure in the Swedish Modern Movement in design at the time.

‘Accidentism’’ refers to a way to design and use an interior space. One of the ideas was that the space should have a relationship with the user , so spaces and objects come to where they are though time and use; they have a story and a relationship to the person that no one else has.

‘Every-place where one feels comfortable - room, streets and cities has originated by chance. Buildings of all epochs stand harmoniously next tot one another in cities that have grown organically. Something of this nature of course cannot be attained today, but i am convinced that uniformity is not the result of necessity but of an ideology that is not even our own1.’

Also need to mention that Frank was opposed to the ‘New Architecture’ of the time, 1930s. The early stages of Modernism in Europe. Franks views seem to stem from creating a link between the individuals and space compared to the rational approach of the ‘International style’ which was more standardised and less organic.

In Leon Botstein’s ‘ The consequences of catastrophe: Josef Frank and Post-World-War-I Vienna’ described Frank’s form coming from a way to 1 Josef Frank, ‘Accidentism’ Form 54 (1958),pp 161-65 (Original) Secondary source: Christopher Long, ‘Space for living;The Architecture of Josef Frank’ from the Book ‘Josef Frank: Architect and Designer’ edited by Nina Stritzler-Levine

Examples can be seen in some of his work; two projects one un-built but seems to show this relationships between the individual and collective.

Figure 1. Main Square for a Housing Settlement in Klosterneuburg, Lower Austria. 1923 un-built project.

This was a scheme for a housing prototype which was to house 118 row house going in five parallel rows. What was interesting about this project is how similar it is to the ‘new architecture’ that he was opposed to; the uniform spacing give a symmetrical appearance and the use of reinforce appearance, a functional design. The scheme also housed a school which helps in creating the collective. The individual would seem to be the houses, each had its own small barn separated by the courtyard all lined in a row. The relationship between the indiviual and the whole is played out on a larger scale but a language can be seen spoken throughout.

Figure 2. Municipal Apartment House on Kongressplatz, Vienna. 1923 This picture was an early draft which differed from the final.

The site was described as being ‘bound’ on all sides, roads etc. in the initial design you can see how the arrangement of the building into two distinct masses with was then divided again through the spacing of the windows. I think this is a good example how the collective (the whole building) relates to the individual, by the dividing of the building. It is done in a regular and more uniform what to help create a flow or a language that then relates back to the uniformity that a collective has.

This is also done by the complex having other facilities like public baths and co-operative groceries; this is another link between the individual and collective.

2 Nina Stritzler-Levine, ‘Josef Frank: Architect and Designer’, pg 32. ** Picture Source, Figure 1 and 2 from Nina Stritzler-Levine, ‘Josef Frank: Architect and Designer’, pg 175 and 177 respectively

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Sketch Model /Inital Model to Find Photo Position 1/2. Sketch model of Barbara’s room. Scale 1 to 50 with the Sofa/Wooden Cabinet and table.

Figure 2. Illustrates the layout of the space.

Also, was important to see how the light entered the room from the garden.

I.e. figure 1 shows the light entering and hitting the box which would be the wooden cabinet. I moved the spot light around to simulate the different time of day and this shows an afternoon time. The light penetrates half of the room and backs up early ideas of what i remembered of the room being quiet dim even at daytime.

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Sketch Model /Inital Model to Find Photo Position

Choosing the view for the model to complete the final deliverable. The task was to take one photo of the model that will express the details of the room and how it looks in daily use. The sketch model will help decide that i will need to make for the final shot as well as where to take the shot from.

1. View Test. This angle covers the back door, fireplace, table aswell as a bit of the sofa. With the use of light coming into the room from the garden seems to work very well. Will be able to show the clutter in this one shot.

2. View Test. Same position as the first only abit further back. From this position the door frame can be seen on either side. This does not seem to have the same affect that View 1 has. The Lighting can be seen more vividly but not enough can be seen.

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View Test. This position was a change from the last two. In this shot the sofa became the main focus as it was Barbara’s bed and where she would watch T.V from, thus, could be seen as the main character of the room. The Light shines through a half shut door. This would be the main source of light and the shot would be set at night-time.

It does have a good composition and would be able to show the character of the room.

Final CAD drawing of elevation facing the sofa. The main point of showing a worn sofa and close proximity of the walls to it; showing a smaller room. Also i took the door out of this drawing as it should have its own elevation as the door is on angle linking to this elevation.

Chosen View.

Following the tutorial, the teachers and i concluded that this shot would be ideal in encompassing the best aspects of the room for the photo.

Part of the sofa can be seem so indicating Barbara’s space, the table, fireplace and cabinet can be seen as well as the back door which will also help as a source of light. A T.V will have to be put in as everything will be gravitating towards that.

This will be the shot the model will be built around so the other walls will not have to be look at.

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Sketch Model /Initial Model to Find Photo Position 1. Start of the final model.

This picture shows the fireplace. This was the start point for the model and i will work from this as it will be the centre of the shot.

As in the drawings it has become the main feature without intentionally trying to focus on it.

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Sketch Model /Inital Model to Find Photo Position

2. Development of model. Initial wooden cabinet places, note on both side, this was when taking the shot the other wall can be seen so will have to put the cabinet in. It will not be the same detail as one next to the cabinet.

3. Development of model. More of the clutter is placed in the model aswell as the sofa and T.V. 4. Lighting Test on model. Natural light coming through the studio to the model.

5. Lighting Test on model 2nd attempt

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Sketch Model /Inital Model to Find Photo Position

With the model complete. The main character of the room has been shown through the clutter and lighting. The next step was to convey what i remembered the room to be in a ‘ constant haze’ from the cigarette smoke. I wrote in the memory exercise:

When entering the room there would always be a haze, a layer of smoke lay constant in the room, from her smoking and our insistence to have a cig always in Barbara’s room.

To achieve this i bought e-cigarettes and used them to try to simulate the haze effect from the smoke.

I smoked the e-cigs and blew into the room and then took the pictures.

The five pictures are the final selection for the final photo of the Barbara’s room.

1.1 A DOMESTIC SCENE _ Final Picture

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Shack Stack GROSVENOR WATERSIDE, LONDON, 2010

ELBOW ROOM MUSEET FOR SAMSTIDSKUNST, OSLO, 1992

This was not related to room but what was interesting was more how this piece worked in its environment.

It was sculpture of a shed, 3 on top of each other placed in a residential area, Grosvenor Docks.

I found it interesting in the sence of a surreal monemental feature set in the context of a residential area.

This was a piece set in a gallery in Oslo, Norway. The piece was a copy of the room but built at an angle .

What was interesting was the illusion it created and the response the user would have to it. i can imagine the wooden floor, Scandinavian wood Wilson wanted to celebrate, becoming the main relationship between the user and the space. An unlikely relationship occurs as the angled floor pushes the user this then becoming noticed and felt by the user whereas on the flat surface the user would never notice the floor.

I think this works really well and the change made to the room creates new relationships between the user and the wood; which Wilson wanted.

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20:50 SAATCHI GALLERY, COUNTY HALL, LONDON, 2003

TURNING THE PLACE OVER LIVERPOOL, 2008

Picture above shows the model made to before the piece was made The piece itself was repeated in numerous places (galleries) and Wilson said that he would always visit the site and configure to each site. it was a site specific piece.

The piece’s aim was to give the illusion of a bigger space by making the user walk through an path which was surrounded by oil few meters heigh. This would reflect and give new room to the user.

This piece i liked a lot, eventhough it does not have relevance to this brief, I felt it should be included here as its a defining piece Wilson is known for, description taken from his website.

The model, above, was the way Wilson worked out this piece and i was wondering to try to make sketch models of Barbara’s room and try to do some extreme changes, like what was done in the room.

‘The work consisted of a vast 10 metre diameter ovoid section of the facade of a disused building in Liverpool. This section of facade had been cut free allowing it to rotate .

This was made possible by mounting the ovoid section of architecture onto a central spindle, aligned at a specific angle to the building.

When at rest the ovoid section of façade fitted flush into the rest of the building. The angled spindle was, however, placed on a set of powerful motorised industrial rollers, allowing it to rotate 360 degrees continuously. As it rotated, the facade not only became completely inverted but also oscillated into the building and out into the street, revealing the interior of the building, and only being flush with the building at one point during its rotation. This created an acute sense of disorientation and even danger for the viewer as the architecture physically encroaches on them.1’ 1 Decription taken from Richard Wilsons website: http://www.richardwilsonsculptor.com/projects/ she%20came%20in%20through%20the%20bathroom%20window.html

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RICHARD WILSON TALK Silcing / Drilling / Crushing At the Doodlebar

Richard Wilson is a sculptor working mainly around installation pieces, this lecture by coincidence took place in perfect timing around the second part of the Brief (Refer to next page) which was to explore changing the architecture of the room and what would happen and became quiet a relevant piece.

In the lecture Wilson describes how his selected pieces worked and how they came about. I have included only four from all the pieces he described as i felt they were the most relevant to the next brief.

The main impression taken forward from this was how the subtle changes made in his room based pieces created a larger response in how the pieces worked in the room; the ‘SHE CAME IN THROUGH THE BATHROOM WINDOW’ piece where the window was pushed forward into the space and it used more of the space thus changing the architecture and the response the user has to the room.

Also noted was that Wilson would always ask himself ‘Where is the boundaries?’ and ‘What the relationships?’ these would be interesting to ask in context of Barbara’s room.

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Dear all, As discussed yesterday we are extending Brief 1.1 for another week with an additional short exercise. The purpose of this is for you to engage more actively with the architectural fabric of the room.

We ask you to make an alteration that either heightens or alters the character of the room in some way. This could for example be about elaborating on an architectural theme that is already present, or about adjusting the materiality, colour, rhythm or size of a certain element.

To help you to do this we ask you to write a short text that describes the material elements and architectural attributes of the room. You could do this by revisiting the text that you have already written, but please note that this should not be about your personal relationship to the room, but more of an objective account.

You should then develop your proposal through sketches and ultimately through alterations to your existing model. (Please note that you need to finalise the initial exercise before you do this.)

The exercise will end with an informal pin-up next Tuesday, where you will present a photograph of you revised model, together with the final image and drawings of the room unaltered.

Please bring your written descriptions and proposals (in sketch form) to Friday’s tutorials.

Best, Martin

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1.1 A DOMESTIC SCENE

Extension to Brief

‘a short intensive extension to the original brief based on these rooms and your new understanding of these spaces’ We have been asked to look at the finished model and the qualities that have been identified, look at the architectural characteristics in a objective approach.

With the aim to amplify the quality identified or improve upon.

With these new points identified modify the model with these changes.

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Above. Sketchbook notes__Initial thoughts with the illustrations of them on the next page.

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Sketch Model /Inital Model to Find Photo Position

1. Initial thoughts for changes to the room seem to be looking at the main light source in the room. The the back door being the only source it will be an interesting place to make the changes.

2. Another character of the room that would be the elevation of the wooden cabinets and the fireplace, this seems to be the ‘face’ of the room and how this could be used should be an avenue to look at.

3. How can bother of these points, fig 1/2, be developed into one idea?

4. Looking at how to carry on the language the wooden cabinet and fireplace creates and move it along to the back door elevation.

The back door elevation is a PVC door which stands out of place in this room. How to respond to this seems to be carrying on the language of the fireplace and wooden cabinet to have a more complete language within the room.

This could also look at how much light is getting into the room and trying to answer the first initial thought about light bought up in fig.1.

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Drawing Exercise / Study of Barbara’s Back Doors The back door and the light source of the room will be what i’m going to look at in this exercise.

1/2/3/4 Study of the back door using a picture and then repeated photocopying the photo. This showing the main features that are left as the room becomes darken.

With 5 this is translated with only the main features being picked up.

5 is my interpretation and the pencilled in parts of the room indicating the void that is created in the room as it is darkened.

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Drawing Exercise / Ideas for changes to be made to the Barbara’s Room 1. Idea to extend the height of the door to the ceiling. Creating more entry for light. Not responding to the little wooden cabinets on either side.

2. Idea to extent the width and length, again, creating more light and again more really responding to the room.

3. Idea to carry on the cabinets long the next wall. expanding the back space and creating levels to walk up.

The feeling was this would be a good way to creat a space of movement in an otherwise dead space.

These were shown in the Tutorials and Tutors felt all of these ideas were missing the point of the extended brief which was to find a architectural quality within the room and expand on that.

With this in mind i went back to the original idea that the PVC door stood out of place within the context of the room and change that.

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Sketch Model /Inital Model to Find Photo Position 1. Notebook sketches_ Looking at how to change the PVC door at the back of the room. What the proportions? how will it be decided? how many doors and windows?

2. Bird-eye view of the model and the highlighted space will be what will need to be changed in the room.

As the walls were not stuck down but pinned together it will be easier to make a new wall an interchange them for the final photo.

3. CAD drawing of the PVC door

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Sketch Model /Inital Model to Find Photo Position

1/2 These two pics are there to show the contrast and how much impact they have in the room. With the cabinets with/ without.

3 Developing the idea of how much impact these furniture has on the room illustrated with colour to see the difference more clearly.

4 Drawing shows what i will try to take on-board in delivering the back door elevation.

The cabinets and inparticular the windows from the cabinet.

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Initial gesture

1 Developing the back door.

These are the process that i went though to develop a more proportioned door.

First, highlighting the door and finding the cent er of the room and redrawing the door to have a more corresponding proportions to the wall.

The last you can see the wooden cabinet windows that i will use to carry on the language from the other walls to this wall, thus, completing the language of the room.

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Final Proposals 2 Double door with double windows on either side. Dotted lines indicating the position of the wooden cabinet windows on either side.

3 Longer in height doors with two proposals for windows on either side or only on one.

4 This proposal I felt not to include the doors and see how this will impact the room. The function of the back space has changed. WIll it be in a good way or will it just create more of a space which is dead.

5 This is more in line with 2/3 but a single door. Is there any real effect between having single/double?

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1 Proposal on model_ Original Elevation

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2 Proposal on model_ Double Windows both sides / Double Door Elevation With this proposal the language of the cabinets have been extended to the back door elevation.

It looks more of a completed room. Than the original.

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3 Proposal on model_ Double Windows With this the proposal only elaborated on the original by getting a more proportion design to the room whereas, the original looked like it was ‘stamped’ into the room.

Compared to 2/4 there looks to be less light entering the room. Looks more complete but if it looks dimmer maybe i am not ‘improving’ the qualities of the room.

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4 Proposal on model_ Windows With this proposal the windows from the cabinet are extended into the back door elevation.

Again this echoes what i said in proposal 3 it also seems that this will change the use of the room too much; from being away to get to the garden to a closed space. Will this help enhance the room? I do not think so, maybe creating a dead space where no one need to go to.

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Conclusion: From the Crit the Tutors spoke that maybe the proposals did not go far enough in responding to the room. They noted that eventhough these were quiet different in design they still seemed to give the room the same light quality indicating that the proposal must have similar sizes.

Also, there seem to be no way to gage the room to the outside. Maybe having the background will help.

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Primary Sources / Bibliography

References Bergquist, M., MicheĚ lsen, O. and Frank, J. (2005). Accidentism. Basel: BirkhaĚˆuser-Publishers for Architecture.

Frank, J., Botstein, L. and Stritzler-Levine, N. (1996). Josef Frank, architect and designer. New Haven: Published for the Bard Graduate Center for Studies in the Decorative Arts, New York, by Yale University Press.

Wilson, R. (2015). Richard Wilson. [online] Richardwilsonsculptor.com. Available at: http://www.richardwilsonsculptor.com/ [Accessed 22 Oct. 2014].

_______I.D.A INTERGRATED DESIGN AUDIT DIARY 1.2 PRECEDENT MOHIBUR RAHMAN

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Figure 1: Site Visit, View from the back road.

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Precedent Study: Highgate New Town The Precedent Study we have been given to look at is based in Highbury next to Highgate Cemetery.

It was part of a regeneration program in the 1970s and was under the direction of the influential James Cook.

This precedent study will look at closely at on block on the Estate called Stoneleigh Terrace, so to be able to get a more in-depth study of the site, instead of a general overview.

Highgate New Town Highbury Cenentary Residential

This chapter will be split up into the following sections Historical context and current context of the site. There will be the surveys and Photo study as well as the Analytical Drawings. Finally section will be the interpretative drawings which will be able to complete the precedent study.

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Initial Film Photos from the Site I took a film camera as well as a Digital to the site. With film i find you have to be more austere and so I have only a few which are more showing of what the my initial reaction to the site was.

(1)The back elevation of the Terrace that you first encounter walking up the road. The unusual form giving its distinctive character, although i felt this picture put the build in contest to any other building with a back yard space, so i took it like this.

(2)The front elevation of the terrace (3) The front elevation of the terrace, showing the different levels on the site as well as the pattern of repetition this creates. I like this picture as well as the context of people in give it a surreal feel to the picture.

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Site Survey /Stoneleigh Terrace

Initial Site visit to Stoneleigh Terrace. What was most apparent was the distance from any main transport hubs, it felt isolated and cut off from the surrounding area.

I rode and that was a struggle, the site is perched up on top of a hill.

I can imagine this becoming an issue with people becoming stuck on this estate; it was very quiet as well did not see many people walking around.

The first impression is the back elevation of the building, which you can see on the next page, these photos will look at the front elevation which is around the back. It is confusing arrangement.

1/2/3 - Shows the front entrance to the houses, i have only focused on Stoneleigh Terrace instead of the entire estate. Two sets of deplex

arranged on top of each other. What i found interesting is the pattern of repetition this created, a character that can be see around the back elevation. The form of the build is a simple one and the repetition becomes the defining character.

4 - This chows the threshold between the build and the Highbury Cemetery that sits behind it.

There is no build up to the change in threshold, instead its a clear cut between the two.

5/6 - Showing the character of the next block along from Stoneleigh Terrace. A simple repetition can be seen with use of two materials Concrete Slabs and Breeze Block infill.

7 - This was to show the start of the back block elevation have initially different pattern before it becomes the distinctive character associated with the estate.

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Sketch Model /Initial Model to Find Photo Position Initial Site visit to Stoneleigh Terrace and elevations drawn from the visit. How to convey the distinct pattern of the build was the most hard part of the drawing, i do not think i have achieved this.

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Stoneleigh Terrace Front Elevation Showing the change in levels

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Materiality and Context

(1) Showing the site in context to the surrounding, particularly wanted to show how it sits next to highbury cementary.

(2)Axo exploring the possible way Stoneleigh Terrace was built, with Precast concrete attached in a repeated manner.

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Stoneleigh Terrace / Interpretive Drawing

hey, thanks will get the drawing changed.

The idea for my interpretative drawing will involve the back elevation but looking at the people and ‘clutter’ that makes up the building.

The following email explains my proposal:

With my drawing i wanted to do a study about repetition of the units and how that sits with individuality that people naturally want to create in their space - to show ownership maybe? or private space? - and compare the two....

One way of doing this might be to have a standard elevation drawing of the back of the building and draw in the bits and pieces that make the space used and owned my the user. i.e. draw in plants, little structures, chairs etc the repetition element would be the elevation drawing conveying the repeated way the units are built and the individualism of the drawing would be the study of 'stuff' that makes up the space.

Hopefully showing two contrast working together... . I would either screen print the elevations out or print them out then would visit the site to get all the detail and draw them in....’

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END OF BRIEF CRIT

Feedback Brief 1.2: Crit_Friday 27/11/14 For the conclusion of this Precedent study a crit was organised to show our conclusion of our work.

This included: 1.1000 context map 1.100 Ground/typical plan 1.100 Section 1.100 Elevation.

(Below pic shows the layout of the crit work) as well as our interpretative drawing; all of which was critiqued by the tutors as well as a guest tutor;London based Italian architect, Giovanni Petrolito.

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The cirt guest and tutors noted that the first two pics did not really convey anything in particular.

My point of view was that these two were representing the repetition of the unit mixed with the different levels.

Taking that view into consideration the first two do not really convey anything in particular about the site.

Will have to revisit the site to take new photos. The tutors also noted the lack of people on the site which would be good to put into the shots.

It was done intentionally as i felt the repeating nature of these building would be taking in less if people where in the shots.

But most of the work shown at the crit had a lack of people so this should be tackle in the photos to halp show use of the building.

The last picture was considered the best as they like the composition and it was able to convey the different levels of the site quite cleanly.

Task left to do to complet the Brief: •Finish the drawing and the changes propsed by the Tutors and Guest crit.

•More context needs to be shown.

•A photostudy of the site would be a good option to show the site in use and context.

•The study of the back of the building should be looked at more closely as this is the main character of the building, it should be looked at in detail.

•Look at Thresholds around the site.

•For portfolio should have a historical and context page.

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The following was put up for the crit.

right... i.e. Tree..etc.

2/3. Elevation drawing are good, maybe depth can be put into the drawing through use of grey-lines and maybe shadow.

9. The interpretative drawing is okay but needs finishing. a look at the scale should be considered and maybe draw in all the detail as it would convey the ‘use’ of the building much better.

4. Ground floor plan is good shows context and relation to the surrounding area.

Conclusion: 1. Context map need to be edited more with more detail put into what the surrounding context of the place is.

Needs to be able to convey how the building sits, one comment was until told by me they did not know the site was on a hill and next to a cemetery.

5/6. The typical floor plans need to have context as they look like the are floating in space.

7. Axo of the ground floor is good maybe afew extra details need to be put in.

8. The axo of the whole building is very good. needs to be finished but also context should be put in to help get the relationship of the building

St George’s Fields Westminster // Architects : Design 5 // Reason: Same Characteristics, Shape and materia also use of green space lPicture Source: first: hhttp://www.stgeorgesfields.org.uk/wp-content/uploads/sites/1/nggallery/main-gallery/hanover-steps-from-west.jpg (second) http://www.stgeorgesfields.org.uk/wp-content/uploads/2014/06/slider1.jpg

Fleet Road Estate, Camden, London // Architect: (Project) Neave Brown // Reason: multifamily housing, mid-rise apartmentsPicture Source: first:https://singleaspect.files.wordpress.com/2014/04/fleetrd_1.jpg (second)http://www.greatbuildings.com/cgi-bin/gbi.cgi/Fleet_Road_Terrace_Housing.html/cid_1201633864_East_Courtyard_from_Garden_Terrace.html

Polygon/Oakeshott Court, NW1 London // Architect: (Project) Peter Tabori, Roaman Halter, James Gowan // Reason: Simiar Shape, different material from the others (brick) would be interesting to compare this use of material to the rest, does it affect the form?

Picture Source: first: http://media.rightmove.co.uk/1k/342/19024266/342_CAM100249_IMG_00_0000.JPG (second) http://media.rightmove.co.uk/41k/40491/21884346/40491_MGNW5003268_IMG_00_0000.jpg

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Brunswick Centre, Camden,London// Architects : Patrick Hodgkinson with Sir Lesile Martin // Reason: Same Characteristics, Shape and material Picture Sourced: Maxwell, R. (1973). NewBritish architecture. New York: Praeger Publishers.pg 71

Alexandra Road Housing Estate, Camden, London // Architect: (Project) Neave Brown // Reason: Shape, material and length.

Picture Source: first: http://modernarchitecturelondon.com/photos/alexandra-road-01.jpg (second) http://www.imagesofengland.org.uk/images/47/78/L477882.jpg

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Research into High Density Lo-Rise Maybe make a Booklet of High Density Lo-Ris places in London?

To finish off the Precedent Study it would be good to do a booklet of other similar estates from the same period.

The following estates shown above have similiarites to Stoneleigh Terrace but also connections through architects working on it or the time period and materials.

A photo essay could be done on each of these estates to help compare them to the Precedents.

Questions of how the estate is used? how the people interact to the build? could be asked.

All would be printed and made to a booklet to accompany the Stoneleigh Photo Study showing the connection between all of these.

_______I.D.A INTERGRATED DESIGN AUDIT DIARY 2.1 SITUATIONS MOHIBUR RAHMAN

*Pictures sourced from the Brief

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SITUATIONS Description of the Brief.

The new Brief starts the final chapter of our final project.

The previous briefs were looking at personal experience and precedent studies.

With this Brief we will gain the material for that will for the contextual basis for the final brief.

The main aim of this Brief will be about engaging with the site and establishing our own understanding about the site.

Drawing Should develop a series of drawing at various scales that highlight and understand the location of the site and to the city.

What are the boundaries ?

What are the key spatial relationships ?

What is the predominant grain and character of the built fabris?

What are the historical and social Understanding of the sites?

Models.

Models of the site should be made.. to help in Massing and Understanding the site better. i.e. Looking at the materiality/Scale/Extents.

Other Methods Hand Sketching / Photography SItes All the Sites are shown on the opposite page.

(Note) Knowing that the final project is going to be based in West London what are the conditions there social/Politically etc?

This is normally associated with the affluent and well off, how does this translate to homes? Are there the same scale of social housing as other boroughs? Would be good to research the Councils stance/

References London Metropolitian Archieves Walking, Thomas Struth Making Do & Getting By, Richard Wentworth Gerhard Richard’s Atlas City Metaphors, O.M. Ungers Architecture as City, ARU Publication

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Sketch Model

/Inital Model to Find Photo Position /Lecture and Intro to the Brief.

(Above Pictures) A selection of photos from the first visit to the area. Was impressed by the grand-scale of the buildings.

Beautiful and shallow at the same time; the sense of identity though a communal character, in the sense of people who would live there, i could not see or imagine. You could say welloff live there but that could mean anyone.

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Initial trip to the sites with the class was more just to understand the area and was a rushed affair. Initial pictures show and give an impression of a mark contrast from where i am from (South-East London) The building are more grand in scale from the size and height to the style most seem to be a Georgian Style. The Roads are more wider, with more traffic.

The sense of community/ people living in the area seems harder to imagine. This i would like to explore more. .....................................................................................................

Lecture: Why in the City? //Look at George Perec ///La Vie Mode D’Emploi

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Look at Context / Historical / Art

Looking at the constant negotiation between people and spaces, in the city.

Investigating the area... then translate...

Look at the Contrast between the built and the interpretation Brief 2.1 will look at the interpretation of the site.

Deliverables to aim for would be 1.500 model to show the grain of the city to the site.

1.200 for the detail or 1.100Reference Adolf Loos Look at the historical // Modernism Look at the Idea of Home //How would that work here?

Robert Dayand //Walls are made for painting How do you represent?

Working with Historical Fabric of the area Look at sequences // from the street //to the block //to the Unit..Look at sequences // from the street //to the block //to the Unit Also look at the Shared spaces / Communal Spaces Look at Richard Wentworth /Found Sculptures.. ‘Found Objects’ /Photos_ Look at Specifics from the site

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Selecting Site/ Analysis Before finding a site i wanted to take a deeper look at the sites in particular the way the streets are composed; this coming from reyner banham’s ‘A city crowned with green’ I want to be able to compare them in a more analytical way so the some process will be done on each site.

These will be: Connections how do these streets connect to the site, Survey of the surrounding building to understand the atmosphere of the area, typology of the buildings. With all these in mind i hope to be able to choose a site to start working more closely and do more indepth study.

First need a general context map (1) of all the site in relation to the city.. then maps of the sites that are 1.200 maybe... and site visits.

(1) This is the initial context map of the sites. I want to show the sites in context to the River and the green spaces, inparticular, Hyde Park as that is the most dominate space nearest to the site.

Still need to put in the details of the green spaces.

(UPDATED) Due to the amount of sites and detail need to looked at at all sites i cannot do it in the time needed, so will choose the first 3 sites and do a detailed drawing of the surrounding paths. Refering that to ‘A City crowned with green’ by Reyner Banham(Look on previous page) Then from that choose the more relevant site; this being the one with the site that has most connections from paths and roads with area that has communal activity of sorts to engage with.

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Site Visit A /

Left: Sketchbook drawing and initial thoughts from Site

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Site A is located on White Horse Street between an A road (A4) and Curzon Street.

1 - Entrance to the Site, the entrance is a small/ Narrow road which has more of a alleyway characteristic than a road. Can imagine the road not being very appealing at night.

5. The mark contrast. A change in spacial qualities from a narrow/ gloomy to a open spacious area with a feel of being looked after. Its was quiet at the time of the visit but noticed the place become very packed at lunch time. Looked like most of the shops catered to this market.

2 - Further down towards the Site, Condensed/ High Building/ Quiet/ Claustrophobic feeling/ Can see the Site but nothing further.

High-end restaurants.

3 - View looking back towards the A road. Again the view reminds me of a scene from a Charles Dickens story; invokes an Victorian scene.

4 - Worn look, Windows accumulated with dirt. Most of the bottom row have bars on them.

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Site Visit B /

Left: Sketchbook drawing and initial thoughts from Site

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Site B is positioned between a main road, South Audley Street and a mew. It creats two different conditions to work from.

Hyde Park is two streets along, The site itself is a car park. and is in constant use.

1 - South Audley Street, walking towards the site, buy road, very built up area 2 - Front entrance elevation. Car Park so different use of building compared to the surrounding. This is also shown though the characteristic of the building/ stark contrast from the townhouse and classical features of the area.

3 - Further down but to express what i said in the second picture. The townscpae is similar in style.

4 - Walking around the back of the building, not there yet, noticed the high density of the builds here. They also look like residential houses.

Not alot of people around, could be just the time of day.

5. Opposite the site. This is the Mews area. More eclectic mixture and i think which gives more character. This build up of a mixture of builds, different forms and textures created. More satisfying to look at that the surrounding typology.

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Site Visit C /

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Site C is located Further away, South of Hyde Park. This area is predominantly residential, mixture of Town-houses and large blocks of a similar style. Near the V and A; Its also very quiet.

1 - Entrance to the Site from my direction is a Mews, Ennismore Garden Mews.

2 - Further down towards the Site, is to the left, an open space in quiet a built area. There is an usual column structure that does not seem to read to any of the building around it. It looks like its the last bit of a building left.

The Site itself is directly infromt occupying the space between the Roman-esp column and a Town-house. Nothing around this space catches my eye. The area doesn’t feel it need any input to it.

4 - A Church. The Holy Trinity Brampton. One of two large structures that occupy the space at the end of the alleyway.

5. London Oratory, i had to look online as i got the impression that it was something different from a Church, it isn’t. There are two churches next to each other, beautiful to look at but not a lot more can be said.

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Context Map /Looking at the townscape of the area / Top Picture Location Map / 1: 1000 at A2 / Bottom Left is blocked view of the area. There seems to be an interesting pattern emerging about the layout of the blocks in the area.

......in London it remains an obstinately medieval mixture, a sort of primitive democracy of residents and commerce, a sort of calculated chaos that is part of the rich banquet of London.

__Reyner Banham

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‘A City Crowned with Green’ 2.1:SITUATIONS BBC Iplayer Role Contributor,Presenter: Reyner Banham ‘A City Crowned with Green’, Reyner Banham looks at the Uniqueness of London and its characteristics as the Capital city. He goes from Elizabeth I, to the planners trying to control the growth and reduce the ‘Urban Sprawl’

Source: http://www.bbc.co.uk/iplayer/episode/p00sydsh/a-city-crownedwith-green#group=p00synd3

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There were many interesting points made by Banham the one that stood out and could be useful in analysing the breif.

The transcript of what he said....

‘If there is something that is worth fighting for in the heart of London, even when we knock down the building, its the network of pedestrian communications and squares to stroll in, to sit in, just stand about in.

This pedestrian network is the common denominator of all great European cities. you might say it’s the basic of European civilisation. But each individual city has it sown style of walking, so to speak.

On the boulevards of Paris, it is a parade on a grand scale. But in London it remains an obstinately medieval mixture, a sort of primitive democracy of residents and commerce, a sort of calculated chaos that is part of the rich banquet of London.

It’s worth keeping and enhancing, not because i’s medieval but because it IS London.’

The impression Banham imposes is that of a type of ‘Sprawl’ of roads and streets that has happened are more natural feel brought on by the demand of the people.

It gives a good imagery of the functional side a street has and is created by the people who though use it or changing its use to suit their purpose.

A type of ‘Demorcracy’ Banham refers to it as.

I think this would be a good idea to take on board when looking at the different sites.

A look at how these roads/pavement formed around the site. Or did the site form around the roads. What type they? Are they used alot? How has it changed around the site.? Could use Digimap’s Historical Maps as a was to describe the changes.

(2) Site Plan with all the connection to the main road show and passages. Showing access for both vehicles and pedestrians.

......in London it remains an obstinately medieval mixture, a sort of primitive democracy of residents and commerce, a sort of calculated chaos that is part of the rich banquet of London.

Reyner Banham, ‘A City Crowned with Green’

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(3) Photo Study of Route vehicles can only take around the Site.

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Situation

The Route

‘A City Crowned with Green’, Reyner Banham looks at the ‘Uniqueness’ of London and its characteristics as the Capital city. Banham explores the control exerted by Elizabeth I, to the planners trying to control the growth and reduce the ‘Urban Sprawl’ The study of routes was inspired by the following statement Banham made in the film:

‘If there is something that is worth fighting for in the heart of London, even when we knock down the building, its the network of pedestrian communications and squares to stroll in, to sit in, just stand about in.

This pedestrian network is the common denominator of all great European cities. you might say it’s the basic of European civilisation. But each individual city has it sown style of walking, so to speak.

On the boulevards of Paris, it is a parade on a grand scale. But in London it remains an obstinately medieval mixture, a sort of primitive democracy

of residents and commerce, a sort of calculated chaos that is part of the rich banquet of London.

It’s worth keeping and enhancing, not because i’s medieval but because it IS London.’In particular, the part Banham spoke about streets being a ‘Primitive democracy’ and having a chaotic mixture of residence and commerce was appropriated towards this site and explored in the following studies.

(1) Drawing Exercise showing the block mass of the surrounding area to the site.

(2) Site Plan with all the connection to the main road show and passages.

Showing access for both vehicles and pedestrians.

(3) Photo Study of Route vehicles can only take around the Site.

Note 2/3 can be compared to show how there are more access for pedestrians than vehicles. The passages and alleyways goes to support Banham’s statement that there is a ‘ calculated chaos’ contributing to the richness and uniqueness of the site.

(1) Drawing Exercise showing the block mass of the surrounding area to the site.

......................................................................................................................................................................................................................... /Historic Building Context

/ Located within the Mayfair Conservative Area / 95 Piccadilly was developed as a high-quality residence in the late 19th Century before becoming a Club. / The architecture reflects the elevation of the other buildings along the street. / Westminster is one of the jewels of London’s economy, contributing nearly £56bn and hosting 14% of its jobs. However, in the last four years alone it has lost 1.8 million sq ft of office space to housing, with a further 3.7 million sq ft in the pipeline to be converted, which by industry calculation could result in a loss of up to 78,000 jobs.’’ _The Guardian, 3 February 2015

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Initial Film Photos of the Site Film Photos can be more revealing than normal. From the two selected above we can see the distinct character of the street to the site. It gives this Dickensian feel of something from the Victorian time.

Thie sketch was an attempt to look at the entrance to the site and compared to the film we can see this narrow street will be an important feature later on.

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IDA DIARY -- STUDIO 6

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Caste Model

/Making the same mistake process

/Second attempt at model to make a caste from... ...... Did not work.

Seems to be the same problem, the use of a polymer based varnish makes the molten mix and set with the varnish.

Resulting in my crying.

Another way to show the site and they surrounding area work together will have to be looked at.

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IDA DIARY -- STUDIO 6

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Sketch Model Sequences of a route around my site Initial trip to the sites with the class was more just to understand the area and was a rushed affair. Initial pictures show and give an impression of a mark contrast from where i am from (South-East London) The building are more grand in scale from the size and height to the style most seem to be a Georgian Style. The Roads are more wider, with more traffic.

The sense of community/ people living in the area seems harder to imagine. This i would like to explore more.

How? Interviews with businesses?

Maybe locals in the area aswell?

Site Location

IDA DIARY -- STUDIO 6

A4 Road

Green Park

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IDA DIARY -- STUDIO 6

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Crit Feedback /Next Step after the Crit.

With the Crit not going well and the Model of the site not coming out right.

A new direction is need for the brief.

Finding something about this site that is interesting and creating a narrative from it is still the piroty; Site visits and asking more questions about the site will be the first step.

Aim will be to get Site drawing completed and a Axo showing the relationship between these contrasting areas. How do i represent it?

Sketches and drawings showing the road access along this path.

[Academic use only]

1 2 3

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Passage Model Idea Reference for next set of models. Found on the model on the 4th floor in Central House..

Good way to express the passage ways around Site, there are three main passages to the Site.

This model could be appropriated in showing how the passages create a transitional space between the Site and the outside.

Will need to work out how to make a caste; need to make some sketches and get measurements.

Pictures on next page show the three passages to the site.

IDA DIARY -- STUDIO 6

1

2

3

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1/2/3 All the Passage way feature to the site. An atttempt to look at this in detail maybe a caste model could help in incorporating this feature to the site.

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IDA DIARY -- STUDIO 6

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Primary Sources / Bibliography

‘A City Crowned with Green’ Reyner Banham, BBC Iplayer

_______I.D.A INTERGRATED DESIGN AUDIT DIARY 2.2 URBAN GESTURES MOHIBUR RAHMAN

2.2 Urban Gesture - Massing Studies

CASS

Carl Andre, MapleCarl French Curve Exercise Figure 1, Above, Andre, Maple French Curves

T

IDA DIARY -- STUDIO 6

his brief introduces the first design phase of your final project. Whilst you continue to develop and evolve your reading of the site and its specific conditions, you will begin to intervene within the site by making proposals for a domestic building. This intervention should articulate an approach or a way to engage physically with the places and topics identified by you during Brief 2.1.

withstand continued scrutiny a stages of the year. Timber mod

We call this brief ‘Urban Gestures’. This term implies that the proposal you make should liberate new potential beyond the limits of the site. An urban gesture can involve everything from the opening up of closed routes to make new connections to other city spaces, or an additive strategy of completing and mending the urban or architectural fabric, to the overall figure of a building. There should be a generousity to these propositions. Your ambitions should extend beyond the confines of your given site and seek to make a positive social contribution to the wider neighbourhood and to the community.

Proposal You will use the site model to te reacting principally to the site programme. You should make a to insert into the site model t Consider height and proportio well as articulation of entranc clear front face or is it experie it relate to the street? What ar the public spaces it creates? A organisation in terms of the circulation and spatial sequen

Whilst you may make individua recommend that you form gr enable you to construct a bigg model.

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Urban Gestures Massing Studies This brief will introduce the first design phase of our final project. From the information collected from the last brief, which will be carried on in the the current brief but empathise on the intervention to the site.

The interventions should go towards making a proposal for a domestic building. Working on the topics, physical as well as theoretical points identified in the previous brief.

The tutors named this brief ‘Urban Gestures; to imply that the proposal you make should liberate the potential of the site beyond its limits.

These can involve.. /Opening up the closed routes /Making new connection to other parts of the city /Creating a strategy of completing and mending the urban fabric The initial massing models are ‘an iterative series of block models’ they are reacting to the site.

I.e. Height/ Proportions/ alignments and set backs When looking at the height, my site has three faces to consider so need to consider them would be good to look at Westminster planning policy.

Deliverables A series of sketches and conventional drawings around the massing models

1.

From The London Encyclopaedia (2008) pp.vi-vii.

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Lectures on Housing.

Emily Greeves architect on the apartment house in London, its history and understanding To start this brief off the tutors arranged for a lecture by Emily Greeves; Greeves worked on the book ‘Home/Away: Five British Architects Build Housing in Europe: The Development of Housing in Britain 1870-2008’ as well as helping in the development of the Housing Density1 study which was commissioned by the GLA (Greater London Authority).

The GLA states that this was to ‘help secure the implementation of the London Plan policy 3.4 (Optimising housing potential2) The housing study was done by Maccreanor Lavington Architects (lead consultant) and Enily Greeves Architects; the study will be looked at in more detail later.

Greeves Lecture starts off with a the statistic: Population of England & Wales 1801 - 9.4 million and in 1901 32.5 million with nearly a 4x increase. This contrasts with the population living in urban area going from 25% in 1800 to 73% in 1890. The image is stark and context can be seen already the effect and stress this would have created.

Greeve also points out that ‘Urban population 1800-1830 was more than the total urban population in 1801.’

Figure 1 (above) illustrates London growth from Roman London (Small black line in the centre) to the Greater London in 1965... The change is massive in population and growth became a problem. A point touched on in Reyner Banham’s ‘The City crowned in green’ attempts were made to ‘contain’ the sprawl one was by the with the establishment of the green belt being one of its legacy (Green Belt (London and Home

IDA DIARY -- STUDIO 6

1 Housing Density Study PDF < http://www.london.gov.uk/sites/default/files/Housing%20density%20studyopt.pdf> 2 It goes on to say how the study helps in understanding the potential of an area though its illustations and precedents. Source:http://www.london.gov.uk/sites/default/files/Housing%20density%20study-opt.pdf

Apartment buildings, Haussmann’s Paris 1850-1870

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Counties) Act 19383) see more in Steen Eiler Rasmussen’s ‘London: the unique city’, Chapter Four: Attempts to check the growth of London pg 58, Rasmussen follows in detail from 1600 onwards the attempts made the control the growth of London.

Greeves then talks about the Typology of building in London. Why has there not been the same success that apartment blocks have in Europe that they do not achieve in London or Britain in general.

Using the example of the Apartment building, Haussrhann’s Paris 1850-1870 (figure 2, above, sourced from Greeves Lecture slides) Haussmann’s apartments were commissioned by Napoleon III in response to the slums and creating an improvement public hygiene etc4.

He created a standard ratio for the height of the building and how they relate to the street not to dissimilar to the pattern books used by speculative builder in Britain; the point being the pattern book was based on houses where Haussmanns building were apartment blocks.

The main reason for the difference seems to be the mentality the English had with apartment blocks. They were perceived to be lower than that of a house, the mixing of people etc.

Whereas, figure 2 cross section illustrates the way the apartment would have been used. You can see the building comprising of one/two rooms which most likely shared by one or two families. On reading the description you can see the how the building was being used5 ...’the ground floor contains the kitchen (where the cook gives free soup to her relatives)’... .. ‘the First floor is the best: in an elegant drawing room Monsieur yawn 3 source , http://www.londongreenbeltcouncil.org.uk/lgbc%20website/pdf/THE%20HISTORY%20OF%20 THE%20LONDON%20GREEN%20BELT.pdf> 4 more can be read here < http://parispropertygroup.com/blog/2013/haussmannian-buildings-signature-architecture-paris/> 5 Picture source with the description underneath

< http://images.fineartamerica.com/images-medium-large/paris-apartment-house-granger.jpg>

and Madame sleeps..’ ‘...The second floor houses a more bourgeois family...’ ‘...the third a young bachelor who cannot pay his rent..’ ‘... in the attic, at the very top, lives those with no money at all - an artist, a philosopher...’

The diverse mixer can be seen and in my opinion a beautiful scene is created. A mixture of people creates stories and moment which help in the history and memories people will have within the building.

Attempts where made like the Albert Hall Mansions by Richard Norman Shaw in 1879 (Look at Case Study section for more detail) Peabody Trust founded by George Peabody was an attempt to tackle poverty and social justice that was happening with the reformers at the time6.

Boundary Street Scheme- slum clearance also example of attempts being made to tackle the issues of poverty and housing.

Greeve main points on at the end of the lecture for use to keep in mind were the following: • When looking at apartment building, they tend to create inequalities in statues, space, light etc. How can this be addressed?

• What would the affect of having 2 flats or more have on peoples life in terms of quality?

• How can the building be more than a collection of individual spaces (Greeves uses the term ‘ silo of private dwellings’)?

• How will the relationship between the entrance spaces and the street affect the shape of the building? what will this creat and how will it work for the people there?

6 more information see: < http://www.peabody.org.uk/about-us/our-story/our-history>

‘It’s like a ghost town’: lights go out as foreign owners desert London homes..

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Figure 1

By Ed Cumming The Observer, Source: http://www.theguardian.com/uk-news/2015/jan/25/itslike-a-ghost-town-lights-go-out-as-foreign-owners-desert-londonhomes?CMP=fb_gu (Below) Facts sourced from the article

IDA DIARY -- STUDIO 6

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In this article the author talks about the effect of the current state of the London market in relation to how it is affecting people living in London; being priced out, aswell as unsustainable, to the knock on affect this is having on businessmen that rely on the custom of the local residence.

The current theme that has been cropping up in the news is the narrative that ‘Foreign investors’ are buying up properties that are left empty for months on end, this being called ‘Lights-out London’’ where the owners of the property are absent but still have the knock on affect of pushing prices up without ‘contributing to the Local Economy.’

‘EMPTY NESTS’ ■ * There are thought to be about 700,000 “long-term empty” homes in the UK, calculated from local authority council tax data.

■ * 22,000 of these are in London, down from 44,000 in 2004.

■ * About 2% of homes in Kensington and Chelsea fall into this category, the 11th highest in the country. The top 10 are all in the north of England.

■ * Foreign buyers accounted for 20% of all sales in Kensington and Chelsea in the four years to 2014, according to the Department for Business. For new properties, however, the figure is about 75%. This compares with Savills’s figure of 7% for foreign buyers across Greater London.

■ * Savills estimates that two thirds of foreign buyers are investors.

■ * In total, there are more than two million foreign owners of property in Britain.

■ * In Camden, north London, a surcharge of 50% on council tax on homes left empty for more than two years has led to a 40% reduction in the number of empty homes.

Cumming uses Racin, a restaurant in West London set to close, as an example of the problems that has risen from absentee property owners.

The owner of Racin stated that he had a stable amount of locals that would eat, this changed understandable that over time, some got older others hit by the downturn couldn’t afford to eat out as much. But with the worth of the property other sold up and where replaced by ‘nondorms’ who did not live there so did not spend.

Cumming also goes on to show how other business have moved closer to central as it was cheap per square foot than here.

An interviewee states that its become a ‘Ghost-town’ where they have their business which relies on the locals.

This seems to be an underling narrative that i have noticed cropping up on the news recently with another article looking at how people were queuing up all night to buy a one bedroom flat in Stratford with the main clientèle being foreign investors looking for a ‘good’ return(Look at Figure 2).

How has this affected my site? Has there been any? What does this create in a area in the sense of community? Can there be a way to counter this when designing a house for my site. Could there be a program to go along with it.

I did notice how quiet it was on the weekend and have been told that the main business Shepherd Market area gets is in the weekday at lunchtime and after work.

This would mean that the transient nature of the surrounding area would make it make it harder to create a ‘community’ in the sense of people living for a long period that creates a common identity of an area and from this other positive affects come out.

It is noted by Cumming that the area also has changing patterns in taste as people moving in and leaving the area. With the example of Mohamed al-Fayed selling Harrods to the Qutari royal family the change in people coming to the restaurants, ‘It’s busy, but in a different way’ and maybe Racin did not fit these new taste?

Even if that is the case, there seems to be a genuine issue with empty properties in London and the affect of the housing shortage in London.

With 22,000 ‘long-term empty’ homes in London and London needing 42,000 new homes a year question should be asked about the way this could be addressed.

09.00

13.00

18.00

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Winter

IDA DIARY -- STUDIO 6

Spring

Summer

Autumn

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Pre-Massing /Solar Study Before the massing can take place, i felt with this site, i wanted to check where the sun would be directed thoughout the year.

The site itself is in a high density area, with three of the elevations onto the site high walled, is the site affected by this?

The following study shows the path of sunlight and the shadows it cast. The study was done over the year and broken down to each season; it was also placed at 09.00/ 13.00/ 18.00 times i felt would be appropriate as its when activity would be at the most.

With the results i accumulated them into four seasons like an average (Look at Fig . on the Left) The general pattern seems to be to place the massing at the northern point of the site as this gets the least obstruction. This will be taken on when placing the first massing.

Strategy of the Site - Open to the other site Idea to open the site up; to include the other road.

Strategy of the Site - Communal space Opening up the courtyard site next to the Mansion. This would create an shared space, a communal garden area. so the focus of my site will be the building and not communal space

IDA DIARY -- STUDIO 6

Strategy of the Site - Carry on the elevation of the street Idea to open the site up; to include the other road.

Strategy of the Site - Passageway to the site Linking the passageways around the area and continuing to the site. Highlighted in Blue are the existing passageways to the site by having this on my site it will continue the pattern and create a more uniform language in the area.

IDA DIARY -- STUDIO 6

Initial Proposed Strategy for the Site

Passage to the Site

Location of Houses,

Shared Communal area

Community space/ Large area for events or market space

1.

5.

2.

6.

again2.

James Stirling and James Gowan, both architects from the late 60s onwards were commissioned for a study that was published in the House and Garden.

They envisioned a house which would grow as a family would; ‘A house which grows with the family in four separate stages; once it reaches completion it can be divided again to provide homes for two families1.’

Stirling/Gowan describe the different stages of family life not being able to fulfil the requirement of a constantly changing needs of the family; newly-weds too large, the house, the family with kids growing the house becomes too small and once the kids leave the house becomes too large 1

Anothony Vidler, ‘James Frazer Stirling: Notes From the Archieve’,pg170

IDA DIARY -- STUDIO 6

Stirling/Gowan solution to this was to build a house which would work in stages but act as a whole at all the different stages.

This would mean there would not be any over crowding or empty rooms; with each expansion more accommodation will be created resulting in the maximum of 3/4 children with parents.

They wrote the following for the proposal: ‘The quadrant house is designed around a two storey central core which forms the service hub of the house...3’’ From this the following would occur: (1) the first stage would cater for the newly-wed or single person. This would have the study/ living/ bathroom (upstairs) but this to me at least invokes the image of a Studio flat layout. (2) The second stage shows the family needs change and the expansion beings, this is the same for (3) 2 Anothony Vidler, ‘James Frazer Stirling: Notes From the Archive’,pg170 3 Same as above, original from House and Garden’, April 1957, ‘Expandable House from ‘House which grows’, pg67

3.

4.

7.

and (4). As the next stage starts (6), the children grow up and leave the space, the empty space could be ‘let out’ to a new family. The conversion would happen which Stirling/Gowan state would be ‘negligible4’ The completion of the conversion (7) or could it be said a transference?

It is going from one ownership to another. The process is completed yet the stages start again.

I found this quiet interesting the idea of a house growing with the user; unlike the idea of putting add-ons to existing this idea took into account the future use and put in place the required structures.

This idea of movement and change in use would be interesting to explore in my project./James Stirling and James Gowan A few question did arise from what Stirling/Gowan reasoning behind the scheme. One was that it could be ‘handed’ down from one generation to another without the cost of upkeep mansions have. ‘...the house could be handed from one generation to generation in the manner of the great house of the past...’

4 Anothony Vidler, ‘James Frazer Stirling: Notes From the Archive’,pg170

I do not agree with this, eventhough in context this was just used to describe an instance of use for the expandable house. The problem with any ‘inheritance’ is that it would create a slum-esq environment or areas with will be drawn along lines of peoples past and creating a ‘us’ and ‘them’ mentality.

I can imagine a stagnation effect would happen where as having new people come in would create new dynamics which would counter the ‘stagnant’ effect.

I am sure this was not the what they were trying to convey, what other ways could this idea be taken out of this? The idea of renting at a low cost of new family is interesting or could it be used as a collective or co-op arrangement?

I would like to explore how the space and need of the user from this idea be taken and expanded. The expanding element of this project might not be usable but the idea of it could be. Could there be a space pre-configured and users can inter-ate with each other though their needs aby expanding and retracting?

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Urban Gestures Study/interpretation of ‘Expandable House’ by Stirling/Gowan James Stirling and James Gowan’s Expandable house 1.

My interpretation of Stirling/Gowan’s ‘expandable house’ (Refer to previous page) the first row illustrates the initial couple, the expansion of the unit to take the growing family. Blue representing a new couple and the illustrations shows how it expands taking over from the old. The yellow is my interpretation of another new couple coming in and repeating the process.

The idea being that his could become a continuous cycle as one family reaches its final point a new come in to replace. Thus, re-using and recycling the space.

2.

A study of what could happen if the process was repeated vertically and looking at what if the process was repeated horizontally.

3 and 4 showing the results respectively.

I’m not sure if the concept that Stirling/Gowan set out in ‘Expandable House’ would be achieved effectively in the vertical and horizontal approach I have gone for. The ‘expandable house’ was looking at the way the house could be used to cater to the constant change that occurs in the family unit. Illustration 4 seems to represent a tower really, I can imagine the same way of the insides working as the expandable house it just seems to show how the form of the house could go towards.

IDA DIARY -- STUDIO 6

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IDA DIARY -- STUDIO 6

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Figure 1, Left, Westminsterâ&#x20AC;&#x2122;s City Plan: Strategic Policies Map. This Map is describing the Councils Strategic plan for its borough. It was adopted on 13 November 2013 and was prepared to make sure the council is in keeping with the National Planning Policy Framework (NPPF).

This section will look at Westminsterâ&#x20AC;&#x2122;s City Plan but as there is so much information and time restraints i will need to look at it in stages.

As I am at the massing stage I need to look at the policies that affect the initial form of my massing. These will be the height restrictions, the position of the site to the surround fabric.

Source: http://transact.westminster.gov.uk/docstores/publications_ store/Westminster%20Adopted%20Nov%202013.pdf

Another factor that needs to be looked at is that my site is located within the Central Actives Zone (CAZ) under Pimlico; how does this affect my site?

IDA DIARY -- STUDIO 6

The main point of the policies seems to be to enhance the ‘traditional urban pattern of Westminster’, the problem seem to be that how much of these policies are there just to conserve the old and thus stifle any attempt at new forms or ideas that goes against the pattern already there.

Although the development plan does mention this..

The City Council‟s policy is not to stifle innovation and invention in new architecture but to ensure that where development is appropriate it is conceived as an integral part of its context2 The other points are the following: (a) by preserving and creating those features which contribute to local distinctiveness to encourage a carefully fostered continuity between new and old What is this ‘distinctiveness’ and who judges? If the policy is both trying to conserve while building new into the fabric then when judging a building on ‘distinctiveness’ in a historical fabric ,the building which stands out will not foster well in the judgement in my opinion, hence, the similar look of the townscape around West London. Beautiful but similar becomes the same as looking at rows upon rows of Georgian Terrace houses or the Suburban sprawl; same and monotonous.

(b) by maintaining free movement particularly of pedestrians through the streets of the City This relates nicely to the Reyner Banham’s ‘The City Crowned in Green’ and my idea of the natural street movement that i wanted to incorporate into my proposal. (c) by preserving and creating features which contribute in a positive way to the urban environment so that it is recognised and understood, including landmarks, building lines, open spaces, views, and key locations of activity What could i have in the proposal that has a positive impact to the urban environment of my location? With the site location and the theme of our project on housing Westminster and in particular Mayfair area which has a high residential area what can a housing block or housing contribute to this narrative. Not alot in my opinion. Maybe its the program what goes with it? So maybe the proposal has the housing but also the features that could create a more of a community. Communal garden/ Library/ Market space etc. With these the sense of home and community could be fostered something with is lacking in this area. (d) by ensuring visually interesting and secure streets by the provision of active frontages in appropriate locations, the maintenance of defensible space, and the provision of appropriate uses and design I do not agree with the idea of ‘Defensible space’ have read a few articles on this. (Will do research on this latter on in the book) Defensible space is a theory from Oscar Newman3 and was about a way to help reduce crime or prevent it though the design and plan of a space. Thing that i agree with was the way resident could have more control and ownership by having doors that they have the only access or marking out clearly the lines of the area for residents, Fob keys etc or having Caretakers and community workers. But the mutation of theory is 2 DES1:Principles of Urban Design and Conservation. Section 10.15 3 Oscar Newman, ‘Creating Defensible Space’ Book can be found online http://www.huduser. org/publications/pdf/def.pdf

Gate-communities and high fenses and gates with CCTV cameras everywhere, which in a way is shut off from the wider community fostering a ‘them’ and ‘us’ mentality, which helps in creating a unequal society as people only care for their specific space and on one else.

Even the name ‘Defensive space’ evokes the idea of imminent attack, a fear is already painted. Its not a healthy way to design, in my opinion, to design on the basis of threat. Would be better to invest in community worker who know the space and create a dialogue between people and foster a ‘space’ which becomes a community more than a closed off space which gives the sense of being attacked or sense of something not being right.

DES 4 Infill development The first sentence reads ‘to ensure the highest quality of new development in order to preserve or enhance Westminster’s townscape’ this reads as a statement of intement that seems more dogmatic and a aim. The last sentence in this section explains the reasoning; this being new development will affect the townscape quality so this should be controlled to how denifical it is. That seems to me the main narrative; it has to fit their version of what the townscape should look like.

The main points that will affect the design in this section is

(B) prevailing overall heights, storey heights and massing of adjacent buildings The height of the building will need to consider ‘prevailing overall height’ and the massing of adjacent buildings.

(D) roof profiles and silhouettes of adjoining buildings This point i was more intrigued about as its not something that you would consider straight away. So what are the roof profiles of the surrounding area? A quick survey could be carried out later, but how does this inform the site and design?

(F) distinctive forms or architectural detailing prevalent in the local area More survey of the site and surrounding will be needed to find these ‘distinctive forms’ to be translated to the design of the site.

DES 6 Roof level alterations and extensions This section talks about what will be acceptable in gain permission and what would not.

Permission granted would be on the basis that the proposed will complement the existing architecture and does not infringe on other peoples visual privacy.

DES 9 Conservation Areas (B) Planning applications involving demolition in conservation areas Any building in the that is in the conservation area as important in architectural and historical context will be protected essentially.

‘Buildings identified as of local architectural, historical or topographical interest in adopted conservation area audits will enjoy a general presumption against demolition.’

So the case for demolition or alteration have to be made on their set of criteria. How it affects the townscape etc. Will the Naval Club next to the site have alterations made?

AA Lecture Ben Denton, Martyn Evans, Pete Jefferys, Eleanor Dodman Public vs Private: Who will provide the housing London needs?

Series: Housing London Lecture Series

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The Architectural Association hosted a series of lectures relating to the Housing issue in London. This being the first in the series, it was quiet lucky that these lectures happened around the time of our design section of the year. It was also good to see that there is a dialogue with what is happening in London around Housing, the cost, lack of housing etc.

The first lecture to start off the series looked at ‘Public vs. Private: who will provide the housing London needs?’ My initial impression was that there should be a balance between the two; private speculative builds and public funded Council Housing. These being the two main forms of build there could also be alternative ones like Co-op housing etc.

The reasoning being the more choice the healthier it is for society and economy as a whole. If as the current situation is just private builds which results in extremely high house prices and higher renting market you get a distorted and unequal society. We can see the results of this in every aspect of the society. I also feel the effects of living in this ‘situation’ with renting a house where you do not know if the rent will go up which will mean me not being able to live there, the stress of not having a secure place has affects. The impression before the lecture is that a more varied approach should help in resolving this; I would like to find out what practical approaches there are right now and what is being proposed in these lectures.

The following taken from the AA website explain the people who will be talking: Ben Denton, Westminster City Council; Martyn Evans, Cathedral Group; Pete Jefferys, Shelter & Eleanor Dodman, AADipl2014; chaired

by Joanna Chambers, AA Council The lecture will work on the people setting out five key points for the subject.

Pete Jefferys, Shelter: 1.

Use the mayor’s powers. _The biggest cost of building homes is Land and last year it rose by 25% that need to be addressed _ One way is the Mayoral Development Corporations, used in the Olympics- Olympic Park Delivery Authority- can negotiate land at lower cost _Jeffery also points out that the Mayor already has these powers, so should use it.

2.

Increase Density _Compared to other Cities London is Low density, i.e. compared to Barcelona _ Instead of the TFL developing luxury properties to sell off, of which the proceeds do go back to TFL, Jeffery proposed that TFL should build a mixture of luxury and affordable homes as it has a commitment to the people of London. The advantage of having these builds is that they would be near transport links important when looking at the need of Londoners.

Getting tough on Developers 3. _ Current situation is that developers have been negotiating away their commitments to affordable housing… mainly saying that they could not

IDA DIARY -- STUDIO 6

........................................................................................................................................................................................................................... afford to build affordable housing- the irony. _Making it clear/ simple policy on the affordable housing that they have to do.

4.

People powered growth _ More development will need to be on the edge of London. But most people will oppose development in general if it does not benefit them.

So people need to be on board of large new developments by having it directly benefiting them. I.e. schools/ hospitals/ affordable housing 5.

It not just about housing _ There needs to be stronger rights for renters _ There needs to be able to have a safety net if you lose your job, I think Jeffery put this in as he works for Shelter which has to deal with these type of problems.

Ben Denton, Westminster City Council 1.

Local Authorities using their power to intervene in the market like the 50s/60s and less so now.

2.

Looking at using financial capacity. Although Denton pointed out that Westminster City Council is unusual as it has a 8 Billion Pound portfolio and puts 200 million back into building new builds etc. most council have un used financial capacity.

3.

Denton also made a point that this is not about ‘Affordable Housing’ but Housing in general and that you need open market housing to fund the affordable housing. Denton spoke that public sector has been caught in just affordable housing but now need to focus on all form of housing.

4.

Deliveries can only be done with partners. Denton spoke of the most successful schemes were where they stood back and let the community take control of the scheme as they had most to gain.

5.

Making local authorities to deliver housing outside their area.

City of London does it but more authorities need to do it to help deliver.

Martyn Evans, Cathedral Group (Private Developer) A good point that Evans mentioned which I thought was important was that this is a subject with no quick fix and has to be looked at in a long term outlook. And he said that in the 70 years both the Government and the market have failed, all it has done is made a demand and supply imbalance.. This is a good foundation to start to look at solutions in my opinion.

1.

Encourage a broad mix of tenures of property development.

At the moment most of the social housing projects in London is being, if not delivered directly then provided for by private housing sector under the section 106 contributions large schemes provided by social housing providers and private schemes. This Evan says in flawed when developers go the council saying that they cannot provide the housing required as they need to protect the profits for their shareholders and councils end up in a ‘fight’ Evans says government and developers need to take responsibility in this part.

2.

Reforming the Greenbelt. Evans asserts that much of the Green belt is not ‘very green it’s more technically brownfield land.’

Removing the politics from Greenbelt by having a task force to look an identify the land which are not green but more from the industrial past that should be re-used.

3.

More focus on mixed-used communities and developers care about the communities they create.

4.

Developers should have a better voice as their professional bodies are failing them like British Property Federation (BPF). There should be more of a conversation between RIBA, RICS and BPF to understand how to deal with these issues.

5.

Issue of the role of Public land. Local Authorities are collectively the largest owners of land in the country. This public land is available to help solve this problems and local authorities have a choice with the current government encouraging the authorities to sell quickly to make the maximum cash return (Thatcher’s legacy) to mainly housing developers this means mainly units are being built. Evan points out that you need to be careful what you build how you build and to whom you build.

Eleanor Dodman 1.

Education people between Green Belt and Brown Field. Also changing the perception of Estates, council housing and affordable housing due to negative portrayal in the media.

2.

People proposing to build their own houses, Educating about Self Building.

3.

Design for the future, designing for future generations

They next part of the lecture went on to the floor, but i feel there was enough here to see some recurring points. _ Unlocking Land _Encouraging a mixed use _Using the powers already available.

I agree with most of the points made but it seem the urgency of need is not being address. There is a massive problem with the supple side of housing and this need to be addressed. If the private sector not provide ten the public sector should to alleviate the situation now and put in place some of the other policies so it does not get to this point again.

So a dramatic gesture to shake the current system them policies should be put in place to stop the market becoming so extreme. With more Mixed use properties being build with a set amount for affordable housing that the developers cannnot get out of.

One Tower Bridge social housing tenants denied access to garden1 -Hilary Osborne, Guardian

Social housing tenants banned from using garden in Tower Bridge luxury development2 -Lamiat Sabin, Independent

1 http://www.theguardian.com/society/2015/feb/07/one-tower-bridge-social-housing-tenants-denied-access-communal-garden?CMP=fb_gu 2 http://www.independent.co.uk/news/uk/home-news/social-housing-tenants-banned-from-using-garden-in-tower-bridge-luxury-development-10030769.html?origin=internalSearch another source: http://www.london-se1.co.uk/news/view/8077?utm_source=feedburner&utm_medium=twitter&utm_campaign=Feed%3A+SE1newstwitter+%28SE1+news+for+Twitter%29

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Figure 1. Vitisting the development photo taken from the main road going to Tower Bridge. It is still being build so not alot can be said about what the life is like there, it hasnt been established it.

Figure 2. Showing the elevation of the site. The bottom floor seem to be getting fitted for commercial space, Sainsburgh have moved into the end space.

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Both articles start with a subjective title, stating that ‘social housing tenants’ are ‘banned’ or ‘denied access to the communal garden.

This seems to be a new narrative in the story of developer either reducing their commitment to a certain percentage of their development going towards social housing or just stigmatising the tenants by ‘barring’ them from communal spaces or having different access to buildings1

the tenants would still have enough space to meet all relevant policies.

This piece will look at this narrative in more detail without the sensation-ism used by the media. But the general thought seems to have been highlighted in the AA lecture (look on previous page) that developers are not contributing to their commitment or have been diluting their responsibilities. And it seems to be a justified accusation.

In the Guardian article by Hilary Osborne more detail is given of the cost: The service charges for Horace Jones House, which will include heating and water bills, will start at £1,506 a year on some of the one-bedroom flats, going up to £3,251 a year on some of the three-bedroom apartments. Rents on the properties start at £138 a week, rising to £162.

First section will examine the articles and this One Tower Bridge development situation.

Second will look at what are the commitments legally bound by the developer to give.

Last will look at if this is a general narrative that is contributing to the ‘Housing-crisis.’

It would seem that these service charges are away of controlling negotiations the developers whom would rather have that space to sell to private buyers thus maximising the profits use the ruse of service charge as a way of changing the commitments made in the planning application.

Searching online on information about the One Tower Bridge development shows that the Press-release for the development is that it is a ‘mixeduse development comprising 9 blocks of a total of 396 residential units’ with other uses for the blocks; commercial etc.

It can be read as they are selling themselves not only as a luxury development but also other purposes. Which would mean the choice of the development to exclude social tenants would be counter-productive and bad PR definitely when properties starting price are £1.5 million and with bad PR people might not be as willing to depart with that kind of cash.

Lamiat Sabin article in the Independent starts off with the statement that the ‘Social housing tenants have been banned from enjoying a communal garden’ this garden which is linked to the luxury apartments. This appears to be the result of Berkeley Homes, the developers, changing the contract that blocks the social residents from using the gardens with is between the two blocks. This was also backed by the council.

It seems that 43 social housing in the 356 flats, Berkeley Homes, would add extra service charge to the council if the social household were to use the garden.

It should be noted that eventhough the development is in Southwark the council tenants are from the City of London Corporation as scheme that was mentioned in the AA lecture (Look at the notes from that on the previous page) a uncommon practice of councils paying other councils space to which City of London Corporation has very little of.

The council had concerns of the service charge and maintaince cost of which would have increased with the use of the garden space. It does seem to be a barring of sorts if the space could be used for all is then restricted, so the sensationalism in the headline is justified.

The article finishes with a quote from Lib Dem Cllr Adele Morris saying ’’to the outsider this could look as if this is the private residents are being a bit snooty and saying ‘we don’t really want the Corporation of London tenants using our space’” and that she was reassuring the tentants that 1 Another article highlighted the action of a developers having a different entrance for social tenants. http://www.theguardian.com/society/2014/jul/25/poor-doors-segregation-london-flats

This seems to miss the point of the situation. A space is being barred to people living in the same development of others over cost issues. It would look to me as an outsider that the service charge is an excuse to exclude people from an area.

Of course there has to be a maintenance cost for the upkeep which the council should pay but a burden of which should go to the developers?

Maybe, for the right to build in a space right on the Thames and next to the Tower of London. To have an exclusive site that they can then demand a premium maybe these ‘Service charges’ of which go to the upkeep of the garden should be wavier but the developers as a way to contribute for having a development of which if not for the Social housing would not contribute anything for the surrounding or the community. It would just have a gated community that is all.

The narrative for both articles seem less outraged but the idea of barring people and seems quiet sedative in its opinions apart from the Green MP response there doesent seem to be a solution more a justification for the changes; service charges, use of gym or the garden that has ‘lily ponds and ‘stone bubble fountain away of saying maybe the social tenants do not deserve the same luxury as the others. An entitlement? Or maybe a way to just look as Social tenents as a burden.

In the book Estate: An Intimate History by Lynsey Hanley talks about how the ‘poor’ were shipped away to estates on the outskirts (this was due to the slum clearance in the cities) that became another slum; a isolated place where it was hard to get into town and work so created a perpetuating cycle of crime, disillusionment.

‘Council estates have the effect of making people feel worse about themselves, and in turn, physically worse than other members of society, because they know that they are in many ways cut off from mass influence2’ Could it not be said this is what is happening here? To create a beneficial program for all it would seem that a ‘mixing’ of all groups within the development would be most appropriate to maximise the most out of a building... it would be able to foster a ‘community’ environment; unlikely it must be said when you have multi-millionaire and low income people but if the environment was placed where the divides were not physical but mental it would help and everyone would benefit.

Just by saying ‘hello’

2

Hanley, Lynsey ‘Estates: An Intimate History’,Pg 20

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Research: The naval club/ Cambridge House I do not want to go into the history of the building here as it will just be repeating everything.

What is interesting about this site is not that a Bomb hit but if you look at the Historical maps how Cambridge expanded and retracted through the years.

(Historical Maps sourced from Digimaps)

IDA DIARY -- STUDIO 6

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IDA DIARY -- STUDIO 6

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Initial Massing Having now concluding an initial strategy of my site. The next step is the massing.

Using the Solar study of the site i wanted to start making a gesture on the site; using the plan of the site, refer to figure 1, with the most light on the area in white and shadowed area in black, i used this as a starting point to make some massing, refer to figure 2.

This was the an initial gesture and we can see from the from the computer modelling how it would sit(Pictures on the Left).

It has not taken into account the surround context, although, to me this help in understanding the site better. Its more a starting point, next will be testing more massing out in the space.

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Initial Massing Having now concluding an initial strategy of my site. The next step is the massing.

What I wanted to look at is how the mass will sit in the site. Using the solar study as an initial guide i drew the site (1) with what i felt is the most important.

2. Shows how the mass will sit with the passage way idea being used.

It seems to be a good way to create a condition between the mass and the new path.

3/4. i wanted to look at the mass if the passage was not there. The mass can be moved around more as well as being able to work with more form.

Maybe the passageway will restrict a space that is already restricted?

IDA DIARY -- STUDIO 6

1.

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Initial gesture to massing Having tried out some drawing of what the massing could be or where it could sit, next, the massing had to be made so to start putting them onto the site model ( 1:200 group model made earlier on) and try to find out the best way for the mass to be height, length etc to be.

Also taking into consideration the Urban Design and Conservation1 and focusing on DES 1, DES 4, DES 6 and DES 9 of which i was told to look at by the Steve the planning officer.

(1) initial drawing to base the mass from (2) proposals for form of the mass (3) Plywood attempts at the massing based on the drawings and iterations made on the site model.

1 http://transact.westminster.gov.uk/docstores/publications_store/Chapter%2010%20 Urban%20Design%20and%20Conservation.pdf

IDA DIARY -- STUDIO 6

2.

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1.

2.

3.

4.

5.

6.

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Initial Massing

Having now concluding an initial strategy of my site. The next step is the massing.

The Iteration of massing can be seen above, from 1 to 6.

To me the questions that arises from this massing are shown in (7) and (8) both i feel have a reasoned response to the site; closing up the site or opening it up.

The next page will show the massing in context and have been numbered respectively.

Which one is the next step?

1. The first mass based on the drawings and from this (2) came with the idea of creating two different conditions. One for the path and one on the site. With (3) we can see the development of this taking into account the passageway idea from the surrounding area.

(4) becomes another gesture about how much more hight can you get into the space. If you refer to the next page you can see the height does not exceed the tallest building next to it.

(5) is looking at the massing no.3 but looking at the form. What will happen with a more uniform shape.

(6) I wanted to look at the thickness of the mass and took the building to the left of the site as a starting point. It seems to have a more corresponding relationship to the forms on the site. Fits in better.

IDA DIARY -- STUDIO 6

Closing the site up creates a continuous language of the elevations down White Horse Street. Is this a good idea? What is the impact this creates?

Opening up the site. What does this do to the townscape? It breaks up the long and crowded space.. but is it a good thing?

The next set of massing will try to address this.

7.

8.

1.

2.

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Initial Massing The initial massing in context. All the massing are numbered the same from the previous page and this is to show how each of the mass was developed.

Note that (3) and (4) the height does not exceed the block next to it, its the maximum to go to and relates to the Urban Design and Conservation1

1 http://transact.westminster.gov.uk/docstores/publications_store/Chapter%2010%20 Urban%20Design%20and%20Conservation.pdf

IDA DIARY -- STUDIO 6

3.

4.

5.

1.

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Initial Massing The tutorial the massing was shown to the tutors with all the different iteration. Most were not seen as responding to the sites conditions.

(1) shows the massing, the tutors, felt best responded to the siteâ&#x20AC;&#x2122;s conditions. Tutors proposed that I should look at T-shape building.

I think its an interesting idea, i felt a building resting againt the side refer to massing 1/2 from the previous page, made more sense as it maximised the light conditions available to the site. It would mean more space to create communal areas etc.

But looking at picture 2/3 the potential that the T-shape building would create is quiet interesting. The building in front could go creating a courtyard area, Shared maybe? and a closed off space on the other side. This could be interesting to explore.

(2) is the current conditions with the site and massing (3) taking the build between the two space

IDA DIARY -- STUDIO 6

2.

3.

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Communal Space Massing

1.

2.

3.

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Massing Development Final massing for site has now shown where it would be best to put the building. Developing the massing to see how it will sit on the site should help understand the form and space available to work from. The Process of iterations of the massing can be seen above and below who

they would sit on the site. The final being the T-shape mass which was favoured by the tutors (1) was the base mass that i was working from. The two different conditions the mass provides on the site as well as the T-shaped favoured by the Tutors. (2) links with (7) shows my first attempt to see what a monolith like block would work on the site. The mass faces the Mansion, Cambridge House, and both share the courtyard space in between. it

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6.

IDA DIARY -- STUDIO 6

7.

4.

5.

[Academic use only]

........................................................................................................................................................................................................................... has similar characteristics of a London Square. I noticed the size of the mass is considerably smaller than the single-dwelling Mansion. Could be a point to make about the amount of space available in London, can it be justified in having a single-dwelling Mansion of that size in this climate and compare it to what can be achieved in a smaller space, my site next to it.

(2) and (7) massing is looking at small changes to the form, not a lot of

impact is made to the site with this one.

(4) and (8) looks at defining the farm more. The width is 6m which is plenty with 10m length. This gain corresponds to the T-shape and takes on board the sharing the courtyard point. I think this will be a good direction to work the plans from.

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8.

AA Lecture Bob Allies, Allies & Morrison; David West, Studio Egret West; Stewart Murray, GLA & Vere van Gool, AADipl2014; chaired by Alex Lifschutz, AA Council Quantity vs Quality: Can we deliver and make great places?

Series: Housing London Lecture Series

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IDA DIARY -- STUDIO 6

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The first lecture was looking at ‘Public vs. Private: who will provide the housing London needs? With the second lecture the topic is Quantity vs.

Quality: Can we deliver and make great places?

I was not too sure about this topic, as the basis of the question indicates that with quantity quality is lost, which I do not think would be the case if things where designed properly.

The following taken from the AA website explain the people who will be talking Bob Allies, Allies & Morrison; David West, Studio Egret West; Stewart Murray, GLA & Vere van Gool, AADipl2014; chaired by Alex Lifschutz, AA Council Alex Lifschutz introduces the lecture by asking the question about how do you make and build in quantity that is architecturally responding to the regional qualities of the area including style/scale in the era of global market influences involved. Lifschutz points to the Georgian period in London’s history when the population trebled. They had to meet the housing demand and one way were the pattern books. One example given was Bedford Square which is where the AA is based now housing 1000 students whereas before it was for a ‘bourgeois’ family. This is a vivid illustration of how the use can change to meet the new demands, a very important point. Lifschutz ask’ if when we build our houses we should be thinking about the future that can be altered for something different from dwelling.

Bob Allies, Allies & Morrison; 1.

Housing is a continuum form of the city not a separate entity it is the majority of the city fabric.

2.

Allies then bring up a few of the projects done recently and mentions that they all have an element of affordable housing in them. And an important point is the mixture of tenures in the builds.

3.

Communal space is important and when working with higher density courtyard spaces in particular might seem to be a trend of privatisation of public spaces a knee-jerk reaction to gated communities in reality it’s needed for the residents to have a communal space which is not public.

I agree with this but my main problem is having a gated community with one mixture of tenures or people having their own space becomes isolated and separated from the fabric of the area. If the build has a mixture of tenures then there is a variety of people then it will not be isolated but the reality of having a gated community is to be isolated from the community around.

4.

There are very strong regulations but sometimes becomes a constraint and forces a certain type of ‘morphology’, it is producing the same. I.e. every build must have a balcony, i agree with this point as most of the new builds (larger at least) all do look the same and there is little variation.

Allies proposes a partial compliance like ‘85%’ to the regulations.

5.

Who builds it? Allies points out the quality of build are becoming an issue with the quantity that is needed to be build. He referred to some of his own project and how they have been there from conception, to build/supervising to completion. But now majority of builds are done by one architect, till planning then another architect does it with a much reduced fee and reduce in quality.

Stewart Murray, GLA 1.

Housing is a continuum form of the city not a separate entity it is the majority of the city fabric.

2.

Land use, to bring in more clear certainty 3.

Land Ownership, public owned. Looking at different ways of selling land instead of selling land at maximum return but not maybe gain quality 4.

Transport link, looking at linking the housing together through transport.

5.

Affordable housing provision is opaque and is being reduced.

There should be a simpler provision with maybe a set percentage.

David West, Studio Egret West 1.

Layering London needs to be acknowledged 2.

‘London ++’ remarked West about how big his projects were and how much there is now in the pipeline. So with High density what is needed is a flexibility in space standard to have more improvements

1.

IDA DIARY -- STUDIO 6

2.

.......................................................................................................................................................................................................................... ‘‘The Sun in an empty room’ Lecture Workshop_ Rendering A week long exercise on rendering with Nicolas Feldmeyer, an Artist working with different medium to create a dialogue between the user and the surrounding. An example would be the ‘After All’ series of photographs digital made to express a dialogue of the landscape and an opposite sat in a surreal way( Look at Figure 1 on opposite page1). The contrast between the two is made. The way this was made is the method we will use to make a scene.. the sun in a n empty room.

The method being ArchiCAD to create the space and Maxwell Render to render the image.

for? did it have a before? Is it empty? Even shapes are reveled though the shadows. These qualities i feel maybe what need to be looked at the workshop. How some subtle gestures can create a story and how this links to the story of domesticity of a house. How using light and colour we have a room that gives the impression its been used now or before.

Could this be shown in the picture at the end of the workshop? /Chapel in France _Le corbusier_ Indirect light /Danish painter_ Felam hamousi_ 1700_ Looking at light quality_ Empty mostly or one person.

Where is the light coming from?

Theme/Reference:

/Ellen Deler _ Photograh Architecture

/Edward Hopper based on the ‘The Sun in an empty room’ Sunbeam in an empty room...What can be achieved/ atmospherics and poetic quality?

This is the main reference for the Workshop,( Figure 2, Look above2) The piece was painted by Hopper in his later career (1967); void of people which was synonymous with his more famous work earlier on.

I do like this painting although i appreciate all his work anyway. This paintting has the same sutle quality that alwaya makes you create the story.

In this eventhough the room is empty the sun becomes the character and the room another. We then ask questions from what was the room used

/Heroshi Sojemoto_ Sunlight on White paint... Study of light on a plastered wall

1 Picture sourced from http://www.saatchiart.com/art/Photography-After-All/392612/1459685/view 2 Picture sourced from http://www.ibiblio.org/wm/paint/auth/hopper/interior/hopper.sunempty-room.jpg

/Thomas domand /Lucien Hervé ‘Can you get soul into renderings?’

Aim: One Image__ Maybe of door_ all about texture and atmosphere

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IDA DIARY -- STUDIO 6

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Rendering Workshop Process 1.Choosen View_ Had to choose a view to work from for the render.

This being my living room, and most of the activity happens here; it also relates to Barbara’s room from ‘Domestic Scene’ brief. It has most of the sunlight throughout the day.

2.Shetches_ Prominent characters are drawn only. Make it easier to model from.

3. Plan_ Maxwell render can use a CAD software to build the space to work from. I decided to use Microstation and the plan worked out what i would need to draw up. The aim was to get as near to the sketch as possible, most of the other part of the room will not be seen so did not draw those bit up.

4. CAD 3D Model_ Microstation model.

5. Maxwell Render_ Final picture rendered. The atmosphere is conveyed my the dark grain. with only a slight feature of the fireplace being shown by the light.

The quality of night or day cannot be seen, a unintentional gesture.

I like the emotions this picture creates although not a lot else can be seen derived from this.

Which as the title of this workshop was ‘‘The Sun in an empty room’ maybe this is what the room is showing?

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IDA DIARY -- STUDIO 6

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Primary Sources / Bibliography

Hanley, Lynsey ‘Estates: An Intimate History’,Pg 20 Newman, Oscar, ‘Creating Defensible Space’ <http://www.huduser.org/publications/pdf/def.pdf> HOUSING DENSITY STUDY commissioned by GLA < http://www.london.gov.uk/sites/default/files/Housing%20density%20studyopt.pdf> < http://www.emilygreeves.com/housing-density-study/> Digimaps.com for Historical Maps

IDA DIARY -- STUDIO 6

_______I.D.A INTERGRATED DESIGN AUDIT DIARY 2.3 CITY LIVING MOHIBUR RAHMAN

2.3 City Living

Studio 6: Jackson / Nässén / Leech CASS School of Architecture, LMU 2014-15

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José Antonio Coderch, Casa de la Marina, Barcelona, 1951

Y

ou now have initial proposals that establish the massing of your projects in relation to the existing city structures that surround your site. You should have clear concepts for the urban form of your project, a good understanding of its extent and mass and its key ‘urban gestures’. The quality of your initial proposals now need to be carefully tested in plan and in section, and then adjusted and elaborated upon.

City Living When evaluating your project you will need to consider the following: • • •

Use and inhabitation The individual and the collective Atmosphere and character

As you start to develop your buildings in greater detail you should carefully consider the spatial sequence of moving from the public to the private sphere, and how these spaces relate to the city. Much IDA DIARY -- STUDIO 6 of the success of your projects will come from understanding and interpreting the social context

minimum, and not ideal, spaces. Aim for the generous and enjoyable.

Visualisations To describe the key atmospheric and experiential qualities of your project you should produce a minimum of two visualisations; one exterior and one interior. The exterior view should show the building in context, clarifying its relationship to existing and proposed external spaces as well as adjacent buildings. The interior view should be of a communal space; for example an entrance hall or a staircase. Also consider making an image from the interior of an apartment. All of these images should be tools to explore spatial character, scale and materiality. Utilise the skills acquired during the ‘Sun in an Empty Room’ workshop.

Model The 1:200 site model will continue to be an important design tool throughout the year. As your design progresses you should keep updating and refining your model.

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City Living Planning This brief moves forward from the massing stage, understanding the quality of the space on and around the site to now looking at the plannig of the space.

What this brief will push for is the understanding of the use and inhabitation of the space. The individual compared to the collective as well the atmosphere/ character it creates.

This will also entail understanding the spacial sequences from the public realm to the private space. A good reference would be Herman Hertzbergerâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;lessons for students in architectureâ&#x20AC;&#x2122; book; he explore the idea of public and private realm, maybe a series could come from that.

What constitutes a home from earlier in the year need to be look at here.

I felt that the use over time and clutter created an idea of home for me.

The tutors asked to look at who the client would be? Peabody Trust or a similar for like that? maybe subsides housing?

Will need to look at the make up of residents around my site but i believe it would be all privately owned and i strongly feel my project should respond to the housing situation going on right now so subsided or a totally different from of housing that is not in the same cycle of housing form used at the moment. i.e Buy a place and sell it. A co-op maybe?

*Picture sourced from the brief

Kitchen

Dining

Single

Double

Living

1 person

1- bed 2- person

2- bed 4-person

Appendix 1 â&#x20AC;&#x201C; Space Standards Study This study of room sizes relative to designed occupancy levels is the basis of the minimum space standards (GIA) of Standard 4.1.1. To develop the space standards, each type of room was planned around the furniture listed in Appendix 2 and activity and access requirements.

The GIA is the cumulative total of room areas plus an allowance for circulation and partitions.

Kitchen

Dining

*see key to kitchen items

dining area calculated as difference of kitchen dining and kitchen

Living

Double

Twin

Single

Bathroom

Storage/Utility

Combined Kitchen/ Living/Dining:

3400

RB

2000 1945

21 sq.m

1850

CYL

Appendix 1 â&#x20AC;&#x201C; Space Standards Study 6.2 sq.m

9.4 sq.m dining area 3.2 sq.m

Bedspace 8.0 sq.m

12.0 sq.m

750 4000

4000

BU

7.5 sq.m

CYL

CYL

SU

14.4 sq.m dining12.0 areasq.m 4.8 sq.m dining area 4.5 sq.m

SU

17.0 sq.m 14.8 sq.m

Double Bedroom 12.0Bedroom sq.m Double 12.0 sq.m

2000

2000

750 2000

2000

750

2100 2100

Option: Utility Room

2000

Twin Bedroom 12.0 sq.m Twin Bedroom 12.0 sq.m

2000

2000

2000

1150

1900

Storage 3p 2.0 sq.m

(Left) The Selected Space Standards from the GLA House Density Study 1150

4000

2400

4000

1850 1400 3300

2 Single Bedroom 16.0 sq.m

Bathroom Bathroom + WC 4.4 sq.m 6.8 sq.m

Wheelchair WC Wheelchair WC WITH shower NO Shower 3.6 sq.m 2.7 sq.m

required on

CYL

3.6 sq.m

required on entrance required level on for multientrance level level units for multi-level units

2100 2100

3000 3000

2600 2600

FF FF

9.6 sq.m

4000 4000

TD

2660

4000

20

26

00

0 75

BU DW

31 sq.m 27 sq.m

37004000

RB

2100

Wheelchair WC Wheelchair WC WITH shower NO Shower 3.6 sq.m 2.7 sq.m

0 75

DW

RB

3000 3600

WM

2400

2900

WM

30003000

3700 AE

BU

750 750

3300

4-bed, 2-bed, 6-persons 4-persons

1945

2400 2400

3000

2100 2100

1400

Bathroom Bathroom + WC 4.4sq.m sq.m 6.8

0

5 12 5p Storage 3.0 sq.m

0 18

00

0

Storage 6p 3.5 sq.m

0 15

0

1800 WM

TD

CYL

2000

4250

8.0 sq.m

WM

0 141

750

4000

Single Bedroom 8.0Bedroom sq.m Single

Twin Bedroom 12.0 sq.m

Double Bedroom 12.0 sq.m Double Bedroom 12.0 sq.m

00

2000

16.0 sq.m 14.0 sq.m

750

3000

SU

12.8 sq.m dining11.2 areasq.m 4.5 sq.m dining area 3.6 sq.m

20

00

750

CYL

1800 20

750

FF

8.3 sq.m 7.5 sq.m

Option: Utility Room

1850

1900 1945

BU

SU

CYL

FF

0

0 75

required on entrance required level on for multientrance level level units for multi-level units

1000

DW

BU

3000

DW

3500 4000

2600 2600 AE

29 sq.m 25 sq.m

50

3300 2000

0 75

2800 3200

RB

WM

2100 2100

3300

0

12

Storage 4p Storage 2p 2.5 sq.m 1.5 sq.m

0 75

3-bed, 2-bed, 5-persons 3-persons

4000

4000

RB

WM

1900

Bathroom Wheelchair WC 4.4 sq.m BathroomNO Shower 4.4 sq.m 2.7 sq.m

3300

750

4000

2900 BU

4000

4000

0 15 0 18

750

Twin Bedroom 12.0 sq.m

30

750

1945 2100

2100

2100 4000

4000 3200

1900

2100

2400 2400

2100

Double Bedroom 12.0 sq.m Double Bedroom 12.0 sq.m

14.8 sq.m 13.0 sq.m

13

2660 1330

1400 SU

12.0 sq.m 10.4 sq.m dining area 4.5 sq.m dining area 3.6 sq.m

50

required on entrance level for multi-level units

4000

3000

27 sq.m 23 sq.m

3000 3000

3500

3700

2600 3000

RB CYL

6.8 sq.m

SU

12

Storage 3p Storage 1p 2.0 sq.m 1 sq.m

0 75

FF

7.5 sq.m

CYL

750

750

4000 4000

1850

Bathroom Wheelchair WC Shower Room 4.4 sq.m NO Shower 3.6 sq.m 2.7 sq.m

8.0 sq.m

0 75

FF

BU

2000

3000

4000 3700

0 141

1400

Single Bedroom 8.0 sq.m Bedspace

Double Bedroom 12.0 sq.m

RB

BU

required on entrance level for multi-level units

2100

3300

750 3500

4000

WM

2600

25 sq.m 21 sq.m

12.0 sq.m

4000

2600

SU SU

14.0 sq.m

2900 2600

Storage 2p 1.5 sq.m

3300

3000

3500

2800

RB

2600 2600

2600

11.2 sq.m dining area 3.6 sq.m 9.4 sq.m dining area 3.2 sq.m

7.5 sq.m

WM

0 75

50

Storage/Utility

0 75

CYL

BU

12

2000

4.4 sq.m Bathroom

0 75

CYL

Bathroom

Single

4000

RB

FF

Twin

4000 3400

6.2 sq.m

T DW

Double

Combined Kitchen/ Living/Dining:

4000

FF

BU

DW

Double Bedroom 12.0 sq.m

13.0 sq.m Living

Dining

3600

WM

2-bed, 1-bed, 4-persons 2-persons

SU

dining area calculated as difference of kitchen dining and kitchen

2900 2400 WM

2100

750

10.4 sq.m dining area 3.6 sq.m

6.8 sq.m

Kitchen

DW

2100

CYL

FF

*see key to kitchen items

2-bed, 3-persons 1-person

3500

2600

BU

4000

RB

2600

T DW

1330

0 75

2-persons

3700

4000

WM

30

Storage 1p 1 sq.m

This study of room sizes relative to designed occupancy levels is the basis of the minimum space standards (GIA) of Standard 4.1.1. To develop the space standards, each type of room was planned around the furniture listed in Appendix 2 and activity and access requirements.

1-bed, The GIA is the cumulative total of room areas plus an allowance 23 sq.m for circulation and partitions.

2600

13

Shower Room 3.6 sq.m

2100

BU

750

SU

2400

3500

2600

2600

FF

0 75

1-person

3-bed 6-person

3300

3600

2400 WM

3.6 sq.m 4600

3300

Storage 4p 2.5 sq.m

City Living Testing Before looking at the planning of the site i wanted to look at the GLAâ&#x20AC;&#x2122;s Housing Density Study that was referred to by Emily Greeves in her lecture, Refer to the start of the chapter about the Lecture.

A selection of sizes were taken and i wanted to look at the arrangement available from them to see that could be achieved in the limited space available on the site.

What seems to be evident is that i am not going to be able to house large family in a single unit.i.e. 3 bed, 6-person firstly due to space but also it seems to be not the right condition to place a large family in, high density environment with busy roads etc. A smaller size family or couple or 1 person will be more suited to the site.

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IDA DIARY -- STUDIO 6

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City Living Initial Planning

Circulation space Toilet

1. Ground Floor Plan (Duplex x2) 2. Second Floor Plan (Duplex x2) 3. Third Floor (x3 Units) 4. Forth Floor (x3 Units) 5. Fifth Floor (x2 Units) 6. Sixth floor (x2 Units) 7. Roof Terrace

Bedroom Kitchen Dining Living Room Outside space balcony.esq

The first attempt using the final mass to plan from resulted in seven units.

Changes to the size became apparent from the start, i felt the bottom floors should house the family units or larger unit to make it easier to move about. Because of this the units above needed space so i expanded the width to take this on board. The circulation space was place of the White Horse Street making it the entrance threshold to move into the site as well as going to different levels.

The build is facing the courtyard space so i felt having the entrance to the units on the south facing would help in unify the mass.

I feel maybe there are too many levels and stairs within each unit, how efficient is it to have this many stairs?

With the next plan slimming down one the stairs should be looked at...

Also the unit sizes.

5.

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IDA DIARY -- STUDIO 6

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City Living Developed Planning

Circulation space Toilet Bedroom Kitchen

1. Ground Floor Plan (Duplex x2) 2. Second Floor Plan (Duplex x2) 3. Third Floor (x2 Units) 4. Forth Floor (x2 Units) 5. Fifth Floor (x3 Units) 6. Sixth floor (x3 Units) 7. Roof Terrace

Dining Living Room Outside space balcony After the Tutorial, the tutors were hesitant with the plans and the idea of removing the build facing the site to open up the space, The main points taken on-board was the moving the circulation space to the point on the site where it was â&#x20AC;&#x2DC;dead spaceâ&#x20AC;&#x2122; and the circulation space at the back of the building to maximise the amount of light and view to the courtyard area.

Having done this there is a mark improvement i feel from the first plan; a more coherent layout and more simple in plan. The Units aswell are the same but better layout.

I feel this is improved to the point of realising the plan. It seems to work well with the site.

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2.

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IDA DIARY -- STUDIO 6

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3

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Tutorial for the initial planning Courtyard Debate (1) Working from the previous plan from previous page, i started to make the plan as a mass to look at the proportions of the plan to the site.

It seems to be a good size and the echo of a London square garden some like Russell Square is not far so connections works with the Townscape.

The problem with this proposal came to the surface when having my tutorial. Having shown what my proposal will do and how the building will sit in the townscape, the flaw that the tutors saw was the idea of taking the away an existing building to replace it with, basically the same in a different position.

This is illustrated in picture 2 and 3 and also 4 and 5. We can see how the gesture of taking away the building and replacing it has not made a big impact and so is not justified to take it away.

The tutors liked the idea of the program with the idea to house a wide group of people but could not see how the architecture would be.

It is a good point so i feel an need to look at working with the existing site conditions will be a better way to resolve the issues the site has.

One way was to make use of the building that splits the courtyard space and the site. Looking at existing proposals this building will not be residential so maybe a way to share this space by opening it up is more feasible that tearing it down.

Another set of proposals need to be done taking this into account.

2.

3.

1.

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ECOBUILD 2015

Ecobuild is a yearly event or show, in my opinion, of various new products or existing products which all have one thing in common, they are all trying to be sustainable or ‘green’ but in the end its a place where people are trying to sell their own products; there are sales people being ridiculously nice until they see my ‘student’ badge and the atmosphere is that of a conference everyone is wearing suits with a serious manner walking past.

It is a good thing, it must be said, now there is big money in the world of ‘sustainability’ a word thrown about a lot, the idea of ‘green’ buildings is not associated with hippie type people but taken seriously now money can be made.

Even Tim Healy (Above picture, an English actor know for Auf Wiedersehen, Pet and Benidorm fame) can be see lending his picture for promoting pipework, Capitalism at its best.

(1) One of my aims for the Ecobuild visit was to find ways of integrating sustainable green feature to my design. This was the first product that i came along that felt would be good to integrate. This is fake grass but

IDA DIARY -- STUDIO 6

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5.

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it has thermal insulation qualities. Would help in my site as if the build is quiet high and dense environment where is might cost too much to bring real grass or plants in, like the roof or shaded places, this can help give a visual element of greenery that can help elevate the building from become a urban tomb. The product has thermal insulation which could help in a roof level situation.

(2) These guys were great we couldnâ&#x20AC;&#x2122;t communicate with each other but their Photovoltaic cells were great. From the picture you can see the people sitting at the back, in-front of them is their product; the photocell is integrated into the glass which means its easier feature to put into a design, like your windows, which would normally be a photocell placed on top of the building. This can integrate into the design along south facing builds etc.

(3) This was a finish on a material, concrete in this example but it could be done on other surfaces. A laser cut design on a the surface, i did not think this was very eco friendly but the the finish on the material was something i would like to take on board.

(4) â&#x20AC;&#x2DC;Plug Plantsâ&#x20AC;&#x2122; was a good system of creating a green roof. The plants

would be placed in a box and interlocked together with the waterproofs and thermals underneath. A simply system with a lot of combinations in height etc can be achieved. This time wildlife can plants can grow naturally. I think it will be important to incorporate a natural element to the project as it does sit in a urban fabric with very little of this feature and is important to put this back in.

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IDA DIARY -- STUDIO 6

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Interviews of shop owners down the White Horse Street Alkhemy Hairdressing (Opposite the Site) Micael Yaxley is the main hairdresser and I just started to talk to him while he was having a cigarette outside his shop. It was a nice day, warm with blue kissed sky around midday.

He tells me that he has been in the area for thirty years managing this hairdressers for the same amount of time. We spoke at length about the area and the empathises Yaxley put on the type of community was that of a transient, the weekdays would cater to the office people, the 9 to 5 with lunchtime and after work drinks a pattern every day. The area is pretty ‘dead’ on the weekends with mainly the ‘odd tourist’ stumbling though.

I asked about the locals in the area, is it mainly residential properties? I say, he tells he that is the case but most ‘keep to themselves’ and the what could resemble a community would be the Shops (Shop owners and the people running the shops) as they are the permanent fixture in this constantly moving demographic.

I start to tell him about my ideas for the site opposite and describing the last plan I worked out (refer to the previous page for the last plan) Yaxley seemed sceptical (I don’t feel I described the plan properly) He then spoke about what he would like to see, a break in this long narrow street where people could sit or stop; I get the impression its more for his benefit as people are more likely to come to his shop, this seemed to be supported more when he kept saying with annoyance that everyone just walks straight past with their heads down.

An interesting point was put across by him when talking about the street, describing the entrance to White Horse Street as dirty looking and quiet scary (intimidating), a point in which people do not like to venture down at night; maybe a way to make it more appealing to walk down would be a good way to make the street more accessible.

The final point was more green space and whatever was built to be set up as the current plan for the site is two storey elevation that would run flush along with the other elevations. This Yaxley feared more continue or increase the ‘claustrophobic’ feel and darkness of the street.

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Pin-Up on Proposal Thresholds Taking the two main points on board regarding the massing; not taking away the build adjacent to the site and from the interview the idea of opening the space up aswell as setting the build further back.

I have come up with my first proposal show in the following illustrations.

(1) Showing the proposal at eye level, looking at the elevations of the surrounding in context (2) Visually showing how the proposal sits on White Horse Street, you can see how far it is set back by.

(3) Context drawing. How the proposal works with the other conditions on the site; the back block in particular is not being blocked out from the sun.

I do think this proposal works well with the site and from the plans earlier we know a good sized places and duplex can be made from the proposal. And contrast to the mansion next door which is designed for a person a statement of what the current situation with housing in London can start to be address. Can one person have a large amount of space in a space starved environment that London has become?

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Communal and Public space Dual Public and Private space. Will have different times when it is open.

(Top Drawing) Drawing showing ground conditions and program for the Site.

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Pin-Up on Proposal Thresholds

Threshold conditions and program for the site.

Expanding on the last proposals and taking on-board the interview with the shop owners; i wanted to look at the thresholds and the conditions this proposal will have.

(1) Walking from the Green Park entrance, we walk down the narrow and catastrophic path and as we walk towards the site we can see the elevation being interrupted by the opening with the height of two storeys being a void space. The proposal is also set back to break the elevation up, I also feel this helps in the road-scape; it is quiet dark even in midday, a constant shadow covers the road. By setting the proposal back we bring some of the light in through the gap but also by reflecting it off the building. This is what be seen when walking down the road.

(2) Picture is illustrating the opposite view from (1) we can can the how the break in the elevation and the height of the proposal can be seen. I think this works well the proposal is not imposing on the street, nor my carrying on the elevation of the road is it helping in creating this narrow and dark environment.

A space is also created which could become a shop space or public

area for people to meet. New conditions are created at the ground level of the proposal aswell. This space will also help in the transition space to either get into the proposal but also the other building (Look above picture) aswell as the courtyard space. The building becoming a buffer to control what time people can get in, a way to make sure its a safe environment for the mansion that shares the courtyard.

(3) Shows the threshold to the other building from the space underneath the proposal. There can be potential to create a dynamic of different uses that has a direct relationship between the space in this site. it could work well in its relationship as a breaker between the Shepherd market environment and the Green Park/ A4 road.

Circulation Space

Roof Terrace / Communal Area..

Food Growing space

Two apartment Two apartment

Three duplex apartment

Single apartment

Shop

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Apartment buildings, Haussmann’s Paris 1850-1870

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Program for the Proposal Based on Georges-Eugène Haussmann apartment block in Paris: ...’the ground floor contains the kitchen (where the cook gives free soup to her relatives)’...

.. ‘the First floor is the best: in an elegant drawing room Monsieur yawn and Madame sleeps..’ ‘...The second floor houses a more bourgeois family...’ ‘...the third a young bachelor who cannot pay his rent..’ ‘... in the attic, at the very top, lives those with no money at all - an artist, a philosopher...’

The diverse mixer can be seen and in my opinion a beautiful scene is created. A mixture of people creates stories and moment which help in the history and memories people will have within the building.

Figure 1. T-Shaped Model

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Crit and Tutorial Change to Focus on Planning

After the Crit it was decided that the best proposal was one of the earlier t-shaped massing model (Refer to Figure 1).

I was told by having the T-shaped building it would be able to address the two different conditions on the site; the conditions surrounding the relationship between the road/alleyway of white Horse Street and the elevation running down the street, the other condition being the three facing elevations on the site, the high brick walls.

I still do not think it addresses how the build sits on the street, from what people have spoke in the area, and my opinion aswell, by carrying on the elevation of the street i will be carrying on the closed and claustrophobic environment that is occurring now. It will just perpetuate the conditions already there not try to put a new gesture in that could counter that.

Having said this, the t-shaped proposal would answer the question of the two different conditions going on at the moment. So i will carry along this path and see if i can resolve it aswell as put in the social angle to the project aas i go along.

The references i have been told to look at were to check Kersten Geers David van Severen practice, OFFICE. In particular the style of drawing used in their plans but also one of their projects which uses a linear plan.

References (1) URBAN VILLA

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Apartment complex in Geneva Project by invitation of Christ & Gantenbein Architekten Location: En Sully, Geneva, CH Year: 2010 I used this reference as the style and layout is what i am looking to emulate. With what will become a simple plan, the simple line plans and drawing employed by OFFICE Kersten Geers David van Severen works well with their building, this should be my aim for my proposals aswell/ (2) WEEKEND HOUSE House extension and renovation Location: Merchtem, BE Year: 2008–2012 This linear plan works very well in relation to my site, we can see how the simple layout and zoning it creates could work well in the site where the conditions are just the high walls.

The pictures below show what could be achieved in this layout.

Described as a weekend house the length of the plan becoming house and organised as a ‘sequence of four equal rooms’ that provide similar space in different functions. This could be taken on board in my proposal, the limited space available could be used as providing fixed uses of space for the space available.

Picture Source: (1) https://koozarchdotcom1.files.wordpress.com/2014/05/office-kerseten-geers-david-can-severen_4.jpg (2) http://www.archello.com/sites/default/files/imagecache/header_detail_large/weekend_house_1to200_met1.jpg

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Crit and Tutorial Threshold Drawings

Threshold Drawings with the new direction in how the building will sit.

I wanted to explore sequence of conditions to the site, they were the following: (1) Start. Entrance to Whitehorse Street (2) Walking from the Green Park entrance further along.

(3) Looking toward the Entrance Compared to the last set of proposal we can see how conditions have changed dramatically. The relationship between the roads and the proposal is more direct, whereas, before having the build sit back the impact was less.

Was it a positive?

I think the aim has changed so now the way the proposal sits it fits the purpose; addressing the street condition and continuing the elevation along White Horse Street.

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(Above) How the New proposal will sit on the site and the elevation this creates

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Threshold Drawings Focusing on how the Building sits

After the Crit it was decided that the best proposal was one of the earlier t-shaped massing model (Refer to Figure 1).

I was told by having the T-shaped building it would be able to address the two different conditions on the site; the conditions surrounding the relationship between the road/alleyway of white Horse Street and the elevation running down the street, the other condition being the three facing elevations on the site, the high brick walls.

How will this site on the site? The next set of pictures try to answer this, i am still wary about this direction as it will make it hard to put a social angle to the project. A closed off space with more form that would work better for a younger demographic. That will need to be looked at I have looked at how the condition on the street are in the previous pictures and a sequence along the route. The next is the condition within the site (1) View from 1st build looking the relationship between new proposal and the opposite building.

(2) Opposite view from (1) but looking at the ground conditions (3) A full view of how the 2nd building will sit and the relation the back block

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This set of plan i showed to the tutors was agreed that it did not achieve in resolving the two conditions on the site; there should be two distinctive building responding to the two conditions.

Was told to refer back to the linear plans used by OFFICE Kersten Geers David Van Severen.

Circulation space Toilet Bedroom Kitchen Dining Living Room Outside space balcony.esq

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Using OFFICE Kersten Geers David Van Severen as reference this is the new attempt.

It start to show two different set but i was told it still reads as one building. The plan need more refining but its more resolved now, will carry one but will try to look at the conditions this plan create aswell.

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Proposal Threshold Proposal Threshold view looking toward the A4 road. We can see show the proposal site in-line with other elevation along White Horse Street.

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Proposal Threshold Proposal Threshold view looking toward the Shepherd Market. What i propose for the materials will be pre-cast concrete as this will break up the material typology that is occurring, which I feel will help tackle the earlier ideas of breaking the street up to help stop the claustrophobic conditions along White Horse Street;Instead of setting the building back a break in what material used, instead of Bricks, could help.

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Initial Massing (1) View looking at the public space the building will share with the building opposite.

(2) Opposite view from (1) but looking at down at the ground conditions, i was trying to look at the relationship occurring with the back building aswell. Tallest at the back/ my proposal lesser in height/ smallest being the shared building to the courtyard garden.

(3) View from the 2nd building down toward the shared building.

All three look at this new relationship between the proposal and the shared public space of the existing building.

I think this new relationship between the existing and the use of public area should resolve my earlier feeling toward this proposal having not addressed the â&#x20AC;&#x2DC;socialâ&#x20AC;&#x2122; aspect to it. With this public area condition working well with the proposal and not a lot needing to change, just the ground level flats need to address the public realm (smaller windows?) i feel the next step is to address the materials/ structure and internal conditions.

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Primary Sources / Bibliography

Hanley, L. (2007). Estates. London: Granta.

Newman, Oscar, ‘Creating Defensible Space’ <http://www.huduser.org/publications/pdf/def.pdf> Heckmann, O. and Schneider, F. (2011). Floor plan manual housing. Basel: Birkhäuser.

Krebs, J. (2007). Basics design and living. Basel, Switzerland: Birkhauser-Publishers for Architecture.

Leupen, B., Mooij, H., Uytenhaak, R., Jürgenhake, B., Nottrot, R., Zondag, J., Sedighi, M., Zweeden, A., Bouvier, P. and Vroomen, L. (2011). Housing design.

Rotterdam: NAi Publishers.

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_______I.D.A INTERGRATED DESIGN AUDIT DIARY FACTORY VISITS

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I have chosen to go on two site visits, a brick work factory and pre-caste factory both chosen due to the material typology of the site location and its surrounding area.

All the building in the direct vicinity are masonry so the Brick factory was chosen. I also am interested in concrete and Pre-cast in-particular; the precedent study from early in the year used the pre-cast concrete method for its building and with a repetition it was ideal. It would be good to explore this further and what it could be utilised in my design work.

H.G.Matthews The business is based in Buckinghamshire and is a family run brickworks catering for the bespoke and conversation sectors.

They manufacture hand-made bricks as well as machine-made bricks sourcing local clay.

The Process (1) Showing the clay used for the bricks, they come directly from the surrounding area mixed with (2) This is were the machine made moulds are made (3) The hand made section is done by one person on a shift pattern (4/5) Shows the wood used to head the Kilns. Was told they have had it eco friendly by using the Oil heaters.

(6/7) Once dried the Clays bricks are stacked into the Kiln. various ways of stacking the Bricks achieve different finishes.

(8) After the Kiln, the resulting Bricks.

Notice the different brick colours from the having the bricks placed at different positions. Stronger colour in the middle and lighter on the outside, this is achieved but the heat on the bricks.

(9) The resulting bricks can be choosed.

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Cambridge Architectural Pre-cast Factory

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_______I.D.A INTERGRATED DESIGN AUDIT DIARY PRECEDENT STUDIES

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CONTENT Cultural and professional context Environment, energy and sustainability Structures, materials and construction

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Fig. 1. Previous building that occupied the site

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Fig. 2. Site Visit- Under construction November 2014

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This Case study will look at a building in development on 100 Shepherdess Walk.

This book has been divided into three section: Cultural and professional context, This section will look at the context of the design in relation to its surrounding. How this was influenced by its surroundings. What are the Architectural theories shaping the design?

This section will also look at the statutory requirements like building regulations and town planning policy.

It will look at understanding the cost and delivery of the project to the Client.

Environment, energy and sustainability This section will look at the design of proposals in relation the surrounding area.

How has the building services been integrated into design and what was the reasoning.

What are the strategic designs of incorporating the passive/active and mixed modes to create a comfortable environment yet keep the carbon footprint down but meet the building’s energy requirement.

Location Angel/Old Street Number of units 8 Houses – gross internal area 150.95m2 to 154.85m2 Houses – gross internal volume 465m3 to 470m3 Apartments – gross internal area 64.25m2 to 166.4m2 Apartments – gross internal volume 185m3 to 470m3 Architect Jaccaud Zein Architects Estimated completion March 2015

The location of the site is situated on the junction between Shepherdess Walk and Wenlock Street. With the previous building being unoccupied,before used as a hostel and previous to that one of the first AID clinics in the country.

The buildings was designed by Tanya Zein & Jean-Paul Jaccaud Architects on behalf of Shepherdess Development Limited.

The design was shaped by the principles of ‘Solid space1’ which resulted in The eight homes range in size and all have either a garden, roof terrace, or both.

Architects: Jaccuard Zein Architects Planning Consultant: AZ Urban Studio Development Manager: Solid Space Associates

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see section on Solidspace on

Structures, materials and construction The concluding section will study the physical characteristics of the building. What materials were used and why. This will compare the design to the surrounding areas and what materials are used there.

Comparing to other precedent to inform the selection and design of appropriate structural, material and Constructional systems in this design.

Through these studies this Case study will have a thorough understanding of the forces and influences that have taken place for the building to come to its conclusion.

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Site Visit and study of surrounding area 1. On City Road, an A road. Chose this road to take most of the pictures for the general context of the site location due to the face that its the main way i can get to the site which is the most common route.

City Road connects to Old Street roundabout,did notice how busy it gets during rush hour. The picture shows a typical block type building around this area.`

type pub, when walking past its impression is given but the unkempt look and the crowd did not look like the ‘trendy’ young professional crowd you would see around the Shoreditch area.

2. This is the City road going towards Old Street roundabout .

6. Also next to the pub is a police station. So the location is ideal what more would you want than a rough pub and a police station next door.

3. This is the City road going away from Old Street roundabout .

4. At the bottom end of Shepherdess Walk Road (the top end is where the site is located) Picture shows a ‘Locals’ type pub, meaning it caters for the people in the immediate area. I get the impression its a ‘rough’

5. A car park, impression given that its a make-shift car park not the original purpose of the space.

Shepherdess Park Road

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Cultural Context

1.View looking South from the site. The terraces are grade two listed Quiet a long row so has a visual impact to the area and is a prominent feature along Shepherdess Walk.

2. This view is of Shepherdess Walk Park and is north of the Site. Also sits on the Shepherdess Walk Road it helps break the building typology of the area.

3. A newly built development for residential use. Pretty standard appearance could be easily mistaken for any other property developments in London (Bland).

This is based directly east of the Site so has a direct relation to the way the new building will fit into the existing. Would be interesting to see how this generic development will affect the design on the new build on the site.

4. Looking further down Wenlock Road, the arrangement of building

looks like blocks ranging from 3 storeys to 6 storeys. They all look like residential use. There is a sleepy atmosphere that is of contrast to the main road. the impression is that this is how it would be on the weekend as well, quiet.

5. Another Pub on the Shepherdess Walk Road, on the corner, main reason for putting this on in is the contrast it has with the pub mentioned earlier. This is kept in a better condition would more likely cater to the â&#x20AC;&#x2DC;well-offâ&#x20AC;&#x2122; crowd. Looks like a gastro pub.

6. This was south of the Site, a very typical estate, 50s/60s built social housing and quite numerous in the area.

Figure 1. Regent Canal Conservation area.

Highlighted in Red is the extension to the conservation area, the Case Study is located East of the area* (Look on next page for more detail.

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Historical Context and Conservation area Hackney Council introduced the Regent’s Canal Conservation Area in 2007 after it was identified as ‘Metropolitan Importance for Nature Conservation’ by the GLA in 2002. It stretches from the area next to the site location to Victoria Park. Its used as a cycling and walking route; i and many of my friends lived on or near the canal and was used frequently because of its quick access. it would get congested at certain times due to its convenience which shows its variability to the area.

The conservation area enjoys protection from demolishing of buildings without the consent; more planning permission is needed or more justification is needed before anything can be taken forward. It gives the planning authority more control in the area.

area. When designing the building few of the listed buildings had to be considered (look at fig . on the next page). The site is located next to a listed building and there are other buildings close by with ‘Townscape Merit.’

This means that the building have historical, architectural importance. and forms an integral part of the townscape in the area. So these would have to be considered in the design.

Most of the highlighted building of townscape merit in this instance are of old industrial building with contribute the ‘character of Hackney1’. So these are considered in the design of the new build; the materiality, form.

The conservation area falls under ‘well-used public space with important environment landscape.’

Although the site is located just a few meters outside the conservation

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1 Regent’s Canal Conservation Area Appraisal < http://www.hackney.gov.uk/Assets/Documents/ep-regents-canal-caa.pdf>

Figure 1. Regent Canal Conservation area closer section

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Listed Buildings - Locally Listed and Statutory Listed Regent Canal Conservation area Regent Canal Site Location of Case Study Building of Townscape Merit

*Picture Sourced for Figure 1: http://www.hackney.gov.uk/Assets/Documents/Regent_s_Canal_CA_Cabinet_Report-_ Appendix_3_-_extension_map_pdf.pdf

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mic use only] The make up of the Project Architects: Jaccuard Zein Architects Planning Consultant: AZ Urban Studio Development Manager: Solid Space Associates Speaking to Jean Paul Jaccaud we were told the project was financed by acquaintances from Switzerland. This gave him more freedom compared to other development type projects and as a result the site was not designed to gain a maximum amount return from investment but a response to the sites needs.

He also mentioned that the Council assumed it was a joke when they first meet for planning permission. They were not used to a development where it was not about getting the maximum amount out of a space.

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The total units built for the project was 8 units.

These comprised of 3 houses with garden space and i block of flats holding 5 units.

From the Site Visit talk...

Andrew Jackson (Tutor): The houses were seen as quite grand. it follows the rythm of the Gerogan Terrace along the street..what was the desision for that...?

Jean Paul Jaccaud: Yes, we e could have built one blockâ&#x20AC;Ś but it was a particular project as we were acting in many ways as the developers on the project. We had the keys to be able to decide what to build or not.

And probably a more vacuous developer would have pushed for more square metersâ&#x20AC;Ś.. It was more an opportunity to do an interesting project. The developer aspect was a more secondary to that it was an

opportunity to do an interesting project for than squeezing every penny.

So we wanted to build houses here because of the historical connotations of it and felt like the right thing to do for the street scape.

We can see from this remark the intention behind the project; it was not one for a development but more for a chance to work with the site and surrounding space.

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The design There are two different building forms working on the site. Speaking at the site visit Jean Paul Jaccaud spoke about how the building were a response to the two different conditions working on the space.

Both buildings were an attempt at looking at the memory/History of the area; reinstating two different types of building.

The first was the Housing (Look at figure 2) was responding to the Shepherdess Walk which throughout its time was tight-grid terraced housing all the way towards the Warehouses. An example giving would be the photo next to picture 2 showing the terrace housing directly opposite the site on Shepherdess Walk.

The second building was picking up the mediation of the social housing and has a much higher scale which is picking up the social housing blocks further down the road. ’The spirit of the 1950s social housing1’ was remarked

by Jaccaud.

Design was an attempt to mediate within the memory of the site and its history an attempt to stitch it back to the building that was on the site. Also working with split levels and working with the developers Solidspace who are interested in the sectional relationship within houses.. instead of flats being flats there would be more levels and complex. Look at solidspace for more information about this.

The design is quiet complex and with the sectional approach taken from Solidspace bits can be seen to not match up at the front but Jaccaud stated that they made a lot of effort for the building ‘melted’ into the fabric inconspicuous and not be too ‘monstrotive’ Houses – picking up the datem along the street. The houses fold towards the park more subtle but folds out slightly to encompass more of the park.

By folding the park out it gives it a sense of closure, and terminates. Double relationship of opening the houses onto the park… and follow the streetscape aswell. The houses follow the scale of the shepherdess walk an attempt to stitch back to the urban fabric of the city 1

Taken from my recording on Jean Paul Jaccaud talk whilst on the site visit

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Figure 2( Left) illustrates what Jaccaud was trying to say about the houses folding out to enclose more of the park. This also shows how they interact to the spatial conditions affecting it from the Shepherdess Walk direction.

Whereas, the heights in particular on the apartment block is set back… picking up the rhythm of the street along Wenlock street…

The Apartment block gives a more clear finish to the street of Wenlock Street. Figure 1 (Left) shows the site building blacked out to make it more clear the typology and scale of the building down the street, this is what Jaccaud meant in the apartment block picking up on.

You can see the 1950/60s social housing blocks further down and this is a mark contrast to Shepherdess Walk typology which language sits with the terraced houses.

Jeccaud referenced to the design of the building as an ‘Austie expression’… ‘un de-monstrative’ and a link to Georgian architecture of the past that sat there.

This could be seen in the Rainwater pipes, on the Houses, which worked as a way of marking the joint, between the two houses very much in Georgian tradition of gridding and spacing of the house Languages of both buildings –the design of both buildings came from trying to find a language that links back to the site.. Through fragments found and linked back to the memory of the site…

Late Georgian terrace brick as well as the fragments from the browner bricks from the 1950s blocks Another example would be the scale of the windows from the warehouse…Jeccaud said that they were looking around the area for fragments that could give use clues about language, materials and about expression of the buildings.

We can see how the deign of the building became a response to two different conditions that was taking place in and around the site. What the architects tried to respond to was not just the physical characteristics of the Streets-cape but also the history of the area and try to ‘stitch’ their response back to the area.

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Source: http://solidspace.co.uk/wp-content/uploads/2013/10/This_is_Solidspace.pdf Shepherdess_Walk_brochure_OCT-2014_ What is Solidspace?

Roger Zogolovitch introduces Solidspace https://www.youtube.com/watch?v=KJWYhl5Qa-M (Top Picture) Figure 1, From my own 3D CAD model (Top Right) Figure 2, Shepherdess Walk Axonometric Projection, sourced from the Shepherdess Walk brochure (Bottom Right) Roger Zogolovitch introduces Solidspace, Youtube Video sourced information above.

SolidSpace DNA Solidspace is described as a ‘trademarked design concept’ that works around making the spaces inside work more and create a new form of liveable space.

My understanding seem to be that this is a design concept based around how the inside of the building should work, the DNA of the building and not the ‘skin’ of the building. This would seem to contradict what i felt architecture was; responding to a space or area and creating a space to work to that both inside and out.

But looking at the description given from Solidspace it would seem this is what they are aiming for..’ Inside, it is the Solidspace DNA. Outside, it is whatever fits the context. This separation allows us to offer our design independently from local constraints, site conditions or planning policies.’1 The principles seem to be the concept of Work/Eat/Live (Look at Fig.2) and working with split levels to create more space and light into the space. This is 1 Source of the description of what Solidspace is: http://www.solidspace.co.uk/video-by-roger-zogolovitch/

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used this time in a more enlarged way, this creates new spaces diagonally.

Solidspace collaborate with architects to create ‘skin’ of the wrap around the building. (Look on next page for other precedents)

He goes on to describe, ‘sell’ this idea of how the outside of the building is ‘wrapped’ around the Soldispace design.

Fig. 3. A picture taken from the ‘Roger Zogolovitch introduces Solidspace’ video (source/link can be found on the last page) Roger Zogolovitch is the Chairman of Solidspace aswell as describing himself as a Urban-inst and in the video describes the idea behind Solid-space; its a new interpretation of the Victorian house.

Zogolovitch describes how SolidSpace DNA gets away from the social arrangements of the Victorian house; separated in layers the bourgeois family would occupy the middle space and the servants would occupy the attic and the basement.

This has been inherited to this day and Zogolovitch states that this makes our new ways of living hard to fit into this old system.

With the Solidspace concept ‘all this is forgotten and in the past’, saying all it is stairs live the Victorian and landing space. The landing space being

Solidspace DNA “We knew the house was interesting as soon as we set foot in it that first time, but the peaceful, light-filled house that we were attracted to has more than exceeded our expectations providing us with a family home that is a delight to live in.”

Paul, Essex Mews

Live

Work Eat Work Live

Work

Eat

Live Eat

Centaur Street

Zog House

Essex Mews

2003, 4 apartments

2010, 1 house

2012, 3 houses

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Soldspace Precendents

© Solidspace 4

Source: http://solidspace.co.uk/wp-content/uploads/2013/10/This_is_Solidspace.pdf Shepherdess_Walk_brochure_OCT-2014_ Centaur Street, Waterloo with De Rijke Marsh Morgan Essex Mews, Crystal Palace with MW Architects Zog House, Queens Park with Groves Natcheva Stapleton Hall Road, N4 with Stephen Taylor Architects

2 We can see the dynamic between Solidspace and the architects working with it. From the previous page, the chairman, Roger Zogolovitch, spoke how the Solidspace was the ‘DNA’ the insides of the building.

This can be seen with the other precedents, how this relationship worked all of the buildings still have different forms and meet the need of the space in different ways, yet have a similar form working on the inside.

Centaur Street building which was designed by drmm architects, a 4 apartment building we can see that the client for this was ROGER ZOGOLOVITCH / SOLIDSPACE1 and on the the Essex Mews project the architects, MW Architects, wrote on the website ‘Working with Roger Zogolovitch and boutique developers Solid Space, we created these contemporary mews houses as a 21st century alternative to the classic Victorian terrace2. We can see its a partneship between the two towards a goal, further can be seen in the recording of the site visit talk with Jean Paul Jaccaud:

1 http://drmm.co.uk/projects/view.php?p=no-one-centaur-street 2 http://www.mwarchitects.co.uk/?p=880

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s

ul,

s

ng in.”

Work Work

Work Eat

Live Live

Eat

Live

Eat

Essex Mews

Stapleton Hall Road

Shepherdess Walk

2012, 3 houses

2014, 2 houses

2015, 3 houses, 5 apartments

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From the Site Visit recording..

Me: What is the dynamic between you as the architect and Solidspace?

What was the point of Solidspace, when you as the architect can do it yourself?

Jean Paul Jaccaud: Solidspace is a funny definition, Women interjects, (im assuming a spokesperson for Solidspace) : there are developments in crystal palace that use the solidspace dna…

Jean Paul Jaccaud: solidspace is not a floorplan etc.. it’s a loose notion so in a way the only real definition for it would be a split level. Half level relationship of spaces between each other, that’s about it, with that we have a lot of liberty to work with it..

Me: Do you still have a lot of freedom?

Jean Paul Jaccaud: yeah, very much. It’s a very interesting way of working it’s a spatial idea rather than handing over to someone and ask for a set of spaces

Women interjects, (i’m assuming a spokesperson for Solidspace) : And if Shepherdess Walk, London 14 of 27 you look at all those projects (past Solidspace dna projects) as a series the building envelope is always very different, the site.. you know dictates what happens to the in the building..the materiality, envelope. Erm, but what results is a series of building that offer very unique spaces to different people. Like this project, you can choose a house or a flat but some of the other developments it was just maisonettes… or family houses in seven eleven..

Jean Paul Jaccaud: Its an interesting notion, and spacial as a tool quite fun to play (laughs) because you have the possibilities.. what’s interesting is your not working with single or double heights because the problem with the scale of domestic architecture is that, for instance, when you want to come to the living room you want it to be little heigher than let say the bedroom but you don’t want it to be 6m. And so the 1 half storey/ or 1 and a third storey that you can get out of that (solidspace dna) by shifting the planes its quiet interesting as you can get spaces that are 4m ceilings which are very interesting scale.

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100 Shepherdess Walk 3D Model Illustration Source: Both Illustrations above Modelled on Microstation (3) Officer Report(Decision Under Delegated Authority)-387155 http://www.hackney.gov.uk/ep-planning-applications-485.htm#.VUgxovlVj7s

3D modelling of both building and how they sit within the direct structures next to them. (Above 1 and 2) The model illustrates the two different forms on the site. The 3 houses are considerable smaller and inform the Shepherdess Walk street and the terrace houses that site along it;as looked upon earlier in the chapter. And the second more larger form informed by Wenlock street and the bigger 1950s social blocks that sit along that street.

Am interesting point made by Jean Paul Jaccaud was when they had the meeting with the council about the negotiation of the proposal; they council though it was a joke when they first went into the meeting.

‘They were astonished by the volume, they thought it was a joke that we weren’t going any higher’

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Jaccaud told them that they wanted to have it low on Shepherdess Walk and higher further back, this was what the council saw as ideal.

Jaccaud remarked that this made thing easier in negotiations.

From this we can see how by Jaccaud not taking the easy route of high volume for maximum return he was able to not have to change much of the design to fulfil the councils criteria.

This can be seen in the picture above (3) shows the Planning officers report. It states the application was granted for the proposal in terms of planning policy.

There were a few amendments needed to be done for the application to continue, like: Increase in size of basement to create larger bike store, which was changed and can be seen in the current plan.

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(left) Picture showing the area of the two builds with the least amount of natural light.

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100 Shepherdess Walk Solar Study Solar Study of site, I choose 3 time slots relating to a normal pattern a family and people working would be used to in the week. This was then taken over the seasons and the results are shown above.

The flats on facing Wenlock street had the most daylight and most of the thermal gain whereas the houses facing Shepherdess Walk had the evening lights.

The least to gain and seems to be in constant shade was the flats at the back. This can be seen in the picture on the bottom-left. I have highlighted in Red the area to have the least gain. The problems with this area will be how to deal with little light and keeping it warm as its not benefiting from the thermal gain throughout the day.

*Plans sourced from Design and

Access Statement Document, Building 1

Building 2

LIFT 3.5m2

Lower Floor_ Building 1_ Has no need for basement level for the flats.

Building 2_ Basement level houses the Bike store aswell as the lift space needed to operate the lift

Ground Floor Yellow indicating the access to the buildings.

Green Indicating the waste area Building 2 _ Blue highlighting the shared stairway and lift access

First Floor Building 1_ Kitchen to garden access Building 2 _ Blue highlighting the shared stairway and lift access

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Second Floor_ Building 2 _ Blue highlighting the shared stairway and lift access

Third Floor_ Building 1 _ Roof Terrace/ Bedroom Building 2 _ Bedrooms and the Blue highlighting the shared stairway and lift access

Roof Top_ Building 1 _ Roof Terrace and Solar Panels servicing each house.

Building 2 _ Roof Terrace with access from the bedrooms and space for Solar Panels

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Construction Progress November 2014

I went at two different times to the site to look at the progress of the build.

From the talk with Jean Paul Jaccaud that the biggest delay to the project was the houses construction; the flats were put up relatively quickly, the concrete frame is relatively quick to build compared to the houses which had a timbre frame structure and due to the various angles and adjustments needed on the houses was still in progress of being put up when the flats frame structure was completed.

This can be seen when comparing the two sets of pictures taken from 2014 (left) and 2015 (right) the scaffolding was still up and windows still needing to be places whereas that was not the case of the flats.

Also noticed that the crane was still on site when we had our site visit in March was told it would be going in the next couple of weeks as all of the pre-cast concrete slabs used on the top were now completes

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Construction Progress March 2015

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The design and integration of building services into a comprehensive design approach.

Above picture demonstrates the design integration of a passive strategy for environmental control; using a natural ventilation system with the opening.

(1/2) Shows the use of the Lift shaft to house the risers for servicing each flat in Building 2.

(3/4) Show the physical pictures of the area.

The passengeer lift access to every entrance level with the Platform lift access from the main entrance level.

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Landscaping elements The green indicating the outside space, there is not alot but the Houses have the Roof terrace space (above)

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Buildingâ&#x20AC;&#x2122;s energy requirements and lower carbon footprints.

(1) Features like the Photovoltaic solar array on the Roof.

(2) Tipple glazed windows as well as High thermal performance of building materials to reduce heat loss.

(3) Cycle store

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LIFT 3.5m2

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Building’s energy requirements and lower carbon footprints.

Consequence of not having a concrete frame…’very complicated and very messy…’

Timbre frame structure is considered to be cheap and easy… Jean Paul Jaccaud says that he does not see the logic in it… with more labour cost and time it takes the knock on affect and so cost just as much..

You can see it in the stair details, the assemble in timbre its more ‘fiddly.’

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Source: Picture of Bricks: http://www.vandemoortel.co.uk/en/bricks/p/33/ brick-l

Description from the website: Solid unsanded moulded brick.

Dimension: ca. 224 x 73 x 54 mm (L x W x H)

Jean Paul Jaccaud : We were looking for brick that somehow have something of the quality of the very old London stock bricks and Georgian Bricks but have something different. Be close but different.

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Primary Sources / Bibliography

Design and Access Statement Document, 100 Shepherdess Walk, London, N1 7JN. Submitted as part of the plannig application submission, June 2012 Submitted by AZ Urban Studio Information regarding Solidspace: http://solidspace.co.uk/wp-content/uploads/2013/10/This_is_Solidspace.pdf Regent’s Canal Conservation Area Information http://www.hackney.gov.uk/ep-conservation-design-trees-ca-rc.htm#.

VO4cZ_msV5c Regent’s Canal Conservation Area Appraisal (PDF) http://www.hackney.gov.uk/Assets/Documents/ep-regents-canal-caa.pdf Regent’s Canal Conservation Area map 2011 - extended (PDF) http://www.hackney.gov.uk/Assets/Documents/Regent_s_Canal_CA_ Cabinet_Report-_Appendix_3_-_extension_map_pdf.pdf Azurbanstudio.co.uk, (2015). 100 Shepherdess Walk | AZ Urban Studio. [online] Available at: http://www.azurbanstudio.co.uk/projects/100-shepherdess-walk/ [Accessed 13 Nov. 2014].

_______I.D.A INTERGRATED DESIGN AUDIT DIARY CASE STUDY

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Context, Albert Hall Mansions, Richard Norman Shaw 1. The Albert Memorial 2. View from the block looking toward the Royal Albert Hall 3. Royal Albert Hall 4. The view from The Albert Memorial looking towards the mansion

Highlighted on the map (Next page) is the Albert Hall Mansion

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Surrounding Context Albert Hall Mansions, Richard Norman Shaw A Selection of photos from the site visit. I tried to document all the main characters of the block.

The most prominent feature is the red stock bricks.

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Grosvenor estate block , Page Street This was quiet a distance looking building with its patterns. Walking toward it stood out from the surrounding. The area was very quiet and you would not realise you were in central London

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Communal Spaces

I was interested in this communal space and the grocery store that services the blocks. All the blocks have a communal area and this feature of a courtyard space is not prominent but works. A transition from different thresholds is easily achieved, this could be a useful feature to take on board.

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