STAGE FIVE

directed piece of work and provides an opportunity to define an individual ethical standpoint and to pursue and find expression for personal architectural interests and preoccupations. Students are expected to regularly bring together an iterative series of exploratory drawings, models and digital representations that objectively test the relative value of an architectural idea from a critical standpoint.

The resultant Design Thesis are intellectually adventurous, imaginative, intrinsically compelling and thought provoking. They each offer some form of commentary which expands upon aspects of contemporary architectural theory and debate, and, of course, issues of ethics in design.

The academic year was about Glasgow's future, and the future of the people who live here. What does the city need, what do people need from their city, how ought the future to be?

Climate change is happening. Glasgow needs to act. As architects, we need to act. What can we offer? What can the architect and urbanist bring to the table? What are our solutions?

Remnants of a Vernacular CHARLES DUNN

Taking existing patterns of both urban and cognitive fragmentation, the thesis seeks to repackage these in a newly conceived architectural proposition; instead considering industrial infrastructure and the non place as artefacts within the city – the non place becomes a place with the ability to evoke and engage.

The architectural approach takes phenomenology and the poetic image as a starting point to engage with both the intimate and collective memory within the city while also interrogating this in its current form.

The thesis proposes an architecture which works to engage with the distinct tectonics of the landscape, spatial qualities of the River Kelvin and character of those remaining remnants in order to engage with both the intimate and collective poetic image, thus creating a repository of collective memory in the city.

The proposition of a hybrid typology; a museum of industry with a direct air capture plant, seeks to reshape our conception of production and industry and instead present an architectural offering which is to be celebrated and which demonstrates a thriving urban coexistence with productive, functional architecture.

A locus within the city, the museum sits at the intersection of numerous key routes while exploiting the polarity of a striking vertical landscape, both natural and built. Mindful of this, the architecture references the spatial conditions present along the river; exploring notions of constraint, enclosure, expanse and threshold to construct an interior landscape and tectonic approach which speaks of the environment it finds itself in, punctuating the visitor experience.

Nature and human society are generally regarded as separate entities. We sit in a manmade room and look at a photo of nature that is somewhere else. We take a walk into nature, and ‘leave the manmade behind’, even if that walk is through a reservoir or park. But nature is not independent from us, and the notion that we are absolves us from our responsibility of the current climate crisis. This project seeks to navigate this ‘post-natural world’ and explore the spatial and visual conventions through which we relate to nature.

This project seeks to “explode” the program of the museum out and so draw the visitor out into the lanwdscape to experience it more directly. The brick for the proposal is taken from the existing museum (the old hydroelectric power station) which is very large and mostly unused.