Tom Carney - Academic Portfolio

TOM CARNEY M(ARCH) MASTERS OF ARCHITECTURE PART II

ACADEMIC PORTFOLIO 2

2122 1

S2109242

M.ARCH 01

M.ARCH 02

01 02 03 04 05 06 07

DESIGN STUDIO G

ATR

ANIMATE MATTER

ARCHITECTURAL TECHNOLOGY RESEARCH

DESIGN STUDIO B ANIMATE MATTER

SCAT

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

DESIGN STUDIO C ISLAND TEMPORALITIES

AMPL

DESIGN STUDIO D

ARCHITECTURAL MANAGMENT, PRACTICE AND LAW

ISLAND TEMPORALITIES

08

DESIGN REPORT ISLAND TEMPORALITIES

HELENE BINET PHOTOGRAPHY WORSHOP

EUSAS GRAPHICS TEAM

2

01

DESIGN STUDIO G ANIMATE MATTER

02

03

ATR

DESIGN STUDIO B

ARCHITECTURAL TECHNOLOGY RESEARCH

ANIMATE MATTER

04

05

SCAT

DESIGN STUDIO C ISLAND TEMPORALITIES

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

06 AMPL

07

08

DESIGN STUDIO D

DESIGN REPORT

ISLAND TEMPORALITIES

ARCHITECTURAL MANAGMENT, PRACTICE AND LAW

DESIGN REPORT

01 Tutor Names

Brief Extract

Module Title Course Title

Marking Criteria

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

3

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

01

DESIGN STUDIO G ANIMATE MATTER

02

03

ATR

DESIGN STUDIO B

ARCHITECTURAL TECHNOLOGY RESEARCH

ANIMATE MATTER

04

05

SCAT

DESIGN STUDIO C ISLAND TEMPORALITIES

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

06 AMPL

ARCHITECTURAL MANAGMENT, PRACTICE AND LAW

07

DESIGN STUDIO D ISLAND TEMPORALITIES

08

DESIGN REPORT DESIGN REPORT

Module Timeline Module Title

Descriptive Paragraph

Reflective Statement

General Criteria

Graduate Attributes

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

4

CO - Collaboration WS - Workshop CW - Critical Writing GR - Graphic Representation TD - Technical Design PH - Photography

LE - Lewis Evans MW - Marion Wibaux TS - Tom Slater SG - Stuart Gomes

Skill Development

Team Collaborators

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

ACADEMIC PORTFOLIO 2 ADRIAN HAWKER // VICTORIA BERNIE LEARNING OUTCOMES On completion of this course, the student is expected to demonstrate: LO1 (GC 2.1, 2.3, 3.3, GA 2.1, 2.4, 2.6) The ability to produce a coherent, well designed and integrated architectural design portfolio that documents and communicates architectural knowledge, skills and abilities through coherent projects; and that synthesizes and presents work produced in diverse media (sketch books, written work, drawings and models, etc).

LO2 (ALL GC’s, GA 2.6, 2.7) An understanding of the relation of the ARB Part 2 criteria and Graduate Attributes to the student’s own work, as demonstrated through a referencing system, covering the totality of the criteria, in the portfolio.

LO3 (GC 1.1, GA 2.2, 2.4, 2.6) The acquisition and development of transferable skills to present work for scrutiny by peers, potential employers, and other public groups through structuring and communicating ideas effectively using diverse media.

5

BRIEF EXTRACT The Academic Portfolio 2 is a mainly self-directed course that invites you to gather, format and curate all the work that you have undertaken during the course of the 2-year Master of Architecture Programme into the form of a digital portfolio.

It will therefore include both the design work of the studio courses of years one and two, and the non-studio courses of ATR, SCAT and AMPL. It will culminate with the inclusion of a synopsis of the other 10 credit course of this semester, the Design Report.

The Academic Portfolio 2 is therefore a digital archiving and a representation of the complete body of the academic work that you have undertaken. As well as being a carefully curated record of this work, ready for you to access in a digital portfolio form as a celebration of the breadth of enquiry that you have undertaken, it is also a point of critical reflection that allows you to test your work against the expectations of a professional degree in architecture at Part 2 level and to revisit any work that falls short of these expectations.

02

ARB [PART 2] GENERAL CRITERIA GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC1.1 prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in re- sponse to a brief; GC1.2 understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; GC1.3 develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

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

ARB CRITERIA

GC2.1 the cultural, social and intellectual histories, theories and technolo- gies that influence the design of buildings; GC2.2 the influence of history and theory on the spatial, social, and technological aspects of architecture; GC2.3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

01

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

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

ARB PART 2 GRADUATE ATTRIBUTES GA.1 ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations;

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

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

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

GA.3 ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals;

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

GA.4 critical understanding of how knowledge is advanced through research to produce clear, logically ar- gued and original written work relating to architectural culture, theory and design;

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

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

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

GA.6 problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances; and GA.7 ability to identify individual learning needs and understand the personal responsi- bility required to prepare for qualification as an architect.

6

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

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

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

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

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

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

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

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

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

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

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

GC

1.1

1.2

1.3

2.1

2.2

2.3

3.1

3.3

4.1

4.2 4.3

5.1

5.2

5.3

6.1

DSG DSG DSG SCAT SCAT DSG SCAT SCAT DSG SCAT AP

DSB DSG DSB DSG

DSB DSB DSB DR

DR

DSC AP

DSB AP

AMPL

DSB ATR DSB AP

DSC DSD DSC AP

AP

DSD

DSC

AP

ATR AP

ATR

AP

6.2

AMPL AMPL

AP

6.3

7.1

7.2

7.3

8.1

8.2

8.3

9.1

9.2

9.3 10.1 10.2 10.3 11.1

DSB DSB DSG DSG DSG DSG DSG DSG DSG DSG AP

AP

ATR DSD ATR ATR ATR ATR ATR DSD

DSD

DR

DSD

DSC

DSC

DSD AP

DSD DSD DSD DSD DSD DR

DR

AP

AP

DR

DSD

DSD

AP

DR

DR

AP

AP

AP

AP

AP

2.1

2.2

2.3

2.4

2.5

2.6

AMPL AMPL

DSB ATR DSB DR

DR

DR

AP

AP

DSC DSC ATR AP

AP

AP

AP

AP

11.2 11.3

DSB

AMPL AMPL AMPL

AMPL

AP

AP

AP

AP

DR AP

2.7

DSG DSG DSG SCAT DSB AMPL

AMPL AMPL

ATR DSB DSB DSB DSB DSB DSB DSB DSB AP

DSD AP

AP

GA

3.2

DSD DSD DSD DR

DR

AP

AP

DR

7

ARB Criteria Mapping against Modules

01

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

01

DESIGN STUDIO G

ANIMATE MATTER MARK DORRIAN // ANNA BINET MIRO

LEARNING OUTCOMES On completion of this course, the student is expected to demonstrate:

BRIEF EXTRACT

LO1 (GC 1.3, 2.3, 3.3, 7.2, 7.3 GA 2.1) The ability to develop and act on a productive conceptual framework both individuallyand in teams for an architectural project or proposition, based on a critical analysis ofrelevant issues.

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

LO3 (GC 1.2, 8.1, 8.2, 8.3, 9.1, 9.2, 9.3 GA 2.3) The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project.

LO4 (GC 1.1, 3.3 GA 2.2) A critical understanding of, and the development of skills in using, differing forms ofrepresentation (e.g. verbal, drawing, modelling, photography, film, computer and workshoptechniques), to explain a design project.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

8

The title of the studio, ‘Animate Matter’, carries a double sense. On one hand, ‘animate’ is an adjective describing matter –matter is animate, it has force, it moves, it transforms. But on the other, ‘animate’ is a verb and it becomes an imperative phrase –the challenge is to animate matter, to set it in motion, and to reconceptualise what architecture could be thought in those terms. The basic activities of everyday life can be re-described as processes of animation –to boil water is to excite it, put its matter into motion by transferring energy to it.

Likewise, cooking is an animation of matter, whereas freezing slows down matter’s animation to an almost imperceptible rate (like a film-maker’s 1/24th-of-asecond ‘freeze-frame’). The shape of roofs animates water, while glass flows slowly downward in window frames, and switches set going the flow of current in electrical circuits. What if the whole project is thought of in terms of a world of lively things, and that architecture turns out to be as much an agent and motivator of that animation as does stop-motion film technique?

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

01

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Brief Extract We begin with a five-week project to make a film and a drawing that is developed in some way from it – that extracts and represents material from the film in a graphic form that, although static, tracks movement and metamorphoses

Animate City Reflective Response Following our observations of the work of the Quay Brothers, our explorations into animation became based significantly on material ideals.

Making first hand observations of the physical world that surrounds us, we visited, photographed and collected found things that sparked material interest. Though occasionally drawing small sketches as storyboards, the actuality of what we produced usually diverged from these as we found unexpected material properties. The Quays talk about how they don’t make a puppet walk because it is unnatural - we found this understanding quite powerful. We aspired to understand this further through making our film. Exploring properties that were unconventional when acknowledging their cultural context but driven instead by an alternate material basis of movement that we uncovered or generated while holding, forming and recording the materials.

Surface Material Saul Leiter’s images of New York surfaces were a familiar reference for an in-depth documenting of surfaces that hint at another world. (Street Scene (1959))

While exploring the world of the Quay’s we also walked around Edinburgh. Materialises in the city that caught our eye were ones such as this window - less defined in opacity and on the verge of translucency but still maintaining a physical quality. We felt this had an association to the Quay’s desire to “make a world that is seen through a dirty plane of glass.” Their films often avoid distinction and, aided often by manipulating surfaces, encourage life to exist in things that one wouldn’t usually expect.

"Normally we put olive oil on the eyes to get a bit of a liquid ping...it keeps a kind of liquidity and makes the puppets feel very inhabited. The soul of the puppet is the highlight in the eye.’’

(The Quays by Christopher Nolan)

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

01

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Detritus Findings GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

10

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

01

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Film A Metamorphosis of an Ecology of things Link to film: https://youtu.be/tdAY_8I6Uoc The film is an exploration of the work of the Quay Brothers, explored through a scaleless world of metamorphosis of found objects.

The film makes a series of tranformations between detritus objects, both mechanical and organic.

Manipulation Of Detritus

Coming To Naught

Scale

Aspects of subconscious accumulating of matter led to an experimentation with waste in our project. Often looking on pavement slabs for bits of rubbish, we also felt the need to use more grotesque biologically sourced waste in the creation of a mutated ecology.

The Street of Crocodiles is a film with a strong theme of metamorphosis, whereby matter is transformed in unexpected ways. These transformations often render the object useless to its original function and has been transformed past the point of return; coming to naught. This theme is translated in our film whereby all the objects transform past their original use and end up in a state of uselessness.

The Quays often play with ideas of scale, misguiding the viewer to believe something is larger or smaller than it is.

Within our film this idea is played out by never revealing the true extents of the membrane to the viewer. This allows for the texture of the membrane to appear scale-less and therefore enlarge or shrink objects which appear on the surface.

Reflective Response keeping a close relationship and understanding to the filming techniques that the Quay Brothers use, allowed us to gain a greater understanding behind the intent of the film makers. I found this was helpful when developing the building brief for the animators house in the second semster as I was able to understand the needs of the animators.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

11

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

01

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Framed Membrane A strong theme of metamorphosis runs through the Quay’s films and Eastern European literature that much of their work stems from, seen in the Street of Crocodiles when the protagonist is transformed into a new figure through a process carried out by characters in the film. This theme is carried through into our own film where found objects are interlinked through a series of transformations which occur through passing through a membrane to a dual existence.

Setting Up Animate Film

Reflective Response Each time a transformation occurred on the trace membrane, there would be something left behind. These traces made interesting marks on the trace and illustrated both the movement and scale of each situation. It becomes interesting when each scene can be read in comparison with another in relation to the frame which holds the trace, but is never revealed in the film itself.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

12

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

01

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Metamorphosis Mapping Drawing This drawing is a representation of the placements and movements that occur throughout the film. The drawing takes influence from Daniel Spoerri’s ‘Topography of chance 1961’ and attempts to remove hierarchy from the pieces on the trace.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

13

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

01

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Burns Yard GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

14

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

01

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Brief Extract Over the past weeks you have all become animators, exploring filmic techniques and processes through a kind of material thinking. With all this in place, we move on now to the main part of the project.

This has already been described in outline in the original studio handout and the brief that is now being issued should be read in relation to that.

Detritus Landscape The yard is a collection of architectural detritus that is organised in a way that is constantly changing and developing, the site never sits still. Everything is for sale on the yard, which adds an interesting player to the movement of stuff on the yard.

Reflective Response A close analysis of the yard allowed an understanding of how it has been organised. Not through, size or category but through a random assignment, placed by those who run the yard. Objects are placed where they normally wouldn’t be.

For example, a collection of drinking glasses sat out on a table in the rain or an upturned chair next to a pile of books. This mapping of not just walls, but objects on the site, helped me to understand where to place new architectural interventions without effecting the nature of the site.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

15

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

01

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Concepts of Organisation Site Response The way in which the site is organised has an interesting effect on how people experience the site. If organised logically, travel paths may be more direct, however in this situation the nature of experiencing the site is much more exploratory.

Through small movements such as the effects of the sea and the movement of objects from those who animate the space, there is a game this is played to how the site can begin to be organised.

Through various map folding techniques such as the falk fold shown on the right, these movements can be explored in their relationships.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

16

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

01

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Self Determining Nature Site Response As with the objects in the film, it was also necessary to map the movements of objects within the yard. There was a sense of various small movements throughout the yard, almost as if the yard was twitching.

There is also an interesting comparison between the scale of objects in and around the yard. Due to the rich history of Prestonpans, there are many industrial relics scattered around the site. This was an interesting play of scales between these structures and the smaller collection of stuff on Burns Yard.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

17

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

01

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Animating Through Membranes The yard consists of a variety of thresholds or ‘membranes’ that start to create juxtapositions across the site. Objects begin to relate to these membranes as they are positioned in relation to them.

As the animators start to inhabit the yard, new thresholds are created. There becomes a series of layered membranes that exist in flux with one another, such as surfaces as animation tables and thresholds of pubic engagement.

Theswe membranes also start to respond to conditions of weathering from the site, which has string effects from the sea, only a few dozen meters to the north.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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ANIMATE MATTER

Effects of Change The Yard is subject to change by an array of factors. Due to its coastal location, the sea has a large effect on the decay of the items on site. The site is also changing constantly every second, with those that use it, rearranging the site with every move.

There is a strong nature of change that is present within this site. The effects of corrosion and decay has a strong influence on how the site and its objects exist, both individualising things that once were the same or forming mixtures of objects that once stood on their own.

Tim Edensor in his book ‘Industrial Ruins: Space, Aesthetics and Materiality describes that weeds and flowers take over certain objects, fungus grows on wood, the sea breeze slowly rusts metal.

These slow changes gradually change the site and perhaps encourage certain objects to be moved, but in most cases here, where they should be, they are not.

Nourishment Michael Landy 2002

Reflective Response This analysis of the nature of the surrounding bay and coastline allowed for a setting up of the tectonics of an ever-changing and unrestrained architecture to come about.

Vittoria Di Palma’s ‘Wasteland’ provided a good understanding of how wasteland spaces are occupied and experienced.

This gave a starting code of how to later develop the site in realtion to such hinderlands.

Wasteland: A History Vittoria Di Palma 2014

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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ANIMATE MATTER

Animating Architecture According to Steven Connor in ‘Book of Skin’, there exists two types of thresholds in relation to juxtapositions of parallel worlds.

The first is an idea of separation through the thickness of ‘skin’, a layer that separates the two. The second is a medium in which worlds cross, an impenetrable membrane.

Both can exist in physical form with solid geometries or as more of a gaseous entity, constantly in flux.

Reflective Response Categorising the idea of membranes into physically understandable entities through ideas from Steven Connor was a key movement to creating an architectural response to the brief. Keeping the idea of thresholds present from the learnings of the working methodologies of the Quay Brothers, I was able to start to form physical thresholds within the site.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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ARCHITECTURAL TECHNOLOGY RESEARCH

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EDINBURGH AIRPORT

ARCHITECTURAL TECHNOLOGY RESEARCH

CIRCULAR ECONOMY KATE CARTER // MARK BINGHAM BRIEF EXTRACT

LEARNING OUTCOMES On completion of this course, the student is expected to demonstrate:

EDINBURGH GATEWAY

LO1 (GC 5.2, 7.1, 8.1, 9.1, 9.2) An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, eg. sustainable design.

INGLISTON PARK & RIDE GOGABURN

GYLE CENTRE LO2 (GC 9.1, 9.2) An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups.

LO3 (GC 5.1, 5.3, 7.1, 8.1, 8.2, 8.3, 9.1, 9.2) An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment).

LO4 (GC 5.1, 5.3, 8.3) An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

EDINBURGH PARK CENTRAL

Architectural Technology Research emulates the role of researcher-practitioner, recognising that architectural projects in the context of a Climate Emergency need a level of technological investigation as a prerequisite to successful low carbon design. Students will work collaboratively to conduct research into architectural environments, materials and processes with a focus on reducing the global impact of the buildings and places we design.

Students develop and research an architectural theme in response to the Climate Emergency, and then explore this in the context of the design studio. Output from research projects will be prepared and presented as a digital resource to be shared with all students on the M.Arch programme.

This creates an array of research in materials, environmental design and approaches to designing and constructing the built environment.

BANKHEAD EDINBURGH PARK STATION GENERAL CRITERIA

LINE 1.1 2.1 3.1 4.1 5.1 6.1 7.1 TRAM 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

BUS ROUTES

GRADUATE ATTRIBUTES

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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ARCHITECTURAL TECHNOLOGY RESEARCH

a.

Circular Economy Method 2 GENERIC STUDY 3XN/GXN - Circular Future

How can a Circular Economy be Better Promoted and Implemented in the Building Industry Today?

‘How can a circular economy be better promoted and implimented in the building industry today?’

Buildings currently account for approximately Introduction to ‘Building a Circular 40% of the total energy consumption and associated greenhouse gas emissions globally, Future’ Methodology and 37% of the total of the United Kingdom’s (Department for Business, Energy and Industrial In 2016, the Danish architectural practice 3XN pushed Strategy, 2018). According to the Department forward basic principles of circularity in architecture, for the Environment, Foodthree and Rural Affairs in million theirtons publication ‘Building a Circular Future’. The (2007), of the 200 of waste created in the UK per year, 63% is from the construction document outlines the following doctrines: debris generated by demolishing on average 50 000 buildings every year.

Current Issue: Waste in the Construction Industry Buildings currently account for approximately 40% of the total energy consumption and associated greenhouse gas emissions globally, and 37% of the total of the United Kingdom’s (Department for Business, Energy and Industrial Strategy, 2018). According to the Department for the Environment, Food and Rural Affairs (2007), of the 200 million tons of waste created in the UK per year, 63% is from the construction debris generated by demolishing on average 50 000 buildings every year.

1. Material Passport

The Climate Change Act, introduced in 2008, established a target for the UK to reduce its green house emissions by 2050, by at least 80% from 1990 levels. With government reforms initiating such radical change, the architecture industry can no longer promote the tear apart and build anew method, but rather should focus on ways to encourage a more circular design approach.

The idea that there should be records for each material used, to ensure good knowledge of the characteristics of components. A material 'library' should include: - Its initial characteristics, as it stands post manufacturing, - Its actual characteristics, after use.

CLIMATE PREDICTIONS: Projected pathways depending on climate policies, warming refers to the expected global temperature by 2100, relative to pre-industrial temperatures.

Source: Climate Action Tracker

Projected Global Warming

2. Design for Disassembly

The Climate Change Act, introduced in 2008, established a target for the UK to reduce its green house emissions by 2050, by at least 80% from 1990 levels. With government reforms initiating such radical change, the architecture industry can no longer promote the tear apart and build anew method, but rather should focus on ways to encourage a more circular design approach.

A holistic design process that intends for each build product to be easily assembled and disassembled, with the aim of reusing all its individual components.

Reflective Response

The Theory of 3.

Shearing Layers from Frank Circular Economy Duffy, introduced us to the idea of a circular economy. Taking a building as a series of The a typical linear life cycle to a circular one components that canshift easily from be separated ‘Cradle totoCradle’ , introducing the idea that materials from one another, this helps stop total demolition andshould allows thenot building to bebe seenconsidered elements with definite only as a kit of partslifespans, that can be used on other but should also act as potential components for projects in the future.

2

future buildings.

Building a Circular Future 3XN/GXN Key Principles of the 3XN/GXN Methodology Source: ‘Building a Circular Future’

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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of materials.

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ARCHITECTURAL TECHNOLOGY RESEARCH

rt

Reflective Response

Bath Spa School of Art Grimshaw Architects

An initial study into the building initiatives surrounding circular economy became the gateway into the policies surrounding circular economy in the UK.

Source: Dezeen (left), Architects Journal (right)

College of Environmental Design UC Berkele Nest We Grow

Herman Miller Factory, Bath (Grimshaw)

Source: ArchDaily, ‘Design for Disassembly’ Circular Economy Method 2 3XN/GXN - Circular Future

Shearing Layers Case Study - Bath Spa School of Art Adaptability in Design

Although an example of adaptable architecture, the architect Ben Heath openly stated that they were unable to put forward the school for a BREEAM certification, as it would have rated poorly against the current criteria.

Whilst differing in some ways, the two methodologies align on some key principles, both essential to building circularity.

‘“The declared objective is that 90% of the projects materials can be reused without loss of value” (GXN, 2018)

Preceding the introduction of the ‘Shearing Layers’, this design approach was first explored in practice by British architect Nicholas Grimshaw in 1977. The Herman Miller Factory in Bath, England, effectively allowed for ease of disassembly and redesign through a removable facade system, composed of modular panels. In 2019, the factory was converted into the Bath Spa School of Art, making use of 90% of the existing cladding.

We realised that the issue was not in a lack of innovation in designing in circular economy but in the lack of a drive for it from the industry. This drove us to analyse the current ways buildings are being labelled as ‘sustainable’ and the potential issues behind these systems.

How do they Compare?

Case Study - The Circle House

Circular Economy

"When we investigated, we would have got a higher BREEAM scoring by knocking the building down and building a new one.”

(Ben Heath, 2019)

Design for Deconstruction

(2) Designing for Disassembly Both methods heavily encourage an emphasis on easy de-construction, gravitating back towards the basic principles of ‘Shearing Layers’. They similarly argue that the more a building’s layers can be separated, the greater the benefits, both in time management and preservation of materials.

A mock scale version of the final homes was initially erected, showcased and then taken apart. The final Circle House will be made up of a collection of building systems, easy to deconstruct and reuse. As the entire building has been detailed with re-movability in mind, each component’s integrity is to be preserved whilst being disassembled (GXN, 2018).

Source: Dezeen (left), Architects Journal (right)

(1) Early Design Stage Consideration Both methodologies advocate for the consideration of circular economy in the early design stages. There is currently very little conversation amongst design teams, with developers often pushing for quicker solutions. The two methods equally push forward the idea that these core principles should be addressed in the first RIBA design stages.

The project consists of 60 social housing units located in Aarhus in Denmark, due to be completed by 2020. The scheme aims to demonstrate the effectiveness of circular architecture to the construction and architecture industries.

Herman Miller Factory, Bath (Grimshaw)

Shared Values

Philosophy vs. Processes The Embodied Carbon Review (2018) revealed that there are over 200 assessment systems available to evaluate buildings’ sustainability. BREEAM and LEED are some of the most commonly used processes in the UK. The preceding case study however reveals an apparent gap between the current assessment systems and the environmental ratings - if a building designed for disassembly rates so poorly, is the system flawed?

Tile and Wood Shingles

By Komproment

Bath Spa School of Art, Bath (Grimshaw)

Cork Boards

By Amorim Isolamentos

Upcycled Plastic Shingles

By SLA/Overtreders W

Source: Willmott Dixon

Source: The Circle House, by 3XN/GXN

Source: ArchDaily, ‘Design for Disassembly’

Source: The Circle House, by 3XN/GXN

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6

12

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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ARCHITECTURAL TECHNOLOGY RESEARCH

BATH SPA SCHOOL OF ART GRIMSHAW ARCHITECTS Preceding the introduction of the ‘Shearing Layers’, this design approach was first explored in practice by British architect Nicholas Grimshaw in 1977. The Herman Miller Factory in Bath, England, effectively allowed for ease of disassembly and redesign through a removable facade system, composed of modular panels. In 2019, the factory was converted into the Bath Spa School of Art, making use of 90% of the existing cladding.

Although an example of adaptable architecture, the architect Ben Heath openly stated that they were unable to put forward the school for a BREEAM certification, as it would have rated poorly against the current criteria.

Image: ‘Bath Spa University’ Architects Journal GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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ARCHITECTURAL TECHNOLOGY RESEARCH

Circular Economy Policies

Wider Government Policies (UK) Current UK Government Policies

The current strategy adopted by the construction industry has become obsolete - with the global warming crisis, design solutions must be reassessed.

The ‘Shearing Layers’ theory presents an effective design philosophy to tackle the growing issue of building waste. By considering each layers as a separate entity, building components’ life cycles can be extended.

The UK’s current ‘25 Year Environment Plan’, is basing many of its policies around the ‘Circular Economy Package’ (CEP), the lead legislative framework for circular economy in the EU (Gov.uk, 2020).

Although organisations like UKGBC provide accurate framework for progress, there is a need for government commitment and action. Examples across the world in legislations have proven that not only these design principles can be implemented on wider spectrum, they are vital to enforce circularity in the building industry.

Incorporating such design principles and ensuring suitable legislative processes can ultimately help design teams to be better equipped for comprehensive design solutions, contributing to the betterment of the climate crisis.

•

Explore fiscal mechanisms for increasing circularity

•

Alignment with the EU post-Brexit

•

Mandatory pre-demolition waste auditing and encouragement of selective demolition

•

Developing circular procurement criteria

•

Ensure local governments are supporting circularity

Pollution 10%

BREEAM: The Current Method

During times of uncertainty for the UK in a post Brexit world, it has been advised by the UKGBC that an alignment with EU policies, such as their EU Circular Economy’ package, may be necessary to achieve better results in an effective shift towards circularity (UKGBC, 2020).

BREEAM (Building Research Establishment Environmental Assessment Method) was first implemented by BRE in 1990 and thus far over 570,000 buildings have been BREEAM accreditation (Zero Waste Scotland, 2020).

The EU is also developing their ‘European Strategy for Data’ which will aim to facilitate a ‘single market for data’.

This online database is the EU’s solution to enabling material passports in the construction industry, ultimately used to track the manufacturing and disposal of building components. A €2 billion investment has been approved to ensure the platform can go ahead (Europa, 2020).

(1) UKGBC (UK Green Building Control)

A few key headlines include:

The current assessment methods provide little to no coverage on circularity. As a response BRE have expanded on a new methodology - Design for Deconstruction, focusing on the reuse of materials, pushing forward the ‘Cradle to Cradle’ approach. This has also been developed by 3XN in ‘Building a Circular Future’, advocating for the use of material passports and design for disassembly.

Aligning with EU Policies post Brexit

“A key challenge identified in a 2018 workshop hosted by the UKGBC was a lack of incentives for every member of a supply chain to increase circularity.”

(UKGBC, 2018)

UKGBC have outlined a set of Policy Asks to ensure a clear focus on Circular Economy and a strong push towards a more sustainable future. These Policy Asks were voted in 2018 and work as guidelines for the government towards the UK’s ‘Zero Avoidable Waste by 2050’.

Circular Economy Method 1 BRE - Design for Deconstruction

Wider Government Policies (Outside UK) Local Government Policies Case Study - GLA

The assessment system currently evaluates 9 different areas (see image on the right). A brief analysis of their assessment criteria quickly reveals there is little coverage regarding circularity in the building industry. The little criteria currently covering aspects of a circular economy in architecture in BREEAM are:

Waste 06 - Design for Disassembly and Adaptability

Source: GLA Circular Economy Statement

The mayor of London has set out a vision for a more sustainable urban future, encouraging circularity in the draft London Plan and Environmental Strategy. The report is an example of how city level policies can begin to set standards for more sustainable living in the UK. Some of the Good Growth by Design policies are as follows (UKGBC, 2020):

Source: Excess Material Exchange

• Reducing waste and cost for any future refurbishment, retrofitting and demolition works.

Examples from the Netherlands

• Improving the current value for money in reusing and recycling materials.

• Increasing lifespan and value of materials.

In the Netherlands, policies have already been set in place to promote circular economies, already generating positive results in the building industry. The country’s government has set up an Environmental Investment allowance, providing a 36% decrease in VAT for those investing and using innovative circular solutions (UKGBC, 2020).

1. Setting Standards Using design inquiries to address key issues within architecture including ‘Design for a Circular Economy’ 2. Applying Standards Ensuring good design standards are met through a London Review Panel

• Encouraging consideration of circularity in earlier design conversations and throughout the construction process.

Materials 06 - Material Efficiency Materials 05 - Designing for Durability and Resilience

Similarly, they have heavily encouraged material exchange websites, such as the Excess Materials Exchange and Madaster. These platforms work on a registration basis and allow those in the construction industry to share and reuse materials online.

Source: Europa

Health & Wellbeing 15%

Waste 7.50%

Materials 12.50%

Energy 19% Water 6%

Transport 8%

BREEAM Evaluation Method

BREEAM: Improvements in Motion ‘A Framework For Circular Buildings’ published in 2018 by a team of design collaborators in the Netherlands, effectively depicts areas for improvement in the BREEAM assessment criteria. Areas that are insufficiently covered are the Materials and Waste categories. Two examples of subcategories to build upon could be to design for disassembly or reassembly, or maximise amount of renewable materials.

14

13

How do they Compare?

Circular Economy Method 2 3XN/GXN - Circular Future

Whilst differing in some ways, the two methodologies align on some key principles, both essential to building circularity.

Introduction to ‘Building a Circular Future’ Methodology In 2016, the Danish architectural practice 3XN pushed forward three basic principles of circularity in architecture, in their publication ‘Building a Circular Future’. The document outlines the following doctrines:

Circular Economy 1. Material Passport

Design for Deconstruction

7

Circular Economy Method 1 BRE - Design for Deconstruction

Shared Values (1) Early Design Stage Consideration

DfD: Assessment Diagrams

Both methodologies advocate for the consideration of circular economy in the early design stages. There is currently very little conversation amongst design teams, with developers often pushing for quicker solutions. The two methods equally push forward the idea that these core principles should be addressed in the first RIBA design stages.

To assess each criteria within DfD, BRE use assessment diagrams like the ones shown below. Within each criteria, all elements of the building are given a rating which provides a percentage against the maximum score possible for each building.

(2) Designing for Disassembly Both methods heavily encourage an emphasis on easy de-construction, gravitating back towards the basic principles of ‘Shearing Layers’. They similarly argue that the more a building’s layers can be separated, the greater the benefits, both in time management and preservation of materials.

The idea that there should be records for each material used, to ensure good knowledge of the characteristics of components. A material 'library' should include: - Its initial characteristics, as it stands post manufacturing, - Its actual characteristics, after use.

Management 12%

Land Use & Ecology 10%

CONNECTIONS

ACCESSIBILITY

2. Design for Disassembly A holistic design process that intends for each build product to be easily assembled and disassembled, with the aim of reusing all its individual components.

3. Circular Economy The shift from a typical linear life cycle to a circular one ‘Cradle to Cradle’, introducing the idea that materials should not only be considered elements with definite lifespans, but should also act as potential components for future buildings.

Source: ArchDaily, ‘Design for Disassembly’

Key Principles of the 3XN/GXN Methodology Source: ‘Building a Circular Future’

12

10

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

Source: BRE Group (2015)

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ARCHITECTURAL TECHNOLOGY RESEARCH

b.

THE ISSUE

CONTEXTUAL STUDY

‘An Analysis of Transit Oriented Development n Singapre: Re-Imagining West Edinburgh Around Existing Transport Infrastructre’ the aim of this paper was to identify the various methods through which Singapore has successfully implemented urban planning strategies, connected at both their transport systems and at their urban planning policy level.

4% Other

18%

Residential

1

Using West Edinburgh as a case study, it intends to demonstrate the clear impact of such interwoven change in transport systems and land use strategies, at various levels, in relations to the reduction of transport related carbon emissions. Through various data analysis and strategy implementation it aims to display the potential improvements to West Edinburgh’s urban fabric.

33%

Transport

18%

Business

27%

Energy

Transport Emissions in the UK become largest by %

Reflective Response

Despite the 2008 Climate Change Act, establishing the 80% carbon emission reduction goals by 2050, the transportation industry remains to this day the most pollutant industry in the UK, generating over 100 million tonnes of carbon every year (Topham, 2019).

This research paper became a product of the generic study, which looked into current policies surrounding circular economy. The Contextual Study had the intention of looking at successful polices in other parts of the world surrounding sustainable design in relation to the shearing layers.

The study took a look at the scale of the city and tried to understand how we can separate the urban fabric into interchangeable layers that can grown and shrink independent of one another.

5

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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2

01

Disconnection between Urban Density Planning and Transportation in the UK The current legislative framework in the UK for land purchasing and transportation systems developments is fundamentally flawed - transport governance throughout the country is weakly integrated, making it difficult to align urban developments to effective transport servicing (Government Office for Science, 2019).

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ARCHITECTURAL TECHNOLOGY RESEARCH

Singapore Urban Density

Image: ‘Bukit Panjng LRT Line’ Railway International

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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1

URBAN REDEVELOPMENT AUTHORITY Singapore’s urban strategies are determined by one singular government body, the Singapore’s Urban Redevelopment Authority.

Outlining long and short term goals, they regularly revisit their planning system to ensure coherent urban development throughout the years (Urban Redevelopment Authority, 2020).

URBAN FABRIC Bukit Panjang THE CONCEPT PLAN

83 MINS

The Concept Plan is a long term strategic land use and transportation system plan, outlining guidelines and principles for development over a 40-50 years period. It is reviewed every 10 years, and initiates policies like the high taxes on car ownership to decrease private car use.

With an area of 8,990 sqm and 9 MRT/LRT stops

170 STOPS

Average Commute Time in Singapore

14 KM

Ridership of Tram/Day in Singapore

MRT Route

Bus Route

MRT Stop

Industrial

LRT Stop

Residential

Supermarket

Green Space

School

Infrastructure

800m Walking Radius

Bukit Panjang, house to the first LRT line developed in Singapore in 1999, offers a few crucial lessons surrounding the principles of transit oriented development, by locating mixed land use and amenities within close proximity of its train station in the North around its train stations in the North (Centre for Liveable Cities and Urban Land Institute, 2013).

Number of Stops in Singapore

7.4M

YEW TEE

SEGAR JELAPANG FAJAR

BANGKIT

Average Commute Distance in Singapore

BUKIT PANJANG

PETIK

CITY

1

Source: Budget Insurance Singapore and Land Transport Authority

SINGAPORE

PENDING

MASS TRANSIT CONNECTIONS CASHEW

A CONNECTED SYSTEM

SINGAPORE MODAL SPLIT HILLVIEW

3

4

THE MASTERPLAN On a smaller scale, the Masterplan aims to plan out statutory land use development over a 10 to 15 year period, and is reviewed every 5 years. It allows to pass focused policies aiming for development control and coordination (Soon Looi Teik, 2019).

THE LAND TRANSPORT MASTERPLAN

4%

BUKIT GOMBAK

Through their ‘integrated industrial-residential communities’ , they are able to combine economic and urban growth across all areas of the island. As such, a high quality infrastructure has been developed to support such system, from electricity, to running water, to high end and efficient transportation networks.

29% 36%

Singapore, located in South East Asia, provides a prime example of thorough and cohesive urban strategies, implemented over the years to tackle their limited land supply and population growth.

Through their authoritarian regime, they are able to guarantee reaching long term urban development goals, avoiding the erratic urban changes that can arise from changes in government.

BUKIT BATOK

3

30%

Through their ‘integrated industrial-residential communities’ , they are able to combine economic and urban growth across all areas of the island. As such, a high quality infrastructure has been developed to support such system, from electricity, to running water, to high end and efficient transportation networks.

LOCAL TRANSIT CONNECTIONS

BEAUTY WORLD

CITY

4

Source: The Straits Times

PROVISION OF MIXED LAND USE

7

9

11

URBAN FABRIC

2

1

DISPERSED TRANSPORT CONTROL

Developing various elements of a transport infrastructure without looking at the general picture and their interconnections, creates gaps in urban planning and transport control. The planning system should therefore aim for reform in balancing local, regional and national demands (Airey & Doughty, 2020).

West Edinburgh 66 MINS

SEPARATED LOCAL PLANS

Following the Planning Act in 1968, structure and local plans were effectively separated; in implementing such a system, it gave rise to an increase in local participation as well a lack of holistic urban strategies across the UK and planning authorities.

Ridership of Tram/Day in Edinburgh

An analysis of online data from several statistic websites and government papers was a key aspect of this research. Gathering of data on the use of transport in both cities allowed for a direct comparison and therefore a calculated response to the sustainability and carbon production of each city.

Allocating land without clear research in the demands of the public can often result in a surplus of certain land use, for example too many office buildings. Without a system that approaches land demand in an integrated way, sustainable urban expansion is inevitably hindered. As a result, development is increasingly occurring in the Green Belt, threatening ecosystems.

Green Space

800m 800m Walking Walking Radius Radius

1

CITY EDINBURGH GATEWAY

SINGLE DIRECTION TRANSPORT ROUTES INGLISTON PARK & RIDE

GYLE CENTRE GOGABURN

TYPICAL UK EXAMPLE OF A DISCONNECTED SYSTEM

Reflective Response

Residential

School

EDINBURGH AIRPORT

EDINBURGH

FOCUS ON SUPPLY AND DEMAND

Industrial

Supermarket

CITY

Average Commute Distance in Edinburgh

Source: Transport Scotland & City Council of Edinburgh

3

Bus Route

Tram Stop

West Edinburgh, where Edinburgh Business Park and Airport are located, currently holds a significant portion of industrial land and very little residential plots. This area, serviced by the tram line and a few bus routes, offers high potential for Transit Oriented Development.

Number of Stops in Edinburgh

9 KM

19.5K

Tram Route

Infrastructure

With an area of 6,900 sqm and 8 tram stops

16 STOPS

Average Commute Time in Edinburgh

EDINBURGH MODAL SPLIT

4

6

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

EDINBURGH PARK CENTRAL

LIMITED HOUSING SPRAWL

15%

BANKHEAD

Edinburgh Density Edinburgh, the capital of Scotland, has an estimated population of 489,000 people, making it the second most populous city in Scotland. The city is predicted a population growth of up to 600,000 over the next 20 5.1% years. This increase is expected to generate a strain on the city’s existing housing and public services, inevitably inviting urban planners to consider the next few years carefully to avoid crucial mistakes.

EDINBURGH PARK STATION

SLOW CHANGE IN LAND USE

EDINBURGH

The Planning and Compulsory Purchase Act of 2004 states that planning applications must be ‘in accordance with the plan unless material considerations indicate otherwise’. This provision permits a level of adaptability, but entail a lengthy and strenuous planning process.

CITY

12.2%

Edinburgh, the capital of Scotland, has an estimated population of 489,000 people, making it the second most populous city in Scotland. The city is predicted a population growth of up to 600,000 over the next 20 years. This increase is expected to generate a strain on the city’s existing housing and public services, inevitably inviting urban planners to consider the next few years carefully to avoid crucial mistakes.

5.1%

Due to the current low density on the outskirts of the city, the most common mode of transportation reported in the recent year is the car (Department for Transport, 2019), inevitably increasing carbon emissions in the area immensely.

CITY

CITY

3

67.7%

SPREAD OUT PUBLIC AMENITIES

4

Source: City Council of Edinburgh

SERVICED BY ROADS AND PARKING

8

GENERAL CRITERIA

CITY

2

Edinburgh Density Sprawl and Tram Line

Singapore, located in South East Asia, provides a prime example of thorough and cohesive urban strategies, implemented over the years to tackle their limited land supply and population growth. Through their authoritarian regime, they are able to guarantee reaching long term urban development goals, avoiding the erratic urban changes that can arise from changes in government.

CITY FOCUSED DENSIFICATION

SINGAPORE

Set out in 2013, the Land Transport Masterplan outlines the following goals for 2030: 8 in 10 households within a 10 minutes walk to a train station, 85% of public transportation journeys under 20km in under 60 mins and 75% of all journeys during peak hour made on public transportation (Land Transport Authority, 2020).

2

CITY

Singapore Density Sprawl, MRT and LRT Lines

Singapore Density

Due to the current low density on the outskirts of the city, the most common mode of transportation reported in the recent year is the car (Department for Transport, 2019), inevitably increasing carbon emissions in the area immensely.

10

28

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

02 ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ARCHITECTURAL TECHNOLOGY RESEARCH

01 TRAM

Singaporean Model

Existing Tram Route

Drawing from the Singaporean model, it can be said that higher density and more extensive transportation system require further improvements in frequency of service. By decreasing waiting time, it can enable both shorter commuting times.

Proposed Tram Route 800m Walking Radius

Currently the tram comes every

Of 7,700 people surveyed in and around Edinburgh (Department of Transport 2018) :

24.2%

providing service for

9.2%

say stops are too far away or there is no direct route

Through a series of diagrams and data evaluation, West Edinburgh can begin to reveal its potential as a Transit Oriented Development, utilising the city’s current tram line as a triggering and interconnected factor in urban redevelopment.

The following calculations contain some estimations based off of government data from the Department of Transport and Edinburgh City Council, and should be considered as broad figurative data.

04

TRAM FREQUENCY

Tram Stop

According to the Department of Transport’s latest reports, there are many factors influencing resident’s choices of mode of transportation.

A quarter of the people who answered a survey in 2018 mentioned the current rail systems do not provide enough routes or stations for trams and trains to be viable options to commute. A quick hypothetical study provides a rough estimate of the potential carbon emission savings from improvements to rail services.

5% of the population:

170

EDINBURGH GATEWAY

INGLISTON PARK & RIDE

78

Standing

GYLE CENTRE

Seating

2

Wheelchair

GOGABURN

170

64

people could switch to tram if we:

102

EDINBURGH PARK CENTRAL

people could switch to tram if we:

People riding per day at full capacity

EDINBURGH PARK STATION

TRAM LINE

out of 1,000 people:

With improved tram: 55% CAR 18% BUS 8% WALK 20% TRAIN

204

15%

THE SINGAPOREAN MODEL

of population

20

02

AMENITIES & LAND USE

05

BUS ROUTES

Tram Stop

Industrial

Supermarket

Residential

School

Green Space

Of

20 Minutes Towns

Health

say there is a lack of service

Health

20 Minute Towns Supermarkets

Neighbourhood Centre

Home

Parks

Mall

EDINBURGH AIRPORT

Proposed Bus Route

25.8%

Transit Oriented Development In West Edinburgh

25.8%

say buses take too long

Retail Shops

say its too expensive EDINBURGH AIRPORT

170

INGLISTON PARK & RIDE

INGLISTON PARK & RIDE

Connecting To Livingston

GYLE CENTRE

people could switch to tram if we:

With an increased plot ratio of 1.0

GOGABURN

218

if we built density surrounding tram stops

people could switch to bus if we:

EDINBURGH PARK CENTRAL

increase amount of lines and stops

BANKHEAD

181

53

people could switch to bus if we:

people could switch to bus if we:

Currently: 70% CAR 18% BUS 8% WALK 5% TRAIN

SHOP SCHOOL

SHOP

BANKHEAD

SHOP

increase frequency of bus service

decrease fares in public transport

SHOP

BANKHEAD

283,588g/km

rbs

181,598g/km

101,990g/km

BANKHEAD

The following calculations contain some estimations based off of government data from the Department of Transport and Edinburgh City Council, and should be considered as broad figurative data.

21

800m Walking Radius 1500m Cycling Radius

03

06

PLOT RATIOS & LAND USE Bukit Panjang’s current plot ratio averages at about 3.0, allowing for high density development in the area. Whilst that plot ratio is not recommended for West Edinburgh, the current plot ratio averaging at 0.35 does not allow for an efficient land use. A quick hypothetical study illustrating the shift in both land use in the area and increase in plot ratio immediately displays a clear potential optimisation of the land use and tram line, in terms of walking catchment of residents.

Bankhead

CYCLE SCHEME Plot 1

0.23

Plot 2

Plot 3

0.47

BANKHEAD

Tram Stop

An additional urban strategy implemented in the Singaporean model offers cycling schemes to residents.

Offering a bike hiring system at each tram station in West Edinburgh would allow for the catchment area to shift from a 800m walking radius to a 1500m cycling radius. This would not only further encourage alternative transport methods to the car, it would also endorse physical exercise amongst residents.

0.38

800m Walking Radius 1500m Cycling Radius

EDINBURGH PARK STATION

Plot 4

0.30

33.5%

15% Other

EDINBURGH AIRPORT

1,800

50%

EDINBURGH PARK CENTRAL

Conn Sout ectin hern g Subu

Potential CARBON REDUCTION of This provides a CARBON EMISSION of

GYLE CENTRE

Suburb To Suburb Connections Tram Stop

18

25%

Through a series of diagrams and data evaluation, West Edinburgh can begin to reveal its potential as a Transit Oriented Development, utilising the city’s current tram line as a triggering and interconnected factor in urban redevelopment.

EDINBURGH PARK STATION

This provides a CARBON EMISSION of

With improved bus: 24.8% CAR 63.2% BUS 8% WALK 5% TRAIN

20 Minutes To Local Amenities Potential Amenities Surrounding Bankhead

Green Space

GYLE CENTRE GOGABURN

EDINBURGH PARK CENTRAL

EDINBURGH PARK STATION

10%

INGLISTON PARK & RIDE

GOGABURN

out of 1,000 people:

Bukit Panjang’s current plot ratio averages at about 3.0, allowing for high density development in the area. Whilst that plot ratio is not recommended for West Edinburgh, the current plot ratio averaging at 0.35 does not allow for an efficient land use. A quick hypothetical study illustrating the shift in both land use in the area and increase in plot ratio immediately displays a clear potential optimisation of the land use and tram line, in terms of walking catchment of residents.

EDINBURGH GATEWAY

EDINBURGH GATEWAY

EDINBURGH GATEWAY

10,800

Within walking distance of tram stop:

EDINBURGH AIRPORT

ting Connec n Suburbs Norther

Taking 1,000 people as a sample and the current modal split of West Edinburgh:

Parks

Retail Shops

Existing Bus Route

800m Walking Radius

7,700 people surveyed in and around Edinburgh:

31.1%

School

Home

Tram Stop

A similar exercise to the one done on the tram line can be done on the bus routes; currently more than a third of residents decide to use alternative mode of transportation due to lack of service. Additional bus routes, connecting suburban areas instead of just to the city would enable less car use and thus a decrease in carbon emissions.

Infrastructure 800m Walking Radius

School

20%

of population

of population

10%

95,596g/km

Following from the increase in stations and routes to the current rail transport system, a quick land use study can demonstrate the impact in shifting the current land use split to a more residential inclusive urban arrangement. Additionally, by improving amenity availability within a walking distance to residential plots and transport links, this begins to shift the current urban planning to a more transit oriented model, introducing the idea of a 20 mins town versus a 45 minute city system.

Urban Strategy Example Plot Ratios & Land Use

306

Trams per day

People riding per day at full capacity

17

Neighbourhood Centre

408

Trams per day

People riding per day at full capacity

51,000

187,992g/km

This provides a CARBON EMISSION of

800m Walking Radius

76,500

Trams per day Potential CARBON REDUCTION of

Proposed Bus Route

People riding per day at full capacity

Would result in: This provides a CARBON EMISSION of

283,588g/km

Existing Bus Route

Infrastructure

102,000

Would result in:

mins

BUS ROUTES

Currently: 70% CAR 18% BUS 8% WALK 5% TRAIN

Proposed Bus Route

Green Space

Would result in:

mins

5

25,500

Trams per day BANKHEAD

decrease fares in public transport

Existing Bus Route

Residential

mins

3

What if trams came every:

Taking 1,000 people as a sample and the current modal split of West Edinburgh:

if we built density surrounding tram stops

2

10 mins

EDINBURGH AIRPORT

Industrial

Supermarket School

Currently capacity of 250 people per tram (Edinburgh Trams, 2020) :

say trams are too expensive

Tram Stop

say its too far to cycle

Within walking distance of tram stop

18.2%

say there are too many cars on the road

11.9%

1500m Cyc ling Ra di us

say they do not have a bike

1500m Cyc ling Ra di us

EDINBURGH AIRPORT

Source: Transport Scotland, 2018

Office/Industry

EDINBURGH GATEWAY

Residential

EDINBURGH GATEWAY

Existing Land Use And Calculated Plot Ratios

INGLISTON PARK & RIDE

INGLISTON PARK & RIDE

1500m Cyc ling Ra di us

What if the land use surrounding the tram stop was diversified as per the Singaporean model:

800m Walking

15% Other

15%

GYLE CENTRE

1500m Cyc ling Ra di us

GOGABURN

Ra di us

EDINBURGH PARK CENTRAL

BANKHEAD

20%

Office/Industry

Green Space

EDINBURGH PARK STATION

3,600

BANKHEAD

Within walking distance of tram stop

50%

BANKHEAD

Residential

What if all residential plot ratios in the increased by a percentage:

Plot Ratio: 0.35

(West Edinburgh Current)

1,800

Within walking distance of tram stop

Plot Ratio: 1.0

Plot Ratio: 2.0

10,800

205,200

Within walking distance of tram stop

Within walking distance of tram stop

Provide Cycle Hire And Routes For 1500m Radius

Recommended Land Use

19

22

16

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

29

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

03

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

03

DESIGN STUDIO B ANIMATE MATTER MARK DORRIAN // PADDI BENSON BRIEF EXTRACT

LEARNING OUTCOMES On completion of this course, the student is expected to demonstrate: LO1 (GC 1.1, 1.3, 3.3, 5.1, 5.3, 6.3, 7.1, 7.2, 7.3 GA 2.1) A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (e.g. the built, social, historical, technological, urban and environmental contexts).

LO2 (GC 1.2, 1.3, 4.3, 7.1, 8.1, 8.2, 9.1, 9.2, 9.3, 10.3 GA 2.3, 2.5) A knowledge of how to develop the structural, constructional, material, environmental and legislative aspects of a complex building to a high degree of resolution, with reference to discussions with a team of specialised consultants.

LO3 (GC 1.2, 5.2, 8.3, 9.1, 9.2, 9.3 GA 2.1) An understanding of issues relating to the questions of sustainability, and its concomitant architectural, technological, environmental and urban strategies.

LO4 (GC 1.1, 3.3) A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (e.g. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

30

Last semester we worked through the theme of ‘animate matter’, moving from Bruno Schulz and the Quay Brothers to the development of our own experimental animations, to the identification of sites for the projects (real or imagined), and the beginnings of an elaboration of the architecture. In this semester’s course we continue to pursue this toward the full development and completion of the work, including its technical aspects. In doing this, we split the semester into four components, two either side of Flexible Learning Week.

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ATR

03

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Brief Extract The aim over these weeks is to develop and increasingly refine the projects toward a point where the architectural character and arrangement of the work becomes fully articulated and defined across the range of architectural scales, from the territorial to the detail – including the 4 animate furniture-objects (or their counterparts, if you have redefined them).

Reflective Response A visit to the site, Burns Yard, was an essential aspect of developing the proposal for the animators house and studio. This allowed for an understanding of the range of scales, from relics in the landscape to boxes full of rusty nails, and how there could start to be a play between these

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

31

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ATR

03

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

House for an Animator Formally Burn’s Yard, the Quay Brothers, Stephen and Timothy, will be taking over the site as their new home and studio, renaming it Quay’s Yard. With an already strong interest in going to marketplaces to find objects as sparks of inspiration, the yard will act as a hub of activity for new objects to arrive at their fingertips.

They want to encourage the yard to remain in use by the public so that the flow of stuff in and out of the yard will remain constant, creating an ever changing mess within the yard.

They also hope to use the yard as an opportunity to set up framing moments that capture comparisons between objects both within the yard and outside it., turning Burn’s yard into an animators playground. They hope to set up moments from within their houses and studio that can look back into the yard and capture moments of inspiration as they are working.

Reflective Response Lewis and I working together in the first semester allowed us to gain an understanding of the Quay Brothers working methodology to a great extent.

During the second semester we were able to take this understanding and develop separate architectural proposals for an animators house and studio, tailored towards the needs of the Quay Brothers filming methodology.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

32

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ATR

03

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Threshold Spaces Continuing the theme of a crossing of a threshold, explored in the first semester from the Quay Brothers, the architecture is set up through the idea of membranes.

As to not disrupt the playful mess of the yard below, habitable spaces have been organised above the yard, and use the walls below as structure for each volume. Objects are passed up though this space to either be used as a household item, or as a tool for animation.

Reflective Response The essence of the project has been set up through the theme of passing of thresholds that the Quay Brothers explore in their films.

This became a fundamental grounding for the development of the project, and the design of architectural tectonics often playing with the idea of thresholds and membranes, explored in the film from first semester.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

33

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ATR

03

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Burns [Quays] Yard Fields of Collection A mapping of movement across Burns Yard evolved into a thinking of how the site generates itself through the inter play between different objects and their relation to one another. Through redistributing some of the existing material on site and rearranging it through a series of parallel walls, the inter play between objects is heightened and these walls start to force more intimate relationships with the stuff on site.

Through the set up of walls of varying materials, strong visual relationships are allowed to form between each wall. The objects can start to act as part of the fabric of circulation around the yard, blocking off or opening up certain spaces between walls at different times.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

34

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ATR

03

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Animators Yard GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

35

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

03

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

1

Horizon House First Floor Mezzanine 1

3

4

Yard House Lower Living Floor Plan

1

Reflective Response

Study

2

The work of Perry Kulper, specifically his drawings, had a part to play with thinking about the ‘stuff’ within the yard as an essential part to play within the architectural conventions.

When drawing the architecture, I found it necessary to always have a layer of the existing ‘stuff’ found as a key finder to setting out of walls and openings.

1

1 2 3 4

Stair to Yard House Study/Living Room Private Garden Stair to Horizon House

Animators Playground First Floor Plan 1 2 3 4 5 6

Projection Studio Set Building Workshop Gatehouse Screening Theatre Horizon House Yard House

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

36

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ATR

03

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Movement through the Yard The circulation through the site provides a gentle suggestion of the route to take for those visiting the yard. A slender bridge crosses from the gatehouse, supported by the walls set up on the lower level. This provides an overview of the space that you would about to enter before peregrinating through the various walls back to the entrance.

Section through gatehouse and theatre 1

Gatehouse

2 3 4

Bridge Screening Theatre Outside Screen

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

37

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ATR

03

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Stairs To Upper Levels Isometric

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

38

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ATR

03

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ANIMATE MATTER

Animating Table Pulley Systems Detail Section 1:50

Reflective Response A response to the filming techniques of the Quay Brothers is shown here, allowing objects to become passed between the yard and the spaces that occupy above.

Animating Table Pulley Systems Isometric Section GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ANIMATE MATTER

2

1 3

Double House

4

4

The two houses act as a pair, one paying close attention to the happenings on the yard below and one focusing on the horizon in front.

Various openings help to analyse their own views. Such as the hanging cage device which allows the brother in Horizon house to place objects in either cage as it sits in front of moving ships on the horizon.

Section through two houses 1

Horizon House

2 3 4

YardHouse Zinc Wrap Around Stairway from Yard

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ANIMATE MATTER

2

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3

Reuse of Found Matter The walls that have been organised on the lower level of the yard have all been constructed from found matter that already existed within the yard. The continuation of these materials allows the site to keep its aesthetical charm of detritus matter, but has been reorganised as to provide structure for the spaces above.

4

Detail Section through Yard 1

Projection Studio

2 3 4

Gatehouse Horizon House Yard House

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ANIMATE MATTER

Stairway Contained in Wall Detail 1:50

Stairway Contained in Wall Detail 1:10

Reflective Response In order to provide structurally sound and airtight architectural resolutions, it was important to discuss the design intentions with a variety of consultants throughout the semester. Conversations with both environmental and structural consultants were incredibly useful as a way of realising the technical resolution of unique design intentions.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ANIMATE MATTER

Tools for animating As a part of the brief it was asked to design a series of furniture pieces that would inhabit the architecture. These pieces of furniture were to aid in the rituals of the animator with their life and work.

Two of the four pieces shown here are a ‘table for material observation’ and an ‘object ticket exchange’. Both interact with the detritus matter that exists within the yard and encourage ideas of animation and ideas of passing through thresholds.

Table for Material Observation

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

Object Ticket Exchange

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ANIMATE MATTER

Lower Walls Construction Detail 1:50

Detail Response A detailed understanding of how the walls would support the spaces above was necessary in order to ensure the stability of the project against the weather conditions of the site.

As there are strong sea winds coming from the nearby sea, it was necessary to use wind-posts that would support the Zinc wrap around, that also acted as a strong wind break for the yard.

Lower Walls Construction Sequence Lower Walls Construction Detail 1:20

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ANIMATE MATTER

Detail Response It was important to decide on the best material for construction of the upper level spaces for both spanning distance and for the unique shape of the roof.

CLT panels proved to be the best material for creating sturdy self supporting roof structures, with a large spanning distance as to reduce the amount of wind posts that are required across the site.

It was also the most sustainable option, being a locally sourced material and allowing for ease of cutting unique openings for cross flow of ventilation.

Gatehouse Detail Section 1:50

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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Set Building Studio Detail Section 1:50

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ANIMATE MATTER

Screening Theatre Door Detail 1:20 A specific moment where the Zinc wrap around is broken is with the screening theatre at the rear of the site, where an openabe garage style door reveals open air screens for the watching of the animations produced at the yard.

Screen Tectonics Breaks in the Zinc wrap around allow for a relationship back into the yard from within the spaces above. This is possible by having a light framing system that is supported by the wind posts and at points tied back to the structures at the upper levels. This then means that certain areas of the framing system can be broken and reveal certain parts of the yard.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

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CLOSE UPS ELLA CHMIELEWSKA // FELIX GREEN LEARNING OUTCOMES On completion of this course, the student is expected to demonstrate:

BRIEF EXTRACT

L01 M.Arch (GC 2.1, 3.1, 4.1) A capacity to research a given theme, comprehend the key texts that constitute the significant positions and debates within it, and contextualise it within a wider historical, cultural, social, urban, intellectual and/or theoretical frame.

L02 M.Arch (GC 2.2, 3.1, 3.2) An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilized through different textual, visual and other media, and to explore their consequences for architecture.

L03 M.Arch (GC 2.2) An ability to coherently and creatively communicate the research, comprehension and contextualisation of a given theoretical theme in relation to architecture using textual and visual media.

John Hejduk, whose work she photographed, writes Hélène Binet, one of the leading architectural photographers, “greatly influenced [her] way of looking at architecture.”

Binet’s photographs, in turn, have significantly contributed to ways in which architecture is seen and studied. Coinciding with Binet’s visit in Edinburgh in January-February 2021, this seminar series will closely investigate photography in its various entanglements with architecture in thinking, publishing, exhibiting and writing.

Image: ‘Every Building on the Sunset Strip’ Ed Ruscha GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

a.

JOURNAL ENTRIES. Brief Extract

The reading journal (course diary) records your ongoing critical reflections and responses to the weekly readings and seminar discussions. You should report on these and elaborate upon the significance of some aspects of the readings for contemporary architecture and/or urbanism. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

Entry 01. The Set_Up Entry 02. De_Sensitization Entry 03. Confusion_In Entry 04. Closeness_of_Event Entry 05. Carying_Bathos

Extract 01. The Set Up. the_set_up

Understanding the importance within the act of setting up a photograph, is something I have been able to appreciate much more following a closer understanding of the work of Hélène Binet. This includes my involvement with her workshop at ESALA, ‘A chair, another story’.

Hélène Binet - Composing Space

The making of a photograph is different from the taking of a photograph1 1. Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space, Binet, Hélène, and Mark Pimlott (London: Phaidon, 2012), 208

Key Terminology Sympathy: 1. feelings of pity and sorrow for someone else’s misfortune.

2. understanding between people; common feeling.

Ambiguity: 1. the quality of being open to more than one interpretation; inexactness.

References 1. Pimlott, Mark. “Hélène Binet: Photographs as Space,” In Composing Space. Hélène Binet, and Mark Pimlott (London: Phaidon, 2012): 200-215 and Photographic Index, 216-221.

2. Binet, Hélène, “The Making of a Photograph”, Lecture for Geddes Fellow, ESALA, Edinburgh, January 20, 2021.

3. HarvardGSD, ‘Composing Space’, Youtube video, Posted by “HarvardGSD” Mar 20, 2012. Accessed May 6, 2021. https://www.youtube.com/watch?v=YkpeFr87wOo 4. The Architectural Review, “Hélène Binet: ‘I am interested in making you dream about the place’”, The Architectural Review, 29 March 2019, Accessed 6 May 2021. https://www.architectural‐review.com/films/helene­‐binet‐i­‐am­‐interested‐in‐ making­‐you‐dream‐about-the-place

Figures fig­01.­Binet,­H.­“The­Secret­of­the­Shadow,”­Photograph.­Deutches­Architekture­ Museum, 2007. Image from: http://helenebinet.com/photography/shadow/ fig­02.­Carney,­T.­“Shadow­on­Stone,”­Photograph.­A­Chair,­Another­Sory,­2021.

4

Animated film is a genre that cannot really represent death. In animated film, everything is always reversible.1 1. Harun Farocki, “Phantom Images” Public, 9 (2004): 13, accessed May 6, 2021, https://public.journals. yorku.ca/index.php/public/article/ view/30354/27882

Key Terminology

the_set_up

Hélène_Binet

Understanding the importance within the act of setting up a photograph, is something I have been able to appreciate much more following a closer understanding of the work of Hélène Binet. This includes my involvement with her workshop at ESALA, ‘A chair, another story’.

When describing Binet’s working method Mark Pimlott writes “Sympathy with the subject is complemented by control, design and attention to detail. The making of a photograph is different­from­the­taking­of­a­photograph.” 1 By using the word sympathy, Pimlott suggests that Binet strives to look for a deep understanding with her subject before photographing it. This is a process that takes time, and so to make a photograph instead of simply taking a photograph, as Pimlott points to, a duration of understanding is key.

During her lecture at ESALA, Binet mentions that she will always­ use­ film­ to­ take­ her­ photographs. 2 Through a closer look­ at­ the­ use­ of­ film­ photography,­ it­ becomes­ apparent­ that­ the process of setting up becomes a carefully orchestrated performance, where moments of stillness can become a catalyst for a deeper understanding. Pimlott writes “Binet slowly gets to know­her­subject,­in­order­to­find­what­can­be­drawn­from­it.” 3 Speaking at Harvard GSD, Binet recalls such a moment whilst photographing Le Corbusier’s La Tourette in 2007. 4 She describes her feeling of intrigue when observing the passing of the sun through the window she was photographing, and the patterns the shadows formed on the ground. Through this moment of consideration, she describes noticing a similarity within the framing of the window and could then began to understand the architectural intention that she wanted to capture.

1. Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space, Binet, Hélène, and Mark Pimlott (London: Phaidon, 2012), 208

fig 01. H, Binet, “The Secret of the Shadow,” (photograph, Deutches Architekture Museum, 2007). Image from: http://helenebinet.com/photography/shadow/

A­key­word­that­I­find­myself­using­repeatedly­when­describing­ my interaction with Binet and her work is ambiguity. In an interview with the AR Binet mentions, “I am more interested in making you dream about the place, it’s like a description in a book, you make your own image.” 5 Seemingly, these moments spent with time are crucial in allowing ambiguity to form in Hélène Binet’s work. It is such moments as described with La Tourette that these ambiguous moments are created. The photo above was taken during her study ‘The Secret of the Shadow’.

In this image, as Pimlott previously points to, one can easily understand the consideration for time and space Binet must have infused in her work to create such an image. Arguably, this photograph would not be possible if it were taken in a few seconds by just passing by the window, as one might do with a digital camera; this image required a careful orchestration of time and consideration.

2. Hélène Binet, ‘“The Making of a Photograph”, (lecture, 2021 Geddes Fellow, ESALA, Edinburgh, Jan 20, 2021).

3. Pimlott, “Hélène Binet: Photographs as Space,” 208 4. HarvardGSD, ‘Composing Space’, Youtube video, Posted by “HarvardGSD” Mar 20, 2012, accessed May 6, 2021, https://www.youtube.com/watch?v=YkpeFr87wOo

5. The Architectural Review, “Hélène Binet: ‘I am interested in making you dream about the place’”, The Architectural Review, 29 March 2019, accessed 6 May 2021, https://www.architectural‐review.com/films/helene‐binet‐i‐am‐interested‐ in‐making‐you‐dream‐about-the-place

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the_set_up

Hélène_Binet

fig 02. T. Carney, “Shadow on Stone,” (photograph, A Chair, Another Story, 2021)

6. ‘A Chair, Another Story’ was a workshop run by Hélène Binet at ESALA, University of Edinburgh. The workshop asked those involved to photograph a chair of their choosing in three different scenarios, hoping to develop an understanding of the chair as the workshop developed. January - March 2021.

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Selected References 1. Pimlott, Mark. “Hélène Binet: Photographs as Space,” In Composing Space. Hélène Binet, and Mark Pimlott (London: Phaidon, 2012): 200-215 and Photographic Index, 216-221.

I found the reflective journals were an excellent way of pushing my critical writing in a sense that stays close to specific moments of text.

The selection of journal entries focus on texts aorund photography in architecture and are centred around a specific way of setting up and reading photographs through a range of mediums.

In his essay ‘Phantom Images’, Harun Farocki provides the statement­ that,“Cartoon ­or ­animated ­film­is ­a genre ­that ­cannot­ really­ represent­ death.­ In­ animated­ film­ everything­ is­ always­ reversible.” 1

Harun Farocki - Operational Images

5

Binet’s workshop, ‘A Chair, Another Story’ gave me the opportunity to explore these ideas on the process of photographing subjects, as well as the ability to delve into Binet’s method of work to implement into my own. 6 There was a point where­I­was­finding­it­hard­to­capture­a­particular­moment,­and­ so I applied Binet’s approach towards consideration of time.

Despite using a camera phone, requiring no set up at all, I found myself noticing elements I had never paid attention to before; the light hitting the surface of my subject, the shadows created in the background, allowing me to compose and therefore ‘make’ the photograph I need.

Reflective Response

Extract 02. De_Sensitization. de_sensitization

When describing Binet’s working method Mark Pimlott writes “Sympathy with the subject is complemented by control, design and attention to detail. The making of a photograph is different­from­the taking­of a­ ­photograph.” 1 By using the word sympathy, Pimlott suggests that Binet strives to look for a deep understanding with her subject before photographing it.

This is a process that takes time, and so to make a photograph instead of simply taking a photograph, as Pimlott points to, a duration of understanding is key.

During her lecture at ESALA, Binet mentions that she will always­use­film­ to­take­her­photographs. 2 Through a closer look­ at­ the­ use­ of­ film­ photography,­ it­becomes­apparent­that­the process of setting up becomes a carefully orchestrated performance, where moments of stillness can become a catalyst for a deeper understanding. Pimlott writes “Binet slowly gets to know ­her ­subject, i­n order ­to fi ­ nd w ­ hat c­ an ­be d ­ rawn f­ rom i­t.” 3

Desensitization: 1. the process of causing someone to experience something, usually an emotion or a pain, less strongly than before Death:

1. the action or fact of dying or being killed; the end of the life of a person or organism.

References 1. Farocki, Harun. “Phantom Images” Public, 9 (2004). Accessed May 6, 2021. https:// public.journals.yorku.ca/index.php/public/article/view/30354/27882 2. Paglen, Trevor. “Operational Images.” eFux, 59 (October 2014). Accessed May 6, 2021.­https://www.e-fluxcom/journal/59/61130/operational-images/.

3. Eye /Machine III. Directed by Harun Farocki. (HarunFarocki Filmproduktion, 2003), Film.

Figures fig­01.­Farocki,­H.­“Screenshot­from­Eye/Machine­I,”­Screenshot.­Eye­Machine­I,­ 2003.

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de_sensitization

Harun_Farocki

In his essay ‘Phantom Images’, Harun Farocki provides the statement­that,­“Cartoon­or­animated­film­is­a­genre­that­cannot­ really­ represent­ death.­ In­ animated­ film­ everything­ is­ always­ reversable.” 1 This idea was captivating in a sense that the images seen in Farocki’s “War/Machine III” are precisely surrounding war, and subsequently, the act of death. Therefore, this journal attempts to explore how death has come to be represented in the ‘Operational Images’ that Farocki uses in his work.

Throughout ‘Phantom Images’ Farocki often brings to attention the lack of association with humans in the operational images.

In a description of a collection of photographs of the Gulf War, Farocki writes that “when you see an entire roll of images of such images you cannot help but think that the war will continue on well after humanity has disappeared from the face of machines.”2 One could argue that if there is no human presence in the eye of the observer, then it renders it impossible to represent death, as life has not existed before it.

We may also note, that often in the operational images Farocki explores­ in­ his­ films,­ the­ camera­ becomes­ the­ protagonist,­ where Farocki has likened the situation we observe to a suicidal camera.­When­describing­the­point­of­view­that­animated­films­ are often contained, Farocki writes they “often used a perspective that­a­manned­film­camera­cannot­occupy.” 3 He continues by noting that these situations of viewing are ones that no human can relate to and therefore cannot connect emotionally with such an image, perhaps reading it as a situation that cannot actually exist in reality.

Describing the use of operational images in the Gulf War, Farocki notes that both sides required an alternative method to capture their representation on the event. On the side of the US, operational images were used to control the way the War was viewed, however on the side of the Iraqis, they made use of other methods, that were able to capture scenes from the ground. 4 This proof of the use of operational images to alter the truth­of­reality,­may­offer­an­understanding­of­how­operational­ images have the control to either represent death, or to not.

fig 01. H. Farocki, “Screenshot from Eye/Machine I” (Screenshot, Eye/Machine I, 2001)

When looking at the snapshot taken from Farocki’s ‘Eye/ Machine­ I’­ (fig.01),­ it­ first­ appears­ banal­ and­ unremarkable.­ As Trevor Paglen writes, “I couldn’t quite understand why he thought these bits of visual military-industrial-complex detritus were worth paying much attention to.” 5 This confusion, to a certain extent, proves that the image is able to remain distant from death and desensitize viewers from what they are seeing.

One can easily recognise the image has not been produced from the perspective of a human eye, as it is centred around information that is decoding the image, in a way the human eye would not do. The language that Farocki uses to describe such an image further demonstrates such removal of human presence. He describes, “The automatic aperture fails to achieve a balance: the images cease,” 6 thus, representing death in a purely mechanistic way, fundamentally removing any form of human expression of death.

1. Harun Farocki, “Phantom Images” Public, 9 (2004): 13, accessed May 6, 2021, https://public.journals.yorku.ca/index.

5. Trevor Paglen. “Operational Images” eFux, 59 (November 2014), accessed May 6, 2021, https://www.e-flux.com/

php/public/article/view/30354/27882

journal/59/61130/operational-images/

2. Farocki, “Phantom Images”, 15

6. Farocki, “Phantom Images”, 13

3. Farocki, “Phantom Images”, 13 4. Farocki, “Phantom Images”, 15

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Selected References 1. Farocki, Harun. “Phantom Images” Public, 9 (2004). Accessed May 6, 2021. https:// public.journals.yorku.ca/index.php/public/ article/view/30354/27882 2. Paglen, Trevor. “Operational Images.” eFux, 59 (October 2014).

Accessed May 6, 2021.­https://www.e-fluxcom/journal/59/61130/ operational-images/.

This idea was captivating in a sense that the images seen in Farocki’s “War/Machine III” are precisely surrounding war, and subsequently, the act of death. Therefore, this journal attempts to explore how death has come to be represented in the ‘Operational Images’ that Farocki uses in his work.

Throughout ‘Phantom Images’ Farocki often brings to attention the lack of association with humans in the operational images. In a description of a collection of photographs of the Gulf War, Farocki writes that “when you see an entire roll of images of such images you cannot help but think that the war will continue on well after humanity has disappeared from the face of machines.”2 One could argue that if there is no human presence in the eye of the observer, then it renders it impossible to represent death, as life has not existed before it.

3. Eye /Machine III. Directed by Harun Farocki. (HarunFarocki

2. Binet, Hélène, “The Making of a Photograph”, Lecture for

Filmproduktion, 2003), Film.

Geddes Fellow, ESALA, Edinburgh, January 20, 2021.

3. HarvardGSD, ‘Composing Space’, Youtube video, Posted by “HarvardGSD” Mar 20, 2012. Accessed May 6, 2021. https://www. youtube.com/watch?v=YkpeFr87wOo 4. The Architectural Review, “Hélène Binet: ‘I am interested in making you dream about the place’”, The Architectural Review, 29 March 2019, Accessed 6 May 2021. https://www.architectural‐ review.com/films/helene­‐binet‐i­‐am­‐interested‐in‐ making­‐ you‐dream‐about-the-place

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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DESIGN STUDIO D

DESIGN REPORT

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

Extract 03. Confusion_In. confusion_in_ W. G. Sebald - Walking Photography

Confusion in space is linked to confusion in time.1 1. William Firebrace and W. G Sebald, “Restless Writing”, AA Files Winter 2001, 45/46 (2001): 169, accessed May 6, 2021, https://www.jstor.org/ stable/29544268

Key Terminology Time:

1.­the­indefinite­continued­progress­of­existence­and­events­in­the­ past, present, and future regarded as a whole.

2. a point of time as measured in hours and minutes past midnight or noon

Space: 1. a continuous area or expanse which is free, available, or unoccupied.

2. the dimensions of height, depth, and width within which all things exist and move

References 1. Sebald, W. G. and Firebrace, William. “Restless Writing”, AA Files Winter 2001, 45/46 (2001): pp163-173. Accessed May 6, 2021. https://www.jstor.org/stable/29544268 2. Sebald, W. G. The Rings of Saturn London: The Harville Press, 1998.

Figures fig­01.­Sebald,­W.­G.­“no­title,”­Photograph,­1998.­in­W.G.­Sebald,­The Rings of Saturn (London: The Harville Press, 1998), 34 fig.02­Sebald,­W.­G.­“no­title,”­Photograph,­1998.­in­W.G.­Sebald,­The Rings of Saturn (London: The Harville Press, 1998), 37

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confusion_in

W. G._Sebald

Confusion is an element of W. G. Sebald’s writing could be argued, keeps hold of the rhythm in which one reads his work, which is likened to the experience of walking. William Firebrace notes that Sebald does not use time in a conventional nor linear way, but instead the reader experiences time through series of encounters with displaced people and landscapes of uncertain locations. 2 He continues that it is not time that links all events in Sebald’s writing but that “one factor holds all this swirling uncertainty together, the character of the narrator, and the pattern of his movements.” 3 The text can arguably be considered a representation of the narrator’s mind; confused and unaware, it is a vessel detached from spatial and temporal restraints.

Thomas Bernhard is quoted by Firebrace saying “We cannot say we think, in the way we walk, just as we cannot say we walk, in the way we think, because we cannot walk in the way we think, cannot think in the way we walk.” 4 Attempting to illustrate this statement, I refer to two images that are placed in-between descriptive moments within ‘Rings of Saturn’, which when read, appear to capture a confusion in space and in time.

On Sebald’s discussion of Somerleyton house, he places an image in-between his description that one can assume to be a snapshot of Somerleyton, although this image is not titled in anyway so this cannot be assured. On studying these images, there seemed to appear the same state of confusion in reality, then of that which appeared in the text itself.

Firebrace mentions that Sebald’s images are often seen to be “of some other world, a sort of spirit world, like ours but located elsewhere, or perhaps already vanished.” 5 This analogy can clearly be seen in this image describing Somerleyton in a number of ways. It seems as if the photograph has been photocopied several times, distorting the image

and removing any association with a time or a place. As Firebrace notes, they also “seem like a replacement for a faulty memory.” 6, which we can relate this thought to certain lines in the text which prove a faultiness in memory. For example, when visiting the Albion Hotel in ‘Rings of Saturn, Sebald writes, “she may have appeared the moment I put down my knife and fork, or perhaps an hour had passed,”7 suggesting confusion in time.

fig 01. W. G. Sebald, “no title” (Photograph, 1998), in W.G. Sebald, The Rings of Saturn (London: The Harville Press, 1998), 34

2. Firebrace and Sebald, “Restless Writing,” 164 3. Firebrace and Sebald, “Restless Writing,” 164 4. Firebrace and Sebald, “Restless Writing,” 171 5. Firebrace and Sebald, “Restless Writing,” 171 6. Firebrace and Sebald, “Restless Writing,” 171 7. W.G. Sebald, The Rings of Saturn (London: The Harville Press, 1998), 43

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confusion_in

Continuing to the next page in ‘The Rings of Saturn’, an alternative understand of a sense of confusion is presented by the image of the Chinese quail trapped in a state of dementia.

Here we see Sebald use the quail to further establish a loss in the concept of time and space as he describes the bird running to and fro along the edge of its cage, as if it could not comprehend how­ it­ had­ got­ into­ this­ hopeless­ fix. 8 The bird expresses no emotional­validation­and­making­it­difficult­to­decipher­its­true­ thoughts. Again, here I see this image as acting as a dream like encapsulation of meaning behind Sebald’s descriptions.

W. G._Sebald

Confusion is an element of W. G. Sebald’s writing could be argued, keeps hold of the rhythm in which one reads his work, which is likened to the experience of walking.

William Firebrace notes that Sebald does not use time in a conventional nor linear way, but instead the reader experiences time through series of encounters with displaced people and landscapes of uncertain locations. 2 He continues that it is not time that links all events in Sebald’s writing but that “one factor holds all this swirling uncertainty together, the character of the narrator, and the pattern of his movements.” 3 The text can arguably be considered a representation of the narrator’s mind; confused and unaware, it is a vessel detached from spatial and temporal restraints.

Thomas Bernhard is quoted by Firebrace saying “We cannot say we think, in the way we walk, just as we cannot say we walk, in the way we think, because we cannot walk in the way we think, cannot think in the way we walk.” 4

fig 02. W. G. Sebald, “no title” (Photograph, 1998), in W.G. Sebald, The Rings of Saturn (London: The Harville Press, 1998), 37

Ed Ruscha - Photobooks

The information man notices, but does not obviously judge, leaving the situation and choice to carry bathos.1 1. Sarah Garland, “Picturing Distance: Ed Ruscha’s Los Angeles Photobooks.” Journal of American Studies 54 (2020): 477

Extract 04. Closeness of Event My­ first­ reading­ of­ Eduardo­ Cadava’s­ ‘Words­of­Light’­allowed­for an intriguing introduction to the concept of a closeness to an event, an insight into what it truly means to be close to a phenomenon.

Cadava brings to the surface an observation from Ernst Jünger, highlighting the highly media driven nature of our society, in an age “so informed about itself-with so many images of itself-there has at the same time never been an age that has “known so little about itself ””. 2 This invites one to question the role of photography in truly understanding the world and how ­it ­has ­the ­potential ­effect ­of ­stripping ­us ­of ­a ­more accurate­understanding of event moments.

Grasping the world as an image does not mean having the world at hand1 1. Eduardo Cadava, Words of Light: Thesis on the Photography of History.

(Princeton, New Jersey: Princeton University Press, 1997), xxvii

Key Terminology Closeness:

1. the quality of being only a short distance away or apart in space or time.

2.­the­quality­of­affection­or­intimacy­in­a­relationship.

Event:

1. a thing that happens or takes place, especially one of importance.

References 1. Cadava, Eduardo. Words of Light: Thesis on the Photography of History. Princeton, New Jersey: Princeton University Press, 1997.

Figures fig­01.­The­Illustrated­London­News,­“the­illustrated­london­news­august­21st­1954­ duke of edinburgh,” Print. The Illustrated London News, 1954. Image from: https:// www.tilleysvintagemagazinessheffield.com/product/the-illustrated-london-newsaugust-21st-1954-duke-of-edinburgh/

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closeness_of_event

Eduardo_Cadava

My­first­reading­of­Eduardo­Cadava’s­‘Words­of­Light’­allowed­ for an intriguing introduction to the concept of a closeness to an event, an insight into what it truly means to be close to a phenomenon. Cadava brings to the surface an observation from Ernst Jünger, highlighting the highly media driven nature of our society, in an age “so informed about itself-with so many images of itself-there has at the same time never been an age that has “known so little about itself””. 2 This invites one to question the role of photography in truly understanding the world and how­it­has­the­potential­effect­of­stripping­us­of­a­more­accurate­ understanding of event moments.

Jünger starts to demonstrate the distancing of events by saying “in many cases, the event itself is completely subordinated to its “transmission”; to a great degree, it has been turned into an object.” 3 The ability to distribute an event through the medium of mass media and photography has allowed the audience for a particular event to grow in size and also become instantaneous. We may be reading about an event that happened on the other side of the world, within hours or even minutes of such occurrence of that event. But with an experience so saturated by the media, can one­truly­grasp­the­significance­of­what­one­sees?­ Cadava quotes Walter Benjamin as he notes our desire to bring events, or event ‘objects’ as Jünger describes them, spatially and humanly closer through the act of reproduction of event.

However, in doing so, we pry these objects from its shell and loose the uniqueness of such a moment. 4 This begs the question; is our personal perception and experience of an event therefore reduced? By using a prescribed reproduction of an image, it is no longer one’s own memory being used to recall an event and therefore our personal comprehension must, to an extent, be skewed.

Providing an insight into the physicality of photographic representation of events, Cadava notes Kracauer in writing about illustrated newspapers in his 1927 essay ‘Photography’, presenting­the­argument­that­“If­it­were­offering­itself­as­an­aid­ to memory, then memory would have to determine the selection.

But­the­flood­of­photos­sweeps­away­the­dams­of­memory.” 5 This perhaps suggests that, ironically, one’s desire for a closeness to an event, in addition to the media’s ability to mass reproduce event reading, has in fact distanced us further from the event.

2. Cadava, Words of Light, xxvii

fig 01.The Illustrated London News, “the illustrated london news august 21st 1954 duke of edinburgh”, (Print, The Illustrated London News, 1954). Image from: https:// www.tilleysvintagemagazinessheffield.com/product/the-illustrated-london-news-august21st-1954-duke-of-edinburgh/

Cadava, quoting Kracauer again, notes that through a withdrawal of understanding, the meaning of photography becomes about a force of interruption. If there is no event for this interruption it is because the world’s ‘photographability’ has become the condition in which events are perceived. Kracauer writes, ‘the significance­of­photography­lies­not­with­its­ability­to­reproduce­ a given object but rather with its ability to tear it away from itself,” 6 to which suggests that, in today’s society, photography can become a more powerful tool in falsifying an event that providing meaning.

Eduardo Cadava, Words of Light, xxvu1

3. Cadava, Words of Light, xxii 4. Cadava, Words of Light, xxv 5. Cadava, Words of Light, xxvi

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Selected References

1997.

Selected References 1. Sebald, W. G. and Firebrace, William. “Restless Writing”, AA Files Winter 2001, 45/46 (2001): pp163-173. Accessed May 6, 2021. https://www.jstor.org/stable/29544268 2. Sebald, W. G. The Rings of Saturn London: The Harville Press, 1998.

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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1. Garland, Sarah. “Picturing Distance: Ed Ruscha’s Los Angeles Photobooks.” Journal of American Studies 54 (2020): 3, 470-491.

2. Quick, Jennifer. “Pasteup Pictures: Ed Ruscha’s Every Building on the Sunset Strip”, The Art Bulletin 100, 2 (2018): pp.125-152

Figures fig­01.­Ruscha,­E.­“Every­Building­on­the­Sunset­Strip”.­Photograph.­Los­Angles,­ 1966. Image taken from: https://artmuseum.princeton.edu/collections/objects/13606 fig­02.­Ruscha,­E.­“Standard,­Amarillo,­Texas”.­Book­page.­Twentysix­Gasoline­ Stations, 1962. Images taken from: https://loeildelaphotographie.com/en/ed-ruschavarious-small-books/

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carrying_bathos

Ed_Ruscha

In ‘Picturing Distance’, Sarah Garland proposes interesting grounds­for­reflection­as­she­introduces­‘The­Information­Man’,­ a term created by Ed Ruscha, as a man who “notices, but does not obviously judge, leaving the situation and choice of focus to carry bathos” 1.­Bathos­meaning,­an­effect­of­anticlimax­created­ by an unintentional lapse in mood from the sublime to the trivial or ridiculous. 2 Becoming intrigued by the term ‘bathos’, this journal attempts to understand the way in which Ed Ruscha’s condition of viewing that he sets up, allows for moments of bathos to occur.

Looking at Garland’s essay ‘Picturing Distance’ Ruscha seemingly creates distance within his work in two distinct ways. Firstly, Garland notes that Ruscha attempts to remove human emotion by setting up his images from a non-human standpoint.3 This could be from situations such as a truck in ‘Every Building on the Sunset Strip’ or from hip height in an image labelled ‘Whiting Bros., Near Ludlow, California’ in ‘Twenty-six gasoline stations’. Secondly, Ruscha attempts to remove a privileged status through authorship from his images, as Garland notes, “presenting photographs as a performative fulfilment­of­a­premise­rather­than­as­the­capture­of­a­privileged­ instant.” 4 Through such an approach, this distancing from emotion and privilege in Ruscha’s images could be seen to create room for such moments of bathos to occur, whether intentional or not.

As Ruscha removes human emotion from his photographs, he allows a certain obviousness to take place, perhaps being conveyed as an image of information. “Ruscha’s works are a satire of the notion of obviousness itself.” 5 Moments that Ruscha sets up are playful but also direct, sometimes deemed potentially­unnecessary.­By­definition,­bathos­is­unintentional,­ however, arguably, it could be said this way of working plays to Ruscha’s style of, as Garland describes a ‘non-style’. 6 If this were the case, one might assume this anticlimactic intent in Ruscha’s work could in fact stem from his challenging of art objects­ privileged­ status­ and­ commodification.­ ­ Here­ Ruscha­ could be using photography as information rather than art as he has­stated,­“photography­is­dead­as­a­fine­art;­its­only­place­is­in­ the commercial world, for technical or information purposes.” 8 1. Sarah Garland, “Picturing Distance: Ed Ruscha’s Los Angeles Photobooks.” Journal of American Studies 54 (2020): 477 2. Oxford Dictionary, s.v. “Bathos,” accessed May 6, 2021, https://languages.oup.com/google-dictionary-en/ 3. Garland, “Picturing Distance,” 476 4. Garland, “Picturing Distance,” 473 5. Garland, “Picturing Distance,” 478

fig 01. E. Ruscha, “Every Building on the Sunset Strip,” (Photograph, Los Angeles, 1966)

6. Garland, “Picturing Distance,” 475 7. Jennifer Quick, “Pasteup Pictures: Ed Ruscha’s Every Building on the Sunset Strip”, The Art Bulletin 100, 2 (2018): 125 8. Garland, “Picturing Distance,” 476

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carrying_bathos

Jünger starts to demonstrate the distancing of events by saying “in many cases, the event itself is completely subordinated to its “transmission”; to a great degree, it has been turned into an object.” 3 The ability to distribute an event through the medium of mass media and photography has allowed the audience for a particular event to grow in size and also become instantaneous. We may be reading about an event that happened on the other side of the world, within hours or even minutes of such occurrence of that event. But with an experience so saturated by the media, can one ­truly ­grasp ­the ­significance ­of ­what ­one ­sees?­

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GENERAL CRITERIA

Bathos: 1.­(especially­in­a­literary­work)­an­effect­of­anticlimax­created­by­ an unintentional lapse in mood from the sublime to the trivial or ridiculous.

References

Eduardo Cadava - Words of Light

of History. Princeton, New Jersey: Princeton University Press,

8. Sebald, The Rings of Saturn, 36

Key Terminology

closeness_of_event

1. Cadava, Eduardo. Words of Light: Thesis on the Photography

This confusion begins to feel as a set up to inhabit the mind of the walker. If such confusion was not laced through the text, as Sebald has provided, one could in fact start to associate images and­descriptions­to­specificity­of­time­and­place.­

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Extract 05. Carrying_Bathos carrying_bathos

Ed_Ruscha

Following this, Garland notes Eleanor Antin’s observation that one would assume that the someone who takes photographs of twenty-six gasoline stations would have some opinion on the subject. 9 However, this is not the case with Ruscha and by setting up such a title yet having no opinion on the content of the photographs inside, one could argue that this set-up contains bathos.

We may perhaps also experience an intentional or unintentional set up of bathos in Ruscha’s layout of his books. The way in which Ruscha sets the reader up for a new and exciting way of reading creates a unique and sublime moment. Taking ‘Every Building on the Sunset Strip’ as a prime example, we are presented with a series of folded elements that unravel before us, only to reveal a collection of photographs that are in themselves exceptionally banal.­ A­ series­ of­ flat,­ emotionless­ images­ of­ what­ only­ just­ managed to be called architecture, conveying no artistic metaphors to the reader. Bathos has been created.

fig 02. E. Ruscha, “Standard, Amarillo, Texas,” (Book page, Twentysix Gasoline Stations, 1962)

9. Garland, “Picturing Distance,” 478

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Selected References 1. Garland, Sarah. “Picturing Distance: Ed Ruscha’s Los Angeles Photobooks.” Jour- nal of American Studies 54 (2020): 3, 470491.

In ‘Picturing Distance’, Sarah Garland proposes interesting grounds ­for reflection ­as ­she ­introduces ­‘The Information ­Man’,­a term created by Ed Ruscha, as a man who “notices, but does not obviously judge, leaving the situation and choice of focus to carry bathos” 1.­Bathos ­meaning, ­an ­effect ­of ­anticlimax created­by an unintentional lapse in mood from the sublime to the trivial or ridiculous. 2 Becoming intrigued by the term ‘bathos’, this journal attempts to understand the way in which Ed Ruscha’s condition of viewing that he sets up, allows for moments of bathos to occur.

Looking at Garland’s essay ‘Picturing Distance’ Ruscha seemingly creates distance within his work in two distinct ways. Firstly, Garland notes that Ruscha attempts to remove human emotion by setting up his images from a nonhuman standpoint.3 This could be from situations such as a truck in ‘Every Building on the Sunset Strip’ or from hip height in an image labelled ‘Whiting Bros., Near Ludlow, California’ in ‘Twenty-six gasoline stations’. Secondly, Ruscha attempts to remove a privileged status through authorship from his images, as Garland notes, “presenting photographs as a performative fulfilment­of a­ ­premise rather ­than ­as­ the­ capture ­of ­a ­privileged­ instant.” 4

2. Quick, Jennifer. “Pasteup Pictures: Ed Ruscha’s Every Building on the Sunset Strip”, The Art Bulletin 100, 2 (2018): pp.125-152

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STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

Essay Abstract Capturing Yardhouse

ESSAY. ‘YardHouse: Through Gestures’ Brief Extract

b.

An illustrated essay that explores an issue of your choice, arising from the seminars and readings. The essay is not intended to be a comprehensive analysis or overview of the material covered in the seminar option, but rather an investigation of a specific topic connected to it that interests you.

Yardhouse was a temporary building in East London that in the years it stood, was excessively photographed due to the fact that its front façade made the perfect backdrop for an Instagram photo. The façade was In his book ‘Gestures’ Vilém Flusser writes “If someone points continuously photographed in a way that suited the situation of viewing to­a­book­with­his­finger,­we­could­know­all­the­possible­causes­ images through Instagram, which has been set up by the platform. This essay and still notattempts understand the understand it, the onegestures to explore this gesture. situation of To viewing, by picking apart 5 Inimage. the case of photography, must­know­its­“significance.” involved with creating the In his book ‘Gestures’, Vilém this Flusser describes thecould situationexist of photographing through a series of gestures. is a phenomenon that in every photograph.

We do Here, I will use the work of Flusser to grasp an understanding of how to not know the gesture of the photograph until the intention isanalyse a situation through gestures, applying this understanding to the gestures that expressed to appear us, and as Flusser notes, gestures may either be a in one photograph taken in front of the Yardhouse, which has been 6 Therefore, if we start to uncover state of mindused or an onexpression.

Instagram.

the­ significance­ of­ certain­ elements­ in­ a­ photograph,­ we­ may­ start to understand the gestures that are contained within an image, and perhaps distinguish between states of mind and expression. Selected Bibliography

1. Benedikt, Michael. Cyberspace: First Steps. Massachusetts: The MIT Press,

I want to discuss the gestures within the situation of the 1991.

Yardhouse and its involvement with Instagram, looking at the role that the 2. front façade plays“Instant in becoming a suitable object to FitzGerald, Emmett.

Gramification,” Radiotopia: 99% Invisible.

Podcast audio.

Juna2020.

Accessed 6, 2021. https://99percentinvisible.org/ be photographed for such situation of May viewing. episode/instant-gramification/

From this point in the essay, I will identify the front façade of the 3. Flusser, Vilém. Into the Universe of Technical Images. Minneapolis: University Yardhouse simply as, ‘the wall’. of Minnesota Press, 2011

Reflective Response The essay continued my interest how we read photographs and took a specific focus on the reading of photographs through social media, specifically Instagram. I was able to focus on a single image and analyse the reading of this image to a great degree, through Vilém Flusser’s ‘Gestures’. I found the rhythm of writing something I was inexperienced at and therefore found it thoroughly enjoyable analysing a text and image from a variety of angles without being conclusive.

4. Flusser, Vilém. Gestures.

Minneapolis: Minnesota By playing close attention to one of the University photos ofposted onPress, 2014 Instagram that is associated with the wall, I can start to pick Francisca González, María. “Yardhouse/Assemble.” Archdaily, 201. Accessed apart certain5.gestures that appear within the image. I must note May 5, 2021, https://www.archdaily.com/527175/yardhouse- assemble that­ I­ am­ speaking­ here­ of­ a­ specific­ photographic­ moment­ that exists on6.the Instagram platform, toKeynote architecture.

HausderKunst, “Haus der Kunst:relating Symposium: Lecture: I Georges Didi-Huberman (09.06.12),” Youtube video, 42.41. Posted by cannot of course speak for the entire collection of photographs Jun 9,of2012.

Mayinvolved 7, 2021. https://www. youtube.com/ on Instagram“HausderKunst.” when I speak theAccessed gestures with the watch?v=qQq5BOP96TM particular image here.

7. Mansoor, Jaleh. “Ed Ruscha’s “One-Way Street””, October, Winter, 2005 111, (Winter, 2005): pp.127-142 8. Yale MFA, “Q&A with Stephen Shore and Gregory Crewdson,” YouTube video, 59:41. Posted by “YaleMFAPhotography.” Apr 20, 2020. Accessed May 7, 2021. https://www.youtube.com/watch?v=LXpQ1wCH7mU 9. Quick, Jennifer. “Pasteup Pictures: Ed Ruscha’s Every Building on the Sunset Strip”, The Art Bulletin 100, 2 (2018): pp.125-152

G.Styles, ‘unicorn’s bedroom wall’ (photograph, Instagram, 2016). fig 03. G. Styles, “unicorn’s bedroom wall”, (photograph, Instagram, 2016)

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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DESIGN REPORT

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

Yardhouse Assemble

Image: ‘YardHouse / Assemble’ ArchDaily

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

In­ 2012,­ the­ idea­ for­ an­ affordable­ workspace­ in­ a­ newly­ accessible part of Stratford, was born from London based architecture studio; Assemble. The concept was to create a building that could be easily de-mounted and re-assembled in other locations, given the short life span of the industrial site that it was built on. The building, which took the name ‘Yardhouse’, was constructed of a lightweight timber frame, had a large open plan space for collaborative working, plenty of natural light, natural ventilation and a front façade which was clad from colourful concrete tiles that were handmade on site.1 As a tagline for the building, a description from Archdaily states that, “the building is seen as a prototype for high quality newbuild­affordable­workspace­provision.” 2

Yardhouse

However, all of this aside, there was a certain element of the building that captured and intrigued the eyes of the world more than any other of the key drivers for the design; that being, the front façade. 3

_through_gestures

Essay Extract / Gesture Of Obeying Direction

Made from pastel coloured concrete tiles, arranged in a pattern similar­ to­ Marcus­ Pfister’s­ Rainbow­ Fish,­ the­ building­ stands­ out­ among­ its­ grey­ industrial­ neighbours.­ Bold­ but­ flat,­ the­ tiles­are­hung­from­the­structure­behind,­yet­make­no­effort­to­ reveal the way in which they are hung, removing the intricacy of their construction. Each of the concrete tiles, identical in size but varying in a selection of pastel colours, are organised with an apparent lack of decision to their positioning among their adjacent counterparts. A close inspection reveals a tactile texture, demonstrating craft and consideration with each hand made cut. The façade gives no indication of the positioning of the floors­that­sit­within­the­building,­allowing­the­tiles­to­stretch­to­ each corner of the outline of the building, the only interruption being the double door entrance. This gives an almost defensive, barricading connotation to the front wall.

Abstract Yardhouse was a temporary building in East London that in the years it stood, was excessively photographed due to the fact that its front façade made the perfect backdrop for an Instagram photo. The façade was continuously photographed in a way that suited the situation of viewing images through Instagram, which has been set up by the platform. This essay attempts to explore this situation of viewing, by picking apart the gestures involved with creating the image. In his book ‘Gestures’, Vilém Flusser describes the situation of photographing through a series of gestures. Here, I will use the work of Flusser to grasp an understanding of how to analyse a situation through gestures, applying this understanding to the gestures that appear in one photograph taken in front of the Yardhouse, which has been used on Instagram.

In his essay ‘The Gesture of Photographing’ Flusser writes of a situation where he must describe the gesture of photography without using photographic terminology. He describes a photographer circling around a man smoking a pipe, intending to photograph the situation. Flusser writes:

fig 02. Assemble, “Yardhouse”, (photograph, 2014)

This particular façade took the attention of dozens of visitors every week, all coming to take their photo in front of the colourful wall. There was a certain charm to the wall that contained a­ series­ of­ elements­ perfect­ for­ the­ specific­ use­ of­ one­ social­ media platform, Instagram. 4 The wall was repeatedly captured, cropped,­flipped,­shared,­scaled,­hidden­and­revealed,­to­a­point­ that this front wall could perhaps no longer be associated with the building it initially attached itself to.

1. María Francisca González, “Yardhouse/Assemble.” Archdaily, 2014, accessed May 5, 2021, https://www.archdaily.

4. Emmett FitzGerald, “Instant Gramification.”

com/527175/yardhouse-assemble 2. Francisca González, “Yardhouse/Assemble.”

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fig 01. Instagram “Instagram Wall with the Geotag ‘Sugarhouse Studios’,” (Screenshot, Instagram, 2021)

3. Emmett FitzGerald, “Instant Gramification,” Radiotopia: 99% Invisible, podcast audio, Jun 2020, accessed May 6, 2021. https://99percentinvisible.org/episode/instant-gramification/

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Yet, she clearly did not take the photograph, and here we understand another person is involved with the making of this­ image.­ This­ second­ person­ appears­ in­ a­ subtle­ reflection­ of the photographed subjects sunglasses, giving an indication of the person who truly captured this photograph. This then, introduces a third photographed subject to the image, the photographer themselves.

Capturing Yardhouse In his book ‘Gestures’ Vilém Flusser writes “If someone points to­a­book­with­his­finger,­we­could­know­all­the­possible­causes­ and still not understand the gesture. To understand it, one must­know­its­“significance.” 5 In the case of photography, this is a phenomenon that could exist in every photograph. We do not know the gesture of the photograph until the intention is expressed to us, and as Flusser notes, gestures may either be a state of mind or an expression.6 Therefore, if we start to uncover the­ significance­ of­ certain­ elements­ in­ a­ photograph,­ we­ may­ start to understand the gestures that are contained within an image, and perhaps distinguish between states of mind and expression.

In his essay ‘The Gesture of Photographing’ Flusser writes of a situation where he must describe the gesture of photography without using photographic terminology. He describes a photographer circling around a man smoking a pipe, intending to photograph the situation. Flusser writes:

By playing close attention to one of the photos posted on Instagram that is associated with the wall, I can start to pick apart certain gestures that appear within the image. I must note that­ I­ am­ speaking­ here­ of­ a­ specific­ photographic­ moment­ that exists on the Instagram platform, relating to architecture. I cannot of course speak for the entire collection of photographs on Instagram when I speak of the gestures involved with the particular image here.

fig 04. G. Styles, “unicorn’s bedroom wall”, (photograph, Instagram, 2016)

The description that follows captures my own understanding of the image as I see it. From this I hope to reveal such gestures in the image.

At­ first­ look­ I­ see­ two­ subjects­ that­ are­ being­ photographed­ here, the person standing in the frame and the wall that stands behind.

Finally, the frame of the photograph has been decided in a way as to not reveal the scale of the wall behind the photographed subject.­ The­ border­ neatly­ defines­ the­ tiles­ within­ the­ frame,­ giving no indication as to where they end or as to where they begin. The tiles could stop just outside the frame or could continue for another 100m in all directions. The only scale we can associate ourselves with, is the size of the tiles compared to the size of the person in the image.

Continuing his description, Flusser explains that by observing the photographers gestures, we notice that he is not aware of the movements he is making. 8 He notes that “we see gestures that very clearly “indicate” not only attention directed toward the­ man­ on­ the­ chair­ but­ also­ a­ reflective­ distance­ from­ that­ attention.” 9

From this description I can select a number of nouns that suggest the gestures involved with this image.

By looking at the photograph of the Yardhouse, I notice that the photographer is also perhaps unaware of their involvement with the photograph as they have made no decision to remove themselves­ from­ the­ image.­ In­ this­ specific­ photograph,­ the­ sense of direction is heightened, as I read the photographers intent­to­capture­direction­through­their­own­reflection.­

Direction, Audience, Scale, Depth

Momentarily turning my attention to the information that surrounds the image on Instagram, I understand that the person who posted this photograph is the one standing in frame. I see the small personal photo next to the name Gemma Styles and can quickly read that it is the same person. The styling and positioning of the name, gives a strong suggestion that this person owns this photograph, and that in a sense, she has taken it.

7. Flusser, Gestures, 74

5. Vilém Flusser, Gestures (Minneapolis: University of Minnesota Press, 2014), 2

8. Flusser, Gestures, 75

6. Flusser, Gestures, 5

9. Flusser, Gestures, 76

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Therefore, to capture the gesture I see here, there is a situation of viewing where, as the observer of the photograph, I am looking at both photographed subjects looking at the photographer (which in itself is a third photographed subject) looking at the photographed subjects. All situations of looking happening with the same sense of direction.

In the situation of the Yardhouse, the smoker in Flusser’s situation becomes both the woman and the wall, and the photographer­becomes­the­person­reflected­in­the­sunglasses.­ Here, as the observer, I am drawn to focus my intention on the photographed subject. The photograph suggests a direction that allows me to focus nowhere else except these two subjects.

Additionally, if I focus my intention on the photographer, I notice the photographer’s intent to capture this direction as the photographer aligns themselves with the direction of both the wall and the woman.

fig 05. Instagram, “Information of Instragram”, (Screenshot, Instagram, 2021)

fig 03. G. Styles, “unicorn’s bedroom wall”, (photograph, Instagram, 2016)

Connecting this analysis to Flusser’s role of the technical image from ‘Into the Universe of Technical Images’, he notes that the­ technical­ image­ finds­ its­ audience­ through­ an­ intensely­ projective orientation. 10­ I­ find­ this­ same­ intense­ projection­ being set up with the photograph of the Yardhouse, as again the image allows for no other direction of viewing than the one that faces back to the photographer and to the observer.

“If we set out to describe his path, then for us he becomes the main point of the scene, and the smoker becomes the explanation for the way he is circling around the middle of the image. That is noteworthy, for it shows that the situation is determined not so much by the relationships among the constituent elements as by the observer’s intentions.” 7

The­image­also­appears­flat,­with­very­little­depth­or­shadows­ that might indicate a direction of the sun or a location in the world.­ The­ colour­ of­ the­ tiles­ is­ also­ flat,­ although­ varying­ in­ dull pastel colour, have no variation in contrast or depth.

From this point in the essay, I will identify the front façade of the Yardhouse simply as, ‘the wall’.

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Gesture of obeying direction

I also notice a clear direction in the image that is suggested by all photographed subjects, the person being photographed, the wall and the photographer. All subjects are either looking directly at the camera and back to the audience, or in the case of the photographer, looking at the subjects looking back to the camera. In the case of the wall, the tiles themselves suggest a direction­ looking­ towards­ the­ floor,­ but­ this­ is­ a­ more­ subtle­ gesture than the orientation of the tiles that align themselves with the direction that the lens points itself in.

I want to discuss the gestures within the situation of the Yardhouse and its involvement with Instagram, looking at the role that the front façade plays in becoming a suitable object to be photographed for such a situation of viewing.

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10. Vilém Flusser, Into the Universe of Technical Images. (Minneapolis: University of Minnesota Press, 2011), 52

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“If we set out to describe his path, then for us he becomes the main point of the scene, and the smoker becomes the explanation for the way he is circling around the middle of the image. That is noteworthy, for it shows that the situation is determined not so much by the relationships among the constituent elements as by the observer’s intentions.” 7 In the situation of the Yardhouse, the smoker in Flusser’s situation becomes both the woman and the wall, and the photographer­becomes­the­person­ reflected­in­the­sunglasses.­Here, as the observer, I am drawn to focus my intention on the photographed subject. The photograph suggests a direction that allows me to focus nowhere else except these two subjects. Additionally, if I focus my intention on the photographer, I notice the photographer’s intent to capture this direction as the photographer aligns themselves with the direction of both the wall and the woman.

By looking at the photograph of the Yardhouse, I notice that the photographer is also perhaps unaware of their involvement with the photograph as they have made no decision to remove themselves­from­ the­image.­In­this­specific­photograph,­the­sense of direction is heightened, as I read the photographers intent­ to­ capture­ direction ­through­ their ­own­ reflection.­ Connecting this analysis to Flusser’s role of the technical image from ‘Into the Universe of Technical Images’, he notes that the­technical­image­finds­its­ audience­through­an­intensely­projective orientation.

10­I­find­this­same­intense­projection­being set up with the photograph of the Yardhouse, as again the image allows for no other direction of viewing than the one that faces back to the photographer and to the observer.

Therefore, to capture the gesture I see here, there is a situation of viewing where, as the observer of the photograph, I am looking at both photographed subjects looking at the photographer (which in itself is a third photographed subject) looking at the photographed subjects. All situations of looking happening with the same sense of direction.

7. Flusser, Gestures, 74 8. Flusser, Gestures, 75

Gesture of addressing the audience Somewhat related to the gesture of obeying direction, the gesture­of­addressing­the­audience­is­related­specifically­to­its­ intention for use on Instagram.

The photographer already has a clear intention of manipulation, as the manipulation required for the situation of viewing through Instagram has already been decided by those who have been to Yardhouse before, captured the wall and posted it.

As Flusser notes within ‘The Gesture of Photographing’, when we observe a photographic moment, the situation is being setup by the observer 13, and here the observer sets-up the situation by pre-determining the correct manipulation for its use on Instagram. The woman in the photograph is addressing the observer in the act of posting this photograph on Instagram.

Gesture of flattening depth

An attempt to remove a clearer idea of scale is another gesture that contributes towards the photograph I am analysing.

Revisiting the description of the selected image of the Yardhouse, I­noted­that­the­image­appears­flat,­with­very­little­depth.­The­ wall appears almost as if pasted onto the image, like the image has been assembled through two cut out pieces, one the wall, one the woman, glued neatly one on top of the other.

Vilém Flusser claims that it is often the case that it is easier to represent something that is imaginary than something that is­ real,­ noting­ that­ there­ often­ occurs­ an­ “artificiality”­ that­ provides meaning to a state of mind and therefore to life.16 Through the act of moving closer to the wall, the frame starts to remove the reality that the image is attached to, therefore providing an opportunity for the imaginary to form in the mind with where this photographic situation is situated. The gesture of removing scale allows for the wall to no longer exist as part of the architecture of the Yardhouse and can exist as something else.

Here I will refer to the photographer as both the actual photographer, the person holding the camera and the woman in the photograph. This is because the woman in the photograph is the one who has posted the image, so in a sense, she has claimed to have taken the photograph herself, as she claims authorship with the use of her name.

Flusser writes that the gesture of the photographer could be distinguished by three aspects. The search for a place in which to observe the situation being photographed, the manipulation of the situation and the concern over the critical distance that makes it possible to see the success or failure of this manipulation. 11 Flusser suggests, “it is the manipulation that governs the search for the position” 12, and so in order to uncover the gesture of the search for position, I must understand the manipulation of the situation that occurs with photographing Yardhouse for use on Instagram.

Gesture of removing scale

fig 06. Instagram “Instagram Wall with the Geotag ‘Sugarhouse Studios’,” (Screenshot, Instagram, 2021)

In a conversation with Gregory Crewdson, Stephen Shore notes that the position of the frame can drastically alter the meaning of the photograph. He recalls a situation where he stands in front of a landscape apparently untouched by man, however once he moves back six inches, a guardrail is revealed, changing the meaning of the photograph altogether. 17 As Flusser writes “Images don’t show matter; they show what matters,” 18 revealing that there is a clear intention with the photograph of the wall to­reduce­the­image­to­exactly­what­is­necessary.­By­a­specific­ patterning that remains constant across the whole wall, the wall gestures that only a fragment is necessary to recognise the façade.

In ‘Into the Universe of Technical Images’, Flusser notes that “To be intersubjective (to be decoded by others), each image must rest on a code known to a community (initiates).” 14 In the image of the Yardhouse, the photographer has set out to capture such a code in their image, that is decodable by its audience, which is Instagram. Therefore, the gesture of addressing­the­audience­in­the­image,­is­in­itself­a­confirmation­ of a search for a communal code.

When describing the search for a position, Flusser notes there is a dialectic between the goal and the situation and also with various perspectives of the situation, “the gesture of photographing is a movement in search of a position that reveals both an internal and an external tension driving the search forward: this gesture is the movement of doubt.” 15

Due to this gesture that the wall provides, a situation occurs where it can be detached from its true location. Observing the situation in which the wall has been captured across Instagram, I almost always see a reduction to just a few tiles. As I have discussed, the wall is therefore detached from the building behind and the building does not need it to exist anymore for the photograph to carry the same meaning, or ‘code’ as Flusser suggests, that Instagram provides. Recalling a keynote by Didi Huberman he suggests that “what seems incompatible close up, is no longer so at a certain distance and can be used in its very contrast.” 19 An almost reverse occurs here, which in turn allows the wall to become reproducible, which is the case with the image to the right.

In the situation of the Yardhouse, both the position and the manipulation have already been determined by a pre-existing code, set out by the community on Instagram. The only gesture left that contains doubt is that concerning the distance required to capture the situation. Simply by using the predetermined position and manipulation set-up by the observer, here occurs the gesture of addressing the audience.

16. Flusser, Gestures, 7

When curating his book ‘Every building on the Sunset Strip’, Ed Ruscha­needed­a­new­way­of­looking­to­represent­the­flatness­he­ desired to capture in his books.

Jaleh Mansoor notes that Ruscha’s car sets in place the apparatus he uses to engage with his photographed subject.24 With Ruscha, the apparatus is his car, and the photographed subject is the architecture of the Sunset Strip. Jennifer Quick continues, saying that Ruscha’s strip of images that makes up ‘Every building on the Sunset Strip’, represents a counter to modern photography, due to the fact it integrates the technical apparatus used in its production, his car, into the work itself.

Quick notes that in the organisation of the images being banded together, with no sense of depth or recession, the images are able­to­mimic­the­flatness­of­the­world­that­they­capture. 25

Vilém Flusser, through the ‘Gestures of photographing’ claims that “The more information, the less communication”, noting that gestures remain intuitive in the absence of an attached theory. 21 I observe in the image of the Yardhouse that it is this lack of information that the wall provides, stripped down to a repeatable concrete tile consisting in varying colour, that means it is in fact­ the­ wall­ that­ is­ gesturing­ flatness.­ The­ wall­ suggests­ very­ little­notion­other­than­its­flatness­to­me­and­so­I­cannot­look­ for a deeper meaning. Returning to Flusser, he suggests that the less a gesture informs, the more empty it is and the better it communicates, therefore making the gesture more pleasant and requires­less­effort­to­read. 22

As Ruscha must use his car as the apparatus in which he mimics the­flatness­of­the­Sunset­Strip,­in­the­situation­of­the­Yardhouse,­ the photographer must use Instagram as the apparatus in which to capture the gesture that the wall is suggesting. The experience of­viewing­the­photograph­through­Instagram­is­inherently­flat­ and allows for no depth.

This photograph was taken at an architectural exhibition at the Museum of Modern Art in Vienna. Although I am unsure as to whether or not this is a replica of the wall of whether it is in fact the same tiles that have been removed and rebuilt in Vienna, the fact remains the same, it is no longer in Stratford. However, as the observer of the two images, unless a very close inspection is made, I cannot tell that this wall is no longer attached to the Yardhouse. Due to the gesture of removing scale, the wall has been reduced to what we see here, allowing it to appear anywhere.

18. Flusser, Into the Universe of Technical Images, 11

As Michael Benedikt writes, “Through its myriad, unblinking video eyes, distant places and faces, real or unreal, actual or long gone, can be summoned to presence.” 20 The image may always exist through Instagram, even if the actual location where it was created, no longer exists.

25. Quick, Jennifer, “Pasteup Pictures: Ed Ruscha’s Every Building on the Sunset Strip”, The Art Bulletin 100, 2 (2018): 140 26. In a conversation with Ella Chmielewska, she discussed Michael Benedikt defining Cyberspace in a 1998 seminar at McGill University, Montreal. Chmielewska recalls Benedikt describing that we infact do not move through Cyberspace, but remain stationary, with the winds of Cyberspace carrying informarion and pressing it against the flatness of our screens.

The title of the event was Re-configuring Aesthetics.

20. Michael Benedikt, Cyberspace: First Steps. (Massachusetts: The MIT Press, 1991), 2

14. Flusser, Into the Universe of Technical Images, 12

19. HausderKunst, “Haus der Kunst: Symposium: Keynote Lecture: Georges Didi-Huberman (09.06.12),” Youtube

21. Flusser, Gestures, 8

12. Flusser, Gestures, 78

15. Flusser, Gestures, 79

video, 42.41, posted by “HausderKunst.” Jun 9, 2012, accessed May 7, 2021, https://www.youtube.com/

22. Flusser, Gestures, 8

watch?v=qQq5BOP96TM

23. FitzGerald, “Instant Gramification”

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(Minneapolis: University of Minnesota Press, 2011), 52

24. Jaleh Mansoor, “Ed Ruscha’s One-Way Street”, October, Winter, 2005 111, (Winter, 2005): 133

11. Flusser, Gestures, 77 13. Flusser, Gestures, 74

10. Vilém Flusser, Into the Universe of Technical Images.

I­finish­on­a­comparison­that­Stephen­Shore­provides,­relating­ Instagram to the SX-70 28. He notes that Instagram is similar in the way it produces a small, square print the same size as an iPhone screen and produces photographs that aren’t reproducible. 29 The photograph I have explored, would be well suited­to­such­a­condition­of­viewing,­precisely­for­its­flatness.­ If I were to describe the photograph again but in the situation of viewing through a SX-70, perhaps I would arrive at the same observations.

17. Yale MFA, “Q&A with Stephen Shore and Gregory Crewdson,” YouTube video, 59:41, posted by “YaleMFAPhotography,” Apr 20, 2020, accessed May 7, 2021, https://www.youtube.com/watch?v=LXpQ1wCH7mU

9. Flusser, Gestures, 76

The­flatness­that­the­wall­gestures­allow­it­to­be­read­through­ the medium of Instagram. The way in which we move through our­images­is­a­flat­experience,­we­scroll­we­tap,­we­zoom­but­ our­eyes­stay­fixed­to­a­flat­surface. 26­­Defining­Cyberspace,­the­ world in which we experience through a screen, Benedikt writes, “The tablet become a page become a screen become a world.

Everywhere and nowhere, a place where nothing is forgotten and yet everything changes.” 27

This­flatness­is­desirable­for­the­situation­of­the­observer,­who­ reads this image through Instagram. Alexandra Lange suggests that for images that look good on Instagram they should be very simple. They must contain few elements with a pop of colour and the objects that appear in frame should be centred. 23

fig 07. M. Wibaux, “Wall in Mumok, Vienna,” (photograph, 2017)

Continuing his description, Flusser explains that by observing the photographers gestures, we notice that he is not aware of the movements he is making.8 He notes that “we see gestures that very clearly “indicate” not only attention directed toward the­man­ on­ the­ chair­ but­ also­ a­ reflective­ distance­ from­ that­ attention.”9

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27. Benedikt, Cyberspace: First Steps, 1 28. The SX-70 is a Polaroid camera that was popularly used in the 70’s to print quick snapshots of spontaneous moments.

29. Yale MFA, “Q&A with Stephen Shore and Gregory Crewdson.”

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HELENE BINET WORKSHOP

A Chair Another Story GENERAL CRITERIA

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HELENE BINET WORKSHOP

Helene Binet Workshop A Chair Another Story The photographic workshop will happen around a chair, a text and a place/site. The students will each find a chair and photograph it with the intention of bringing out the first feeling associated with this particular chair.

The shoot can be very free and imaginative but the intention should be clear. I will ask each student to present five photographs and to comment on them.

Reflective Response

. . .Newly arrived and quite ignorant of the languages of the Levant, Marco Polo could express himself only by drawing objects from his baggage-drums, salt fish, necklaces of wart hogs’ teethand pointing to them with gestures, leaps, cries of wonder or of horror, imitating the bay of the jackal, the hoot of the owl.

Taking part in the photography workshop run

by Helene Binet was a fantastic experience that I felt ran perfectly with my SCAT module run by Ella Chmiliewska.

The project allowed me to think about photography in from a much more considered angle, which fed into my thinking within SCAT.

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The connections between one element of the story and another were not always obvious to the emperor; the objects could have various meanings

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ISLAND TEMPORALITIES ADRIAN HAWKER // VICTORIA BERNIE

LEARNING OUTCOMES On completion of this course, the student is expected to demonstrate: LO1 (GC 1.3, 2.3, 3.3 GA 2.1 ) The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

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

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

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BRIEF EXTRACT Through drawing, construct and archival research a particular representation of Mont Saint-Michel will develop, a discrete understanding of land and water, rock and abbey that will act as a map and a guide for Fieldwork in Week 5 and beyond.

Transformed through re-drawing and remaking, both the architecture of the Vessel and the architecture of the abbey island will change as the housing and that which is housed become a dwelling, a House of Estrangement as a small, highly developed and finely detailed architecture.

A point from which to articulate a language of structure and environment in detail for the Integrated Pathway students and a spatial material and experiential language for Modular Pathway students. The House of Estrangement looks back to the Bay and the littoral landscape, the Scapeland, of Semester 2’s investigations.

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Mont Saint Michel Across The Mudflats GENERAL CRITERIA

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Brief Extract Semester 1 will follow the narrative sequence of a shipwreck in the Bay of Mont-Saint-Michel. Students will be asked to identify and dismantle a newfound artefact to salvage and reassemble within a critically identified housing in the complex architectural chimera of the island of MontSaint-Michel.

Archival Explorations The archive of Mont Saint Michel contained a series of photographs and etchings provided from various dates in time, with a select few containing a capture of the horizon. Through my finding of a pair of binoculars as an artefact, this lead into an exploration of optics as a way of shipwrecking the island. These images have been mapped onto their position in which they were taken on the island and the adjacent architecture and landscape has been analysed.

Brief Extract Ernest Shackelton’s “Imperial Trans-Antarctic Expedition” 1914

Reflective Response

The ice forced the ship to lean and then, as the hull buckled and cracked open, the crew abandoned it to set up a make-shift but ordered settlement on the ice.

To do so, they harvested materials, furniture and supplies from the collapsing vessel. Eventually, the settlement began to mirror the familiar spatial structure and hierarchy of the lost ship – officer’s quarters, crew dormitories, kitchens, sick bay, laboratories, dark room and dog pens – all gathered around the ship’s boiler, removed and re-purposed for warmth.

Before our visit to Mont Saint-Michel, the archive became the fundamental source of reference for the island commune.

The island is surrounded by sea and silt on all sides of it walls and so has an outward look from all points on the island. Understanding this aspect through the archival photographs allowed me to start to thread together architectural traits of openings that view the horizon found on the island.

This process of fragmenting the island into its view of the horizon becomes my own version of shipwrecking and re-purposing, to imagine the island for a refined purpose of a search for the horizon.

This became a fundamental exploration for the final year thesis project.

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ISLAND TEMPORALITIES

Horizon Through Apertures Mont Saint Michel, an island commune off the North coast of Normandy, surrounds itself by the fluctuating tide of the bay in which it lies. The island, once a key pilgrimage site, has a unique approach in which one will always enter the island from the same direction, and continue the journey up towards the Abbey at the pinnacle.

Before one enters the walls of the island commune, the landscape in which one is situated is vast and open, providing an almost constant offering of the horizon beyond the mudflats. However, as one moves beyond the walls of the commune, the horizon disappears and only starts to re-emerge through certain glimpses, glances and gazes provided by moments of openings across the island.

Through a study of these moments, this project aims to collect and each capturing of the horizon and reassemble them to project onto the North of the bay beyond.

Michael Webb Temple Island The work of Michael Webb in ‘Temple Island’ drove the approach to selective slices of a landscape, through cones of vision, only drawing out what is seen and masking what is hidden from the origin point.

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Glimpses Of A Horizon As one travels from the front gate of the island commune of Mont Saint Michel, the horizon in which one was surrounded by, disappears before them. It is then only captured through various openings around the island.

Each opening can be described as providing either a glimpse, glance of gaze look of the horizon beyond.

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Horizons Mapped to Scale GENERAL CRITERIA

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Brief Extract The architecture itself should derive from an act of Estrangement. Through the trope and device of the shipwreck the architecture’s spatial, material and tectonic characteristics should be informed by the conceptual dismantling and reassembly of your offered vessel, or fragment(s) of that vessel, into the architectural grain of the island of Mont Saint-Michel

Reflective Response Edouard Corroyer’s drawings of Mont Saint-Michel provided a key into understanding the island tectonics. After the visit to the island, I was able to map the photographs I took onto his plan drawing of the island and trace out the thickness and heights of the openings.

This then created a collection of pieces, which became the form in which the house of estrangement was created.

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Brief Extract The initial speculative design proposal will be for a House of Estrangement, the simple function of a dwelling for one person devised within the complex narrative of trying to make sense of a new place. Using the sensibilities, logic and actions of the shipwreck, you are asked to design an architecture that houses and provides for the simple needs of a single person. That architecture itself should be housed within the rich grain of the plan and section of Mont Saint-Michel.

Cosmos House Peter Wilson The creation of Peter Wilson’s Cosmos House inspired the thought of creating a tapestry of a memory of a composition of a bigger whole, by creating an absence of this form through a mask of openings.

Reflective Response The development for the House of Estrangement was arranged not for a specific singular person, but instead for a specific type of person, a pilgrim.

The structural concrete pillars which provided support for the mask, held a series of husks, that each contained a specific task relating to the rituals of a monk.

These were: washing, eating, writing, reading and sleeping.

Each space is accessed via the winding staircase that sits behind the mask.

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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2 4 3

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Level of the Knights Room Plan Drawing 1. Corten Steel Staircase 2. Copper Mask 3. Concrete Eating Husk 4. Concrete Supports

Device For An Aperture

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Finishing The Merveille The location in which the openings of the island are to be collected is situated on the north of the island and lies within an open terrace that once had the intention to occupy the last piece of the Merveille.

The Merveille is a 12th century addition to the Abbey and holds the refectory and cloister.

The new collection of openings from the island, can suggest a finishing that never was, through a culmination of the rest of the island.

Elevation Finishing the Merveille

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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Pilgrimage Cloister The new House of Estrangement sits directly next to the Abbey cloister. The mask acts as extension of the Merveille facade but also of the activity of the ancient cloister.

The cloister, a place to meet and discuss affairs, is now extended into a modern intervention for pilgrims to perhaps discuss their visit, whilst passing one another on the staircase or moving between husk spaces.

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ARCHITECTURAL MANAGMENT, PRACTICE AND LAW

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ARCHITECTURAL MANAGEMENT, PRACTICE & LAW CHRIS FRENCH // LIAM ROSS LEARNING OUTCOMES On completion of this course, the student is expected to demonstrate: LO1 (GC 6.1, 6.2, 11.1, 11.3 GA 2.5, 2.7) An understanding of practice management and codes of professional conduct in the context of the construction industry.

LO2 (GC 6.2, 10.1, 10.2, 11.1, 11.2 GA 2.5, 2.6) An understanding of the roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project.

LO3 (GC 4.3, 6.1, 10.3, 11.1 GA 2.5, 2.6, 2.7) An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

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BRIEF EXTRACT Through this course, we will explore some of the themes identified by the RIBA, in addition to discussing financial and managerial concerns affecting architectural practice. In this way, the course aims to both develop students’ understanding of what it is to be, and what is expected of, an architect, and yet problematise what the profession is, and the assumption that ‘being professional’ is solely about adherence to a statute rather than working in a way that recognises the need for a constant concern for, attitude toward and responsibility for societal and public good. Professional issues and structures will be introduced, and challenged.

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Image: ‘SOM Broadgate Exchange’ ArchDaily GENERAL CRITERIA

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urban compliance Broadgate _London

REGULATORY DRAWINGS. Brief Extract

broadgate tower (STructure) In order to not disrupt the tracks below, the lift and stair cores are located on the North-West side of the building. Due to their positioning, external cross bracing is used to provide substantial support in the event of increased wind loads.

(Approved Document A A1.1)

Broadgate Exchange House Design Completion: 1984 Construction Finished: 1991 Architect: SOM Engineer: SOM

A House for Essex_wrabness

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Architect: FAT Architecture, in collaboration with Grayson Perry Location: Wrabness, North Essex Completed: 2014 Total Area: 148 sqm Programme: Holiday Home

Broadgate Tower Design Completion: 2002 Construction Finished: 2008 Architect: SOM Engineer: SOM

a.

Rural Compliance

broadgate tower 2008

principal tower 2020

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A major site constraint that ran through the site boundary was the existing railways lines, open to the air, running from Liverpool Street Station. The open section of the railway restricted the site from its full use potential. In 2007 Planning permission was granted for a deck structure to cover the existing opening, allowing for a new public plaza.

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The study will look at the following issues in response to building over rail tracks:

Produce two curated drawings studying and describing how a critically selected precedent (or precedents) responds to aspects of the Planning, Building Regulations, Equality Act and/or Construction Design and Management (CDM) regulatory frameworks.1 Explore how these frameworks impact and shape the design of these precedents, or how these precedents work to change, amend or overturn these frameworks.

Structure

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Fire and Access

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View Corridors

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Public Realm

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Noise and Vibration

Described in: (Section 1.6):

This study looks at how development over rail can be shaped by certain constraints surrounding the tracks and where development has had to make modifications or carry out surveys to be approved for development. These will be identified through three buildings constructed over 30 years between 1990 and 2020.

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Principal tower (STructure) Access Statement for Planning Permission March 2011

Principal Tower Design Completion: 2015 Construction Finished: 2020 Architect: Foster + Partners Engineer: WSP

Surrounding the busy interchange of Liverpool Street Station, the Broadgate area was developed in response to an increasing need for development in London. However, an immediate constraint presented itself in certain areas of the development; that of the tracks leading from Liverpool Street station running North-South through the site. Key approaches to policy were introduced and have taken on new forms to transform this complex urban constraint into an opportunity for development.

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1. Air-rights & Over-Rail Development

A House for Essex’s initial refusal of planning permission by Tendring Council (February 2012) was stated as being based on its anticipated disruption to the existing surroundings of, and views from, the Suffolk Coasts and Heaths AONB (Area of Outstanding Natural Beauty). Specifically in relation to its scale and material finishes, the council stated the house would “appear highly visible and incongruous within its setting and therefore detrimental to the sensitive character of the rural location and the AONB.” (Decision Notice, February 2012 Application, pp. 1-2). Moreover, Policy QL9 of the Tendring District Local Plan 2007 states that in order for planning permission to be granted, any new developments must “relate well to its site and surroundings, particularly in relation to its siting, heigh, scale, massing, form, design and materials.”

(Tendring District Local Plan 2007).

Sitting immediately adjacent to the existing tracks and also to the proposed Cross Rail line, a noise and vibration survey was required to be carried out:

FAT architecture responded to this with a reduction of scale and material alteration in their second planning application to assimilate it with views from the AONB accompanied by an emphasis on its dwelling classification (C3); and stripping it of the ‘regular public visits’ previously proposed to a revision that it will have “minimal public accessibility.” (Design and Access Statement, August 2012)

Appendix 11.2: Noise Survey Procedure and Results 2005 Survey

The house was subsequently granted planning permission (August 2012) and in the below points, we examine what we view as the key mechanisms behind this decision.

Principal tower (noise & Vibration)

The survey was carried out between 7 and 11 October 2005, at sites: - Adjacent to the Liverpool Street railway lines (Position U1); and - Adjacent to Hearn Street (Position U2).

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Physical Alterations

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Access Clarification

The vibration survey picked up perceptible vibrations at two positions, both adjacent to the railway lines.

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Relationship to the AONB

Silver Birch Trees - Obscure the proposal for AONB

broadgate tower (STructure) Connecting to the diagonal bracing above and bridging supports that tie the building to the ground. The supports straddle the railway and rest on the underground platforms to avoid disruption of the rail infrastructure.

The Greater London Authority Act 1999 (GLA) created Transport for London (TfL), a statutory body that provides the Mayor greater control over developments surrounding rail infrastructure.

1 2

2. London Plan & The need for Housing Foster+Partners’ Principal Place addresses the need for housing development over rail lines in accordance with The National Planning Policy Framework Section 11 (Points d. and e.): to promote the development of under-utilised land over railway infrastructure and support opportunities to make use of existing airspace across the city.

OBSCURING THROUGH LANDSCAPE REVISIONS Known for his avant-garde and garish art, an architecture heavily inspired by Grayson Perry’s work is somewhat difficult to imagine in a rural, Essex village. Unsurprisingly therefore, the aesthetic was met with some resistance: “utterly bizarre and inappropriate for a prominent rural setting” and a “building that would fit comfortably into Eurodisney” are just a few comments from the Wrabness Public (Public Comments, June 2012).

This unrest, combined with Policy QL9 of the Tendring District Local Plan stating that the “development respects or enhances views” and that it “incorporates important existing site features of landscape, ecological or amenity value such as trees” led to FAT Architecture designing specific landscaping to enhance, and somewhat obscure, the proposal.

As shown in the isometric, trees screen the south and east elevations, obscuring the House for Essex from the residents of Wrabness and those with houses on Blackboy Lane: “The avenue of fruit trees leading to the entrance has been omitted to simplify the relationship of the building to the landscape. The proposed silver birch trees at the entrance to the site have been retained in order to screen parked cars and other vehicles.” (DAS, August 2012, p. 6)

Roof Sculptures - Designed by Grayson Perry

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The experimental basis for Living Architecture’s motivation to create buildings brought to the surface complexities in the rural planning system. Difficulties that were negotiated by the developer and FAT Architecture by both particular design amendments and careful clarification in the second Design and Access Statement (August 2012) to re-frame the project.

broadgate exchange house 1991

The BRB introduced a legal duty to ensure rail operations were financially profitable. With the boom in London office construction in the years following its creation, they were able to redevelop some of their London land through deals with developers. (Bosetti, Nicolas and Hanna, Kat. 2017)

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The commissioning of the house by Living Architecture was a foundational point to the difficulties in passing Tendring Council’s planning process. With the stated intention to create “carefully designed and thought-provoking domestic houses”, Living Architecture “aims to promote, educate and influence discussion about modern architecture, and provide an immersive holiday experience, created by some of the most relevant architects and artists working today.” (Living Architecture, 2021)

across the tracks in two parallel lines are six structural

Since the privatisation of British Rail in 1962 up until its dissolution in 1997, all non-operational land was governed by the British Railways Board (BRB). This subsequently meant that the land above the rail tracks, owned by Network Rail, required consultation with external stakeholders before development.

(Bosetti, Nicolas and Hanna, Kat. 2017)

Parking and Turning Space - Accessibility for All

Exterior Tiling - Coloured to Match the Landscape

ACCESS CLARIFICATION In addition to the Public Comments about aesthetics outlined above, many took umbrage with the disturbance of access to Public Footpath No. 5 - Blackboy Lane: “the track on which the building stands and the roads leading to it will not be able to cope with the traffic which could be generated on ‘occasional viewing days’.” (Public Comments, June 2012). A criteria in the approval of the application, given by the ECC Highways Department in the Delegated Decision Officer Report stated that: “The public’s rights and ease of passage over Public Footpath No5 (Wrabness) shall be maintained free and unobstructed at all times. Reason: To ensure the continued safe passage of pedestrians on the definitive way in accordance with Policy DM 1 and 11 of the Highway Authority’s Development Management Policies February 2011.”

FAT Architecture’s desires to appease the residents and Parish of Wrabness is apparent in the amendments made to their Design and Access Statement shown in Section 7.2: “In respect to objections to the previous application from the Parish Council and local residents, it is not intended to open the house to the public on a regular basis. The proposal is not a public art gallery.” (DAS, August 2012, p. 18). In doing so, FAT Architecture emphasised that although the proposal was heavily inspired and influenced by the works of Grayson Perry, the development remained a Dwelling Classification C3.

Moreover, the parking areas within the House for Essex were provided only for disabled visitors, in accordance with Policy ER16 of the Tendring District Local Plan that “proposals for tourism and leisure use will be permitted provided that: the development is accessible to all potential visitors and user.” (Tendring District Local Plan 2007). In addition to this, a turning area was designed into the site boundary to ensure neighbours and residents of Blackboy Lane would be in no way inconvenienced (DAS, August 2012, p. 18).

broadgate exchange house (Structure) Four parabolic arches that stretch the 78m width of

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the 18 tracks that lie underneath, form the support structure for the entire building. The load is then transferred to foundation pillars which meet the ground either side of the tracks. As a result of this structural solution,

broadgate tower (urban realm) After British Land took over the Broadgate development from Rosehaugh Stanhope, they ensured they followed the same principles set out by the previous developer.

“British Land is after quality architecture, open, not-quite-public space, and efficient floor plates.” (Architects Journal, 2009)

Only 5% of the buildings footprint touches the ground, providing necessary means for access and fire escape.

In the first London plan (2004), Policy 3C.1 Integrating transport and development, states that the Mayor will work with TfL, Strategic Rail Authority, the government, London boroughs and other administrative partners to ensure the integration of transport and development.

The external staircases provide alternative means of escape where access to those internally exceeds 18m (B3 4.44). There is one area of the floor plan not served by two staircases (See Area (A) of Diagram 2.0: Fire Distance Radius: 45m). However, given that 18m is the furthest point a user could be from the central internal escape route in this area, it still complies with Approved document B (B1 3.2).

liverpool street station

River Stour 340m Public Footpath

(Continues alongside site)

Reflective Response

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The two regulatory drawings attempt to make a comparison between urban and rural compliance, analysing unique responses to their settings.

boundary line of suffolk coasts and heaths aonb The AONB boundary line surrounding a House for Essex’s plot of land led to many of the contentious issues in the planning process.

As aforementioned, many members of Wrabness felt the new development would disrupt the natural beauty of the landscape, driving tourism from the area. However, this was also mirrored by Consultants.

Suffolk Coastal Heaths stated in the Delegated Decision Officer Report (September, 2012) that they “do not consider that the developer has gone far enough in considering the local landscape character.” Moreover, the Principal Tree & Landscape Officer expressed that the proposal would “have a detrimental impact on the character and appearance of the AONB when viewed from the northern bank of the Stour and also when viewed from within the proposed extension to the AONB on the southern bank of the Stour.”

Diagram 1.0: Isometric view of structural solutions over rail tracks.

1 2

Urban compliance looks at the challenges with complying within a dense city setting, squeezing itself within tight restrictions of a built environment.

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broadgate exchange house (Fire and Access)

principal place (public realm/Structure)

Due to the building’s large span, the building has had to

Described in:

provide multiple fire exits across the structure. These comply

Access Statement for Planning Permission March 2011 (Section

with the regulation from Approved Document B stating that:

2.1):

Despite these comments, alongside many from the public, the proposal was approved. One must call into question how this occurred. Looking at Policy ER16 of the Tendring District Local Plan, one that concerns Tourism and Leisure Uses, it could be inferred that compromises were made due to the notoriety of Grayson Perry and Living Architecture. Perhaps Tendring Council felt the compromises made to the AONB did not outweigh the level of tourism that would be brought to the area.

“The proposed bridging structure over the railway lines at the east Within an Office building (3) the Maximum travel distance where travel is possible in ‘More than one direction (m)’ is 45m. (Table 2.1 Limitations on travel distance)

side of the site is designed to transform an inaccessible area into a new plaza with high standards of accessibility and inclusive design.”

(2011/0698 Design and Access Statement, 2011)

BlackBoy Lane

Furthermore, the house lies in an area that in 2012 was a proposed extension of the AONB, and now (at the time of writing) the house is within that boundary. Perhaps FAT Architecture and Grayson Perry’s designs inspired by the Essex landscape warrant a House for Essex to now be considered part and parcel of the AONB.

Highlighted in orange: Bridging Structure below Plaza.

TOP: Granted Elevations 1:200 (August 2012) Based on original drawings from FAT Architecture BOTTOM: Refused Elevations 1:200 (February 2012) (based on original drawings from FAT Architecture)

1 Fireproof Intumescent Paint The structure of Broadgate Exchange House is made up of around 7000 tons of Steel, with a large portion of it being exposed to the elements.

Rural compliance looks at the social aspect of its rural setting and analyses how compliance was met by responding to complaints from the public.

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Taken from Approved Document B: Requirement B3 is met by achieving all of the following. a. For defined periods, load bearing elements of structure withstand the effects of fire without loss of stability. b. Compartmentation of buildings by fire resisting construction elements. c. Automatic fire suppression is provided where it is necessary.

ACCESS CLASSIFICATION To further ensure that the new development was in no way negatively impacting the accessibility of the residents and visitors to Wrabness, FAT Architecture specified in the Design and Access Statement that: “Visitors will be encouraged to arrive on foot at the house, and should they wish to arrive by car will be instructed to park in the railway station car park and then walk down to the site via the publicly accessible footpath.” (DAS, February 2012). Not only does this appease the Parish and local residents of Wrabness, but allows visitors to enjoy the beauty of Blackboy Lane.

Broadgate Exchange house meets this by providing a fireproof intumescent paint that expands when heated to extreme temperatures to create a thick insulation layer around the structure.

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Physical Alterations As previously mentionned, the House for Essex went through two planning applications. The main design alterations in the second planning application were amendments to the scale and material. The architect’s intention behind theses changes was illustrated in an Expanded Visual Impact Statement that made the case that to better integrate the new development, it would be beneficial to ensure it was “very hard to discern” from the surrounding landscape. Pages of this Visual Impact Statement that accompanied the DAS can be viewed in the appendix and hint further at the intentional visual obscuring the architects may have tried to push in their application, in order for it to be approved.

Scale Reduction FAT Architecture lowered the roof height of the second proposal, reducing the ridge from 9.8 to 9.4 metres and reduced the width of the building to reduce the total area by 13%. Further to this, the sculptural features on the roof of the house, including the chimney, were reduced by approximately 25% (DAS 2 2.0 Summary of Revisions to the Design). Despite this sounding significant in the statement, the visual reduction, indicated in the elevations above, is relatively small. The impact, however, was more significant in ensuring the approval of the appliaction.

Policy QL11 of the Tendring District Local Plan specifies that “the scale and nature of the development is appropriate to the locality.” (Tendring District Local Plan 2007). A small adjustment in scale, to better fit the proposal to the landscape, aided its planning approval.

Material Amendment The chimney stack and cladding changed from bronze/copper alloy to ceramic tile in the second application, stated as a move “to refine the profile of this element and to tie it visually to the wall elements below” (DAS, August 2012). The colour-split of tiles was also changed from a majority of white to a majority of bottle green in an attempt to harmonise with the surrounding trees. Copper-alloy was also stripped from the window shutters, opting for a dark timber as opposed to copper-alloy on vertical surfaces.

Wrabness RAILWAY STATION CARPARK

principal place (view corridors) Pushed North West, due to the alignment of the Rail tracks, Principal tower is hit by the View Corridor BA Linear View: Westminster to St Paul’s Cathedral.

Wrabness Village Centre

Highlighted in Access Statement for Planning Permission March 2011 (Section 1.3) Shows how the building sits just shy of the acceptable heights line for development, with a section of the tower being hidden by White House Shadow (shown in Fire Escape 45m Distance Radius Diagram 2.0: Fire Distance Radii: 45m (Broadgate Exchange House).

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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dashed red.)

Diagram 3.0: Basement Plan showing Principal Tower and the constraints that define its position.

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LEFT: White tiles used in unsuccessful planning application (August 2012) Based on original drawings from FAT Architecture RIGHT: ’Bottle Green’ tiles used in successful planning application (August 2012) Based on original drawings from FAT Architecture

1:1250 Site Plan

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Surrounding the busy interchange of Liverpool Street Station, the Broadgate area was developed in response to an increasing need for Diagram 1.0: Isometric view of structural over rail tracks. development in London. However, solutions an immediate constraint presented itself in certain areas of the development; that of the tracks leading from Liverpool Street station running North-South through the site. Key approaches to policy were introduced and have taken on new forms to transform this complex urban constraint into an opportunity for development.

broadgate tower (STructure) Connecting to the diagonal bracing above and bridging

2

broadgate exchange house 1991

Urban Compliance

1 Structure 2 Fire and Access 3 View Corridors 4 Public Realm 5 Noise and Vibration

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broadgate exchange house (Fire and Access)

principal place (public realm/Structure)

Due to the building’s large span, the building has had to

Described in:

provide multiple fire exits across the structure. These comply

Access Statement for Planning Permission March 2011 (Section

with the regulation from Approved Document B stating that:

2.1):

broadgate tower 2008

“The proposed bridging structure over the railway lines at the east Within an Office building (3) the Maximum travel distance where travel is possible in ‘More than one direction (m)’ is 45m. (Table 2.1 Limitations on travel distance)

1 2 1. Air-rights & Over-Rail Development Since the privatisation of British Rail in 1962 up until its dissolution in 1997, all non-operational land was governed by the British Railways Board (BRB).

This subsequently meant that the land above liverpool station the railstreet tracks, owned by Network Rail, required consultation with external stakeholders before development. (Bosetti, Nicolas and Hanna, Kat. 2017) The BRB introduced a legal duty to ensure rail operations were financially profitable. With the boom in London office construction in the years following its creation, they were able to redevelop some of their London land through deals with developers. (Bosetti, Nicolas and Hanna, Kat. 2017)

broadgate exchange house (Structure) Four parabolic arches that stretch the 78m width of

4

the 18 tracks that lie underneath, form the support structure for the entire building. The load is then transferred to foundation pillars which meet the ground either side of the tracks. As a result of this structural solution, Only 5% of the buildings footprint touches the ground, providing necessary means for access and fire escape.

DESIGN REPORT

ARCHITECTURAL MANAGMENT, PRACTICE AND LAW

supports that tie the building to the ground. The supports straddle the railway and rest on the underground platforms to avoid disruption of the rail infrastructure.

The BRB introduced a legal duty to ensure rail operations were financially profitable. With the boom in London office construction in the years following its creation, they were able to redevelop some of their London land through deals with developers. (Bosetti, Nicolas and Hanna, Kat. 2017)

and development, states that the Mayor will work with TfL, Strategic Rail Authority, the government, London boroughs and

DESIGN STUDIO C

across the tracks in two parallel lines are six structural

Since the privatisation of British Rail in 1962 up until its dissolution in 1997, all non-operational land was governed by the British Railways Board (BRB). This subsequently meant that the land above the rail tracks, owned by Network Rail, required consultation with external stakeholders before development.

(Bosetti, Nicolas and Hanna, Kat. 2017)

administrative partners to ensure the integration of transport The study will look at the other following issues in and development. response to building over rail tracks:

SCAT

Diagram 1.0: Isometric view of structural solutions over rail tracks.

1. Air-rights & Over-Rail Development

The Greater London Authority Act 1999 (GLA) created This study looks at how development over rail can Transport for London (TfL), a statutory body that provides the Mayor greater control over developments surrounding rail be shaped by certain constraints surrounding the infrastructure. tracks and where development has had to make 2. London Plan & The need for Housing modifications or carry outFoster+Partners’ surveysPrincipal to be approved Place addresses the need for housing development over rail lines in accordance with The National for development. These will bePolicyidentified through Planning Framework Section 11 (Points d. and e.): to promote the development of under-utilised land over railway infrastructure support opportunities to make use of existing three buildings constructed overand30 years airspace across the city. between 1990 and 2020. In the first London plan (2004), Policy 3C.1 Integrating transport

06

The vibration survey picked up perceptible vibrations at two positions, both adjacent to the railway lines.

Surrounding the busy interchange of Liverpool Street Station, the Broadgate area was developed in response to an increasing need for development in London. However, an immediate constraint presented itself in certain areas of the development; that of the tracks leading from Liverpool Street station running North-South through the site. Key approaches to policy were introduced and have taken on new forms to transform this complex urban constraint into an opportunity for development.

side of the site is designed to transform an inaccessible area into a new plaza with high standards of accessibility and inclusive design.”

(2011/0698 Design and Access Statement, 2011)

broadgate tower (urban realm)

broadgate tower (STructure) In order to not disrupt the tracksHighlighted below, the lift stair Bridging cores inand orange: are located on the North-West side of the building.

Due to Structure below Plaza. their positioning, external cross bracing is used to provide substantial support in the event of increased wind loads.

(Approved Document A A1.1)

1

After British Land took over the Broadgate development from Rosehaugh Stanhope, they ensured they followed the same principles set out by the previous developer.

principal tower 2020

Fireproof Intumescent Paint “British Land is after quality architecture, open, not-quite-public structure of Broadgate Exchange House is made up of space, and efficient floor plates.” (Architects Journal, The 2009) around 7000 tons of Steel, with a large portion of it being exposed to the elements.

1

served by two staircases (See Area (A) of Diagram 2.0: Fire Distance Radius: 45m). However, given that 18m is the furthest point a user could be from the central internal escape route in this area, it still complies with Approved document B (B1 3.2).

Described in: Access Statement for Planning Permission March 2011 (Section 1.6): A major site constraint that ran through the site boundary was the existing railways lines, open to the air, running from Liverpool Street Station. The open section of the railway restricted the site from its full use potential. In 2007 Planning permission was granted for a deck structure to cover the existing opening, allowing for a new public plaza.

Taken from Approved Document B: Requirement B3 is met by achieving all of the following. a. For defined periods, load bearing elements of structure withstand the effects of fire without loss of stability. b. Compartmentation of buildings by fire resisting construction elements. c. Automatic fire suppression is provided where it is necessary.

The external staircases provide alternative means of escape where access to those internally exceeds 18m (B3 4.44). There is one area of the floor plan not

Principal tower (STructure)

5

Broadgate Exchange house meets this by providing a fireproof intumescent paint that expands when heated to extreme temperatures to create a thick insulation layer around the structure.

Principal tower (noise & Vibration) Sitting immediately adjacent to the existing tracks and also to the proposed Cross Rail line, a noise and vibration survey was required to be carried out: Appendix 11.2: Noise Survey Procedure and Results 2005 Survey

3

principal place (view corridors)

The survey was carried out between 7 and 11 October 2005, at sites: - Adjacent to the Liverpool Street railway lines (Position U1); and - Adjacent to Hearn Street (Position U2).

Pushed North West, due to the alignment of the Rail tracks, Principal tower is hit by the View Corridor BA Linear View: Westminster to St Paul’s Cathedral.

Highlighted in Access Statement for Planning Permission

The vibration survey picked up perceptible vibrations at two positions, both adjacent to the railway lines.

March 2011 (Section 1.3) Shows how the building sits just shy of the acceptable heights line for development, with a section of the tower being hidden by White House Shadow (shown in dashed red.)

Fire Escape 45m Distance Radius

Diagram 3.0: Basement Plan showing Principal Tower and the constraints that define its position.

Diagram 2.0: Fire Distance Radii: 45m (Broadgate Exchange House).

1

broadgate tower (STructure) Connecting to the diagonal bracing above and bridging across the tracks in two parallel lines are six structural

The Greater London Authority Act 1999 (GLA) created Transport for London (TfL), a statutory body that provides the Mayor greater control over exchange house (Fire and Access) 2 broadgate to the building’s large span, the building has had to developments surrounding railDue infrastructure. provide multiple fire exits across the structure. These comply

1

supports that tie the building to the ground. The supports straddle the railway and rest on the underground platforms to avoid disruption of the rail infrastructure.

4 broadgate exchange house 1991

principal place (public realm/Structure) Described in: Access Statement for Planning Permission March 2011 (Section 2.1):

with the regulation from Approved Document B stating that:

“The proposed bridging structure over the railway lines at the east

2. London Plan & The need for Housing

Within an Office building (3) the Maximum travel distance where travel is possible in ‘More than one direction (m)’ is 45m. (Table 2.1 Limitations on travel distance)

side of the site is designed to transform an inaccessible area into a new plaza with high standards of accessibility and inclusive design.”

(2011/0698 Design and Access Statement, 2011)

Foster+Partners’ Principal Place addresses the need for housing development over rail lines in accordance with The National Planning Policy Intumescent Framework Section 11 (Points Fireproof d. and e.): Paint to promote The structure of Broadgate Exchange House is made up of around 7000 tons of Steel, with a large portion of it being the development of under-utilised land over railway exposed to the elements. infrastructure and support opportunities to make Taken from Approved Document B: Requirement B3 is met by achieving all of the following. use of existing airspace across a.the city.

For defined periods, load bearing elements of structure

Highlighted in orange: Bridging Structure below Plaza.

1 2

broadgate exchange house (Structure) Four parabolic arches that stretch the 78m width of the 18 tracks that lie underneath, form the support structure for the entire building. The load is then transferred to foundation pillars which meet the ground either side of the tracks. As a result of this structural solution,

4

broadgate tower (urban realm) After British Land took over the Broadgate development from Rosehaugh Stanhope, they ensured they followed the same principles set out by the previous developer.

“British Land is after quality architecture, open, not-quite-public space, and efficient floor plates.” (Architects Journal, 2009)

Only 5% of the buildings footprint touches the ground, providing necessary means for access and fire escape.

The external staircases provide alternative means of escape where access to those internally exceeds 18m (B3 4.44). There is one area of the floor plan not

withstand the effects of fire without loss of stability. b. Compartmentation of buildings by fire resisting construction elements. c. Automatic fire suppression is provided where it is necessary.

served by two staircases (See Area (A) of Diagram 2.0: Fire Distance Radius: 45m). However, given that 18m is the furthest point a user could be from the central internal escape route in this area, it still complies with Approved document B (B1 3.2).

In the first London plan (2004), Policy 3C.1 Broadgate Exchange house meets this by providing a fireproof Integrating transport and development, states intumescent paint that expands when heated to extreme temperatures to create a thick insulation layer around the that the Mayor will work with TfL, Strategic Rail structure.

Authority, the government, London boroughs and other administrative partners to ensure the principal place (view corridors) integration of transport and3development.

Pushed North West, due to the alignment of the Rail tracks,

liverpool street station

Principal tower is hit by the View Corridor BA Linear View: Westminster to St Paul’s Cathedral.

Highlighted in Access Statement for Planning Permission March 2011 (Section 1.3) Shows how the building sits just shy of the acceptable heights line for development, with a section of the tower being hidden by White House Shadow (shown in Fire Escape

dashed red.)

45m Distance Radius

Diagram 3.0: Basement Plan showing Principal Tower and the constraints that define its position.

Diagram 2.0: Fire Distance Radii: 45m (Broadgate Exchange House).

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

Exterior Tiling - Coloured to Match the Landscape

DESIGN STUDIO G

(August 2012) to re-frame the project.

Classification C3.

Moreover, the parking areas within the House for Essex were provided only for disabled visitors, in accordance with Policy ER16 of the Tendring District Local Plan that “proposals for tourism and leisure use will be permitted provided that: the development is accessible to all potential visitors and user.” (Tendring District Local Plan 2007). In addition to this, a turning area was designed into the site boundary to ensure neighbours and residents of Blackboy Lane would be in no way inconvenienced (DAS, August 2012, p. 18).

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

06

Exterior Tiling - Coloured to Match the Landscape

AMPL

regular basis. The proposal is not a public art gallery.” (DAS, August 2012, p. 18). In doing so, FAT Architecture emphasised that although the proposal was heavily inspired and influenced by the works of Grayson Perry, the development remained a Dwelling Classification C3.

DESIGN STUDIO D

DESIGN REPORT

Moreover, the parking areas within the House for Essex were provided only for disabled visitors, in accordance with Policy ER16 of the Tendring District Local Plan that “proposals for tourism and leisure use will be permitted provided that: the development is accessible to all potential visitors and user.” (Tendring District Local Plan 2007). In addition to this, a turning area was designed into the site boundary to ensure neighbours and residents of Blackboy Lane would be in no way inconvenienced (DAS, August 2012, p. 18).

ARCHITECTURAL MANAGMENT, PRACTICE AND LAW

Rural Compliance

A House for Essex’s initial refusal of planning permission by Tendring Council (February 2012) was stated as being based on340m its anticipated disruption to the existing surroundings of, River Stour and views from, the Suffolk Coasts and Heaths AONB (Area of Outstanding Natural Beauty). Specifically in relation to its scale Public Footpath (Continues alongside site) and material finishes, the council stated the house would “appear highly visible and incongruous within its setting and therefore detrimental to the sensitive character of the rural location and oasts and heaths aonb ng a House for Essex’sthe plot of AONB.” (Decision Notice, February 2012 Application, pp. 1-2). ssues in the planning process.

Moreover, Policy QL9 of the Tendring District Local Plan 2007 of Wrabness felt the new ral beauty of the landscape, ver, this was also mirrored by states that in order for planning permission to be granted, any new developments must “relate well to its site and surroundings, e Delegated Decision Officer “do not consider that particularly the in relation to its siting, heigh, scale, massing, form, onsidering the local landscape Tree & Landscape Officer design and materials.”

(Tendring District Local Plan 2007). have a detrimental impact on

River Stour 340m Public Footpath

(Continues alongside site)

3

FAT architecture responded to this with a reduction of scale and material alteration in their second planning application to many from the public, the BlackBoy Lane all into question how this it with views from the AONB accompanied by an the Tendring Districtassimilate Local d Leisure Uses, it could be on its dwelling classification (C3); and stripping it of the de due to the notorietyemphasis of re. Perhaps Tendring Council public visits’ previously proposed to a revision that it will ONB did not outweigh‘regular the level the area. have “minimal public accessibility.” (Design and Access Statement, ea that in 2012 was a proposed the time of writing) the house August 2012)

1 Physical Alterations 2 Access Clarification 3 Relationship to the AONB The commissioning of the house by Living Architecture was a foundational point to theRAILWAY difficulties in passing Tendring Council’s Wrabness STATION CARPARK planning process. With the stated intention to create “carefully designed and thought-provoking domestic houses”, Living Architecture “aims to promote, educate and influence discussion about modern architecture, and provide an immersive holiday Wrabness Centrerelevant architects and experience, created by some ofVillage the most artists working today.” (Living Architecture, 2021)

Silver Birch Trees - Obscure the proposal for AONB

The AONB boundary line surrounding a House for Essex’s plot of land led to many of the contentious issues in the planning process.

As aforementioned, many members of Wrabness felt the new development would disrupt the natural beauty of the landscape, driving tourism from the area. However, this was also mirrored by Consultants.

Despite these comments, alongside many from the public, the proposal was approved. One must call into question how this occurred. Looking at Policy ER16 of the Tendring District Local Plan, one that concerns Tourism and Leisure Uses, it could be inferred that compromises were made due to the notoriety of Grayson Perry and Living Architecture. Perhaps Tendring Council felt the compromises made to the AONB did not outweigh the level of tourism that would be brought to the area.

T Architecture and Grayson x landscape warrant a House and parcel of the AONB.

opment was in no way y of the residents and visitors fied in the Design and Access couraged to arrive on foot at the e by car will be instructed to nd then walk down to the site (DAS, February 2012). Not only cal residents of Wrabness, but Blackboy Lane.

boundary line of suffolk coasts and heaths aonb

1

1

Roof Sculptures - Designed by Grayson Perry

BlackBoy Lane

2

TOP: Granted Elevations 1:200 (August 2012) Based on original drawings from FAT Architecture BOTTOM: Refused Elevations 1:200 (February 2012) (based on original drawings from FAT Architecture)

Physical Alterations As previously mentionned, the House for Essex went through two planning applications. The main design alterations in the second planning application were amendments to the scale and material. The architect’s intention behind theses changes was illustrated in an Expanded Visual Impact Statement that made the case that to better integrate the new development, it would be beneficial to ensure it was “very hard to discern” from the surrounding landscape. Pages of this Visual Impact Statement that accompanied the DAS can be viewed in the appendix and hint further at the intentional visual obscuring the architects may have tried to push in their application, in order for it to be approved.

Scale Reduction FAT Architecture lowered the roof height of the second proposal, reducing the ridge from 9.8 to 9.4 metres and reduced the width of the building to reduce the total area by 13%. Further to this, the sculptural features on the roof of the house, including the chimney, were reduced by approximately 25% (DAS 2 2.0 Summary of Revisions to the Design). Despite this sounding significant in the statement, the visual reduction, indicated in the elevations above, is relatively small. The impact, however, was more significant in ensuring the approval of the appliaction.

Policy QL11 of the Tendring District Local Plan specifies that “the scale and nature of the development is appropriate to the locality.” (Tendring District Local Plan 2007). A small adjustment in scale, to better fit the proposal to the landscape, aided its planning approval.

1 2

ACCESS CLASSIFICATION To further ensure that the new development was in no way negatively impacting the accessibility of the residents and visitors to Wrabness, FAT Architecture specified in the Design and Access Statement that: “Visitors will be encouraged to arrive on foot at the house, and should they wish to arrive by car will be instructed to park in the railway station car park and then walk down to the site via the publicly accessible footpath.” (DAS, February 2012). Not only does this appease the Parish and local residents of Wrabness, but allows visitors to enjoy the beauty of Blackboy Lane.

Material Amendment The chimney stack and cladding changed from bronze/copper alloy to ceramic tile in the second application, stated as a move “to refine the profile of this element and to tie it visually to the wall elements below” (DAS, August 2012). The colour-split of tiles was also changed from a majority of white to a majority of bottle green in an attempt to harmonise with the surrounding trees. Copper-alloy was also stripped from the window shutters, opting for a dark timber as opposed to copper-alloy on vertical surfaces.

Known for his avant-garde and garish art, an architecture heavily inspired by Grayson Perry’s work is somewhat difficult to imagine in a rural, Essex village. Unsurprisingly therefore, the aesthetic was met with some resistance: “utterly bizarre and inappropriate for a prominent rural setting” and a “building that would fit comfortably into Eurodisney” are just a few comments from the Wrabness Public (Public Comments, June 2012).

As shown in the isometric, trees screen the south and east elevations, obscuring the House for Essex from the residents of Wrabness and those with houses on Blackboy Lane: “The avenue of fruit trees leading to the entrance has been omitted to simplify the relationship of the building to the landscape. The proposed silver birch trees at the entrance to the site have been retained in order to screen parked cars and other vehicles.” (DAS, August 2012, p. 6)

Furthermore, the house lies in an area that in 2012 was a proposed extension of the AONB, and now (at the time of writing) the house is within that boundary. Perhaps FAT Architecture and Grayson Perry’s designs inspired by the Essex landscape warrant a House for Essex to now be considered part and parcel of the AONB.

TOP: Granted Elevations 1:200 (August 2012) Based on original drawings from FAT Architecture BOTTOM: Refused Elevations 1:200 (February 2012) (based on original drawings from FAT Architecture)

OBSCURING THROUGH LANDSCAPE REVISIONS

This unrest, combined with Policy QL9 of the Tendring District Local Plan stating that the “development respects or enhances views” and that it “incorporates important existing site features of landscape, ecological or amenity value such as trees” led to FAT Architecture designing specific landscaping to enhance, and somewhat obscure, the proposal.

Suffolk Coastal Heaths stated in the Delegated Decision Officer Report (September, 2012) that they “do not consider that the developer has gone far enough in considering the local landscape character.” Moreover, the Principal Tree & Landscape Officer expressed that the proposal would “have a detrimental impact on the character and appearance of the AONB when viewed from the northern bank of the Stour and also when viewed from within the proposed extension to the AONB on the southern bank of the Stour.”

e AONB when viewed from also when viewed from within B on the southern bank of the

The house was subsequently granted planning permission (August 2012) and in the below points, we examine what we view as the key mechanisms behind this decision.

Parking and Turning Space - Accessibility for All

Physical Alterations

Exterior Tiling - Coloured to Match the Landscape

As previously mentionned, the House for Essex went through two planning applications. The main design alterations in the second planning application were amendments to the scale and material. The architect’s intention behind theses changes was illustrated in an Expanded Visual Impact Statement that made the case that to better integrate the new development, it would be beneficial to ensure it was “very hard to discern” from the surrounding landscape. Pages of this Visual Impact Statement that accompanied the DAS can be viewed in the appendix and hint further at the intentional visual obscuring the architects may have tried to push in their application, in order for it to be approved.

Scale Reduction FAT Architecture lowered the roof height of the second proposal, reducing the ridge from 9.8 to 9.4 metres and reduced the width of the building to reduce the total area by 13%. Further to this, the sculptural features on the roof of the house, including the chimney, were reduced by approximately 25% (DAS 2 2.0 Summary of Revisions to the Design). Despite this sounding significant in the statement, the visual reduction, indicated in the elevations above, is relatively small. The impact, however, was more significant in ensuring the approval of the appliaction.

Policy QL11 of the Tendring District Local Plan specifies that “the scale and nature of the development is appropriate to the locality.” (Tendring District Local Plan 2007). A small adjustment in scale, to better fit the proposal to the landscape, aided its planning approval.

Wrabness RAILWAY STATION CARPARK

ACCESS CLARIFICATION In addition to the Public Comments about aesthetics outlined above, many took umbrage with the disturbance of access to Public Footpath No. 5 - Blackboy Lane: “the track on which the building stands and the roads leading to it will not be able to cope with the traffic which could be generated on ‘occasional viewing days’.” (Public Comments, June 2012). A criteria in the approval of the application, given by the ECC Highways Department in the Delegated Decision Officer Report stated that: “The public’s rights and ease of passage over Public Footpath No5 (Wrabness) shall be maintained free and unobstructed at all times. Reason: To ensure the continued safe passage of pedestrians on the definitive way in accordance with Policy DM 1 and 11 of the Highway Authority’s Development Management Policies February 2011.”

FAT Architecture’s desires to appease the residents and Parish of Wrabness is apparent in the amendments made to their Design and Access Statement shown in Section 7.2: “In respect to objections to the previous application from the Parish Council and local residents, it is not intended to open the house to the public on a regular basis. The proposal is not a public art gallery.” (DAS, August 2012, p. 18).

In doing so, FAT Architecture emphasised that although the proposal was heavily inspired and influenced by the works of Grayson Perry, the development remained a Dwelling Classification C3.

Moreover, the parking areas within the House for Essex were provided only for disabled visitors, in accordance with Policy ER16 of the Tendring District Local Plan that “proposals for tourism and leisure use will be permitted provided that: the development is accessible to all potential visitors and user.” (Tendring District Local Plan 2007). In addition to this, a turning area was designed into the site boundary to ensure neighbours and residents of Blackboy Lane would be in no way inconvenienced (DAS, August 2012, p. 18).

Material Amendment The chimney stack and cladding changed from bronze/copper alloy to ceramic tile in the second application, stated as a move “to refine the profile of this element and to tie it visually to the wall elements below” (DAS, August 2012). The colour-split of tiles was also changed from a majority of white to a majority of bottle green in an attempt to harmonise with the surrounding trees. Copper-alloy was also stripped from the window shutters, opting for a dark timber as opposed to copper-alloy on vertical surfaces.

Wrabness Village Centre

LEFT: White tiles used in unsuccessful planning application (August 2012) Based on original drawings from FAT Architecture RIGHT: ’Bottle Green’ tiles used in successful planning application (August 2012) Based on original drawings from FAT Architecture

The experimental basis for Living Architecture’s motivation to create buildings brought to the surface complexities in the rural planning system. Difficulties that were negotiated by the developer and FAT Architecture by both particular design amendments and careful clarification in the second Design and Access Statement (August 2012) to re-frame the project.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

LEFT: White tiles used in unsuccessful planning application (August 2012) Based on original drawings from FAT Architecture RIGHT: ’Bottle Green’ tiles used in successful planning application (August 2012) Based on original drawings from FAT Architecture

1:1250 Site Plan

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SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

06

DESIGN STUDIO C

AMPL

DESIGN STUDIO D

DESIGN REPORT

ARCHITECTURAL MANAGMENT, PRACTICE AND LAW

COURSE REPORTS. Brief Extract

Extract 02. Professional Practice Professional Practice

How architects can ensure a better relationship with their clients through Post Occupancy Evaluation (POE)

b.

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

Entry 01. Health & Life Safety Entry 02. Professional Practice Entry 03. Contract Report Entry 04. Climate Entry 05. Ethics & Social Purpose

Lecture Series

Lecture of Interest: Engaging Clients. Nigel Ostime, Hawkins/Brown.

References HLM Architects, Thoughtful Design Toolkit, (Glasgow: HLM, 2020), 6, accessed Dec 13, 2021, https://hlmarchitects.com/wp-content/uploads/2020/06/Thoughtful-DesignToolkit.pdf

Extract 01. Health & Life Safety

Health & Life Safety

Since the introduction of CDM Regulations (2015), architects have often been seen as the best choice for taking up the role of Principal Designer, as it is best advised that the Principal Designer is involved from as early on in the project as possible and is to have the best knowledge of the design.1

Lecture Series

Lecture of Interest: Managing Risk. Nicola McLean, Alliance CDM.

References HSE. Managing health and safety in construction. 2015.

Jolly, Paul. “Penalties temper power potential of the Building Safety Bill’s principal designer”, RIBAJ. Jul 6, 2021. Accessed Dec 13, 2021. https://www.ribaj.com/intelligence/ principal-designer-for-building-safety-grenfell-insurance-building-safety-act Ministry of Housing, Communities & Local Government. Building Safety Bill, 2020

TE DA

1. Cadava, Eduardo. Words of Light: Thesis on the Photography of History. Princeton, New Jersey: Princeton University Press, 1997.

UP

Mooney, Katie. “The Three Gateways and the Golden Thread of Information”, 4Site Consulting. Jul 14, 2021. Accessed Dec 13, 2021. https://4siteconsulting.co.uk/blog/thethree-gateways-and-the-golden-thread-of-information/ RIBA, Client & Architect: developing the essential relationship. London: RIBA, 2020. Accessed Dec 13, 2021, https://www.architecture.com/knowledge-andresources/resources-landing-page/client-and-architect-developing-the-essentialrelationship#available-resources

Figure fig 01. McKay, Hannah, “Grenfell Tower,” Photograph, Guardian, 2019. Image taken from: https://www.theguardian.com/uk-news/2019/dec/06/too-little-has-been-donesince-the-grenfell-tower-fire

fig 01. McKay, Hannah, “Grenfell Tower,” (Photograph, Guardian,

4

2019)

5

Since the introduction of CDM Regulations (2015), architects have often been seen as the best choice for taking up the role of Principal Designer, as it is best advised that the Principal Designer is involved from as early on in the project as possible and is to have the best knowledge of the design.1 The Golden Thread of Information, a term introduced by Dame Judith Hackitt following the fire at Grenfell Tower, is changing the role of Principal Designer, as well as the responsibilities that come with it. After the Fire Safety Bill 2020, any Dutyholders, which under CDM Regulations (2015) includes the Principal Designer, have a new responsibility to ensure health and safety standards are met before passing through various proposed gateways towards constructing HRRB’s.2

In response to the Building Safety Bill, the role of Principal Designer now requires a greater level of knowledge and skill to fulfil the role. The Building Safety Act is giving the ARB “further powers to regulate architects’ competence by ensuring they have the necessary skills, knowledge, experience and behaviours (SKEB) to perform their services.” 5

The Three Gateways include one before planning application, one before construction and one before occupation. The role of Principal Designer is key to providing information through the golden thread of information to the Building Safety Regulator with regards to the first gateway, before a planning application is submitted. 3

The RIBA are also investing in greater skill training for architects to become better suited towards the new responsibilities towards the role of Principal Designer.6 This response from the RIBA and the Government is an acknowledgment for how the responsibilities of architects is changing when employed as Principal Designer.

The Building Safety Bill, a document in which the implications of the Golden Thread of Information are set out, highlights the necessities of passing each gateway, to ensure the correct health and safety measures are maintained. This includes, “A signed declaration that they are content the Principal Designer and Principal Contractor have the necessary Skills, Knowledge, Experiences and Behaviours, with evidence of their assessment process.”4

This may also be changing the profession in terms of taking a more managerial role for architects in the future. According to Paul Jolly, prior to the Golden Thread of Information and the new demand for the architect as Principal designer, the architect would not tend to be involved in management and this would be down to the Project Manager. 7 Jane Wade of Glamorgan Council also says that within Design and Build Procurements clients often think that architects have relinquished the leadership role, resulting in the employment of design managers.8 If checkpoints are giving the Principal Designer a greater responsibility of keeping a project in motion, could this see a shift in the role of architects to become more managerial within the design team?

5. Paul Jolly, “Penalties temper power potential of the Building Safety Bill’s principal designer”, RIBAJ, Jul 6, 2021, accessed Dec 13, 2021, https://www.ribaj.com/intelligence/principal-designer-for-building-safety1. HSE, Managing health and safety in construction, 2015, 22 2. Ministry of Housing, Communities & Local Government, Building Safety Bill, 2020, 12 3. Katie Mooney, “The Three Gateways and the Golden Thread of Information”, 4Site Consulting, Jul 14, 2021, accessed Dec 13, 2021, https://4siteconsulting.co.uk/blog/the-three-gateways-and-the-golden-thread-of-information/ 4. Ministry of Housing, Communities & Local Government, Building Safety Bill, 2020, 15

grenfell-insurance-building-safety-act 6. Jolly, “Penalties temper power potential of the Building Safety Bill’s principal desiger” 7. Jolly, “Penalties temper power potential of the Building Safety Bill’s principal desiger” 8. RIBA, Client & Architect: developing the essential relationship, (London: RIBA, 2020), 15, accessed Dec 13, 2021, https://www.architecture.com/knowledge-and-resources/resources-landing-page/client-and-architectdeveloping-the-essential-relationship#available-resources

6

7

References HSE. Managing health and safety in construction. 2015.

Jolly, Paul. “Penalties temper power potential of the Building Safety Bill’s principal designer”, RIBAJ. Jul 6, 2021. Accessed Dec 13, 2021. https://www.ribaj.com/intelligence/ principal-designer-

Reflective Response

for-building-safety-grenfell-insurance-building-safety-act Ministry of Housing, Communities & Local Government. Building

The course reports attempt to analyse five essential aspects of regulations within the building industry.

Safety Bill, 2020 Mooney, Katie. “The Three Gateways and the Golden Thread of Information”, 4Site Consulting. Jul 14, 2021. Accessed Dec 13,

Through writing these reports and participating with the lecture and discussion series throughout the year, I found this a compelling way of engaging with regulatory issues within architecture. The range of professionals we were ale to engage with was a great way of understanding aspects of the profession first hand.

RIBA, “RIBA for Clients: Contractors”, YouTube video, 02:28. Posted by “RIBA Architecture.” Feb 18, 2016. Accessed Dec 13, 2021. https://www.youtube.com/ watch?v=u3bKNVhwZao RIBA, Post Occupancy Evaluation: An essential tool to improve the built environment.

London: RIBA, 2020. Accessed Dec 13, 2021, https://www.architecture.com/ knowledge-and-resources/resources-landing-page/post-occupancy-evaluation-anessential-tool-to-improve-the-built-environment Watson, Philip. “The uncomfortable truth about post-occupancy evaluation”, Architects Journal. Jul 21, 2020. Accessed Dec 13. https://www.architectsjournal.co.uk/ news/opinion/the-uncomfortable-truth-about-post-occupancy-evaluation

How will the Golden Thread of Information have an affect on the role of Principal Design for architects?

References

RIBA, Client and Architect: Developing the essential relationship. London: RIBA:2019.

Accessed Dec 13, 2021, https://www.architecture.com/knowledge-and-resources/ resources-landing-page/client-and-architect-developing-the-essentialrelationship#available-resources

The Golden Thread of Information, a term introduced by Dame Judith Hackitt following the fire at Grenfell Tower, is changing the role of Principal Designer, as well as the responsibilities that come with it. After the Fire Safety Bill 2020, any Dutyholders, which under CDM Regulations (2015) includes the Principal Designer, have a new responsibility to ensure health and safety standards are met before passing through various proposed gateways towards constructing HRRB’s.2 The Three Gateways include one before planning application, one before construction and one before occupation.

The role of Principal Designer is key to providing information through the golden thread of information to the Building Safety Regulator with regards to the first gateway, before a planning application is submitted. 3

Figure fig 01. Binet, Helene, “New Art Exchange, Nottingham,” Photograph, 2008. Image taken from: https://archello.com/story/1411/attachments/photos-videos/4

fig 01. Binet, Helene, “New Art Exchange, Nottingham,”

8

(Photograph, 2008)

9

Post Occupancy Evaluations (POE’s) are currently being massively underutilised in the architectural profession.

According to the 2020 AJ100 Survey, only 4% of practices always use POE with their built projects. 1 This means that architects are often disregarding their buildings once they are in use, and not taking the time to evaluate where their projects have gone wrong and where they might learn from them.

The RIBA Client Liaison Group is working hard to discover what it is that clients really think about architects and the way they work.2 When asked about his opinion on the usefulness of an architect, Paul Chandler, Executive Vice-President of Skanska UK, says “We need help in understanding where the risk is [from the architect]”.3 From the findings of this report, this is something many clients highly value, and at the moment there is an obvious lack in architects involvement beyond practical completion, which can lead to a lack of understanding the risks that arise post completion. 4 If POE’s can help towards enabling an architect’s understanding of later stages in a design project, then hopefully this will ensure a better confidence that architects can carry through their own projects through the technical stages of design.

Mark Wakeford says that an understanding of identifying cost savings would be a huge benefit to the architects skillset.5 If mistakes from architects are leading to thousands of pounds added onto the cost of a project and if the architect is focusing all their skillset on the early-stage design, it can make it harder to understand where these costs are being added in the later design stages. Currently, the relation of costs between construction, maintenance and operating is 1:5:200 retrospectively. 6

1. Philip Watson, “The uncomfortable truth about post-occupancy evaluation”, Architects Journal, Jul 21, 2020, accessed Dec 13, https://www.architectsjournal.co.uk/news/opinion/the-uncomfortable-truth-about-post-occupancy-evaluation 2. RIBA, Client and Architect: Developing the essential relationship, (London: RIBA,2019) accessed Dec 13, 2021, https://

The cost to carry out the POE itself is very minimal compared to the costs that could be added due to architect mistakes that have come from a lack in understanding of a building in use.

According to the RIBA report, ‘Post Occupancy Evaluation: an essential tool to improve the built environment’, POE only adds an additional 0.1%-0.25% to the overall cost of the build, however the total costs of UK construction in 2019 was £4 Billion.7 The report argues that POE should become a contractual obligation and that clients should ensure that this is written in the architects contract before starting on a project. 8 Architects HLM have developed what they call their ‘Thoughtful Design Toolkit’ for understanding their built projects better. The toolkit consists of three parts, which use digital questionaries and web-based tools to ensure quality in their buildings. The third takes the data that has been logged and compares it against the performance of the building, to check whether the end result delivers the quality of environment and experience that was envisaged at the beginning of the design process. 9

www.architecture.com/knowledge-and-resources/resources-landing-page/client-and-architect-developing-the-essentialrelationship#available-resources 3. RIBA, “RIBA for Clients: Contractors”, YouTube video, 02:28. Posted by “RIBA Architecture.” Feb 18, 2016. Accessed Dec 13, 2021. https://www.youtube.com/watch?v=u3bKNVhwZao 4. RIBA, Client & Architect, 35 5. RIBA, Client & Architect, 27 6. RIBA, Post Occupancy Evaluation: An essential tool to improve the built environment, (London: RIBA, 2020), 17, accessed Dec 13, 2021, https://www.architecture.com/knowledge-and-resources/resources-landing-page/postoccupancy-evaluation-an-essential-tool-to-improve-the-built-environment

7. RIBA, Post Occupancy Evaluation, 11 8. RIBA, Post Occupancy Evaluation, 7 9. HLM Architects, Thoughtful Design Toolkit, (Glasgow: HLM, 2020), 6, accessed Dec 13, 2021, https:// hlmarchitects.com/wp-content/uploads/2020/06/Thoughtful-Design-Toolkit.pdf

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11

References HLM Architects, Thoughtful Design Toolkit, (Glasgow: HLM, 2020), 6, accessed Dec 13, 2021, https://hlmarchitects.com/wpcontent/uploads/2020/06/Thoughtful-Design- Toolkit.pdf RIBA, Client and Architect: Developing the essential relationship. London: RIBA:2019. Accessed Dec 13, 2021, https:// www.architecture.com/knowledge-and-resources/ resourceslanding-page/client-and-architect-developing-the-essentialrelationship#available-resources RIBA, “RIBA for Clients: Contractors”, YouTube video, 02:28.

Posted by “RIBA Architecture.” Feb 18, 2016. Accessed Dec 13, 2021. https://www.youtube.com/ watch?v=u3bKNVhwZao

Post Occupancy Evaluations (POE’s) are currently being massively underutilised in the architectural profession. According to the 2020 AJ100 Survey, only 4% of practices always use POE with their built projects. 1 This means that architects are often disregarding their buildings once they are in use, and not taking the time to evaluate where their projects have gone wrong and where they might learn from them.

The RIBA Client Liaison Group is working hard to discover what it is that clients really think about architects and the way they work.2 When asked about his opinion on the usefulness of an architect, Paul Chandler, Executive Vice-President of Skanska UK, says “We need help in understanding where the risk is [from the architect]”.3 From the findings of this report, this is something many clients highly value, and at the moment there is an obvious lack in architects involvement beyond practical completion, which can lead to a lack of understanding the risks that arise post completion. 4 If POE’s can help towards enabling an architect’s understanding of later stages in a design project, then hopefully this will ensure a better confidence that architects can carry through their own projects through the technical stages of design.

RIBA, Post Occupancy Evaluation: An essential tool to improve the built environment. London: RIBA, 2020. Accessed Dec 13,

2021. https://4siteconsulting.co.uk/blog/the- three-gateways-and-

2021, https://www.architecture.com/ knowledge-and-resources/

the-golden-thread-of-information/

resources-landing-page/post-occupancy-evaluation-an- essentialtool-to-improve-the-built-environment

RIBA, Client & Architect: developing the essential relationship.

London: RIBA, 2020. Accessed Dec 13, 2021, https://www.

Watson, Philip. “The uncomfortable truth about post-occupancy

architecture.com/knowledge-and- resources/resources-

evaluation”, Architects Journal. Jul 21, 2020. Accessed Dec

landing-page/client-and-architect-developing-the-essential-

13. https://www.architectsjournal.co.uk/ news/opinion/the-

relationship#available-resources

uncomfortable-truth-about-post-occupancy-evaluation

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

72

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

06 AMPL

DESIGN STUDIO D

DESIGN REPORT

ARCHITECTURAL MANAGMENT, PRACTICE AND LAW

Extract 04. Climate

Climate

Can Material Passports become a useful tool in promoting sustainable design for the future within early design stages?

Lecture Series

Lecture of Interest: Responsible Specification. Craig Robertson, AHMM.

References BAMB, “Materials Passports BAMB”, BAMB 2020. Accessed Dec, 13, 2021. https:// www.bamb2020.eu/topics/materials-passports/ Robertson, Craig. “Responsible Specification,” Lecture for AMPL University of Edinburgh, Edinburgh, Nov, 2021 Eckert, Vincent, “Madaster and the Circular Economy”, Madaster. Accessed, Dec 9, 2021. https://madaster.com/madaster-and-the-circular-economy/ Greater London Authority, The London Plan: Spatial Development Strategy for Greater London, March 2021. London: GLA: 2021. Accessed Dec 13, 2021. https://www.london. gov.uk/sites/default/files/the_london_plan_2021.pdf Griffiths, Alyn. “Triodos Bank is a reversible timber-framed office nestled in Dutch woodland”, Dezeen. Feb 21, 2021. Accessed Dec 13, 2021. https://www.dezeen. com/2021/02/21/triodos-bank-remountable-office-rau-architects-ex-interiors/ Lowe, Tom. “Orms proposes ‘live’ material passports to reduce construction waste”, BDOnline. May 17, 2021. Accessed Dec 13, 2021. https://www.bdonline.co.uk/news/ orms-proposes-live-material-passports-to-reduce-construction-waste/5111828.article RIBA, RIBA Sustainable Outcomes Guide. London, RIBA: 2019 Shepard, Wade. “Should we build cities from scratch?”, Guardian. July 10, 2019.

Accessed Dec 13, 2021, https://www.theguardian.com/cities/2019/jul/10/should-webuild-cities-from-scratch

Figure fig 01. Architects Journal. “Material Passport,” Materal Passports: Finding Value in Rubble, Architects Journal, accessed Dec 13, https://www.architectsjournal.co.uk/ news/material-passports-finding-value-in-rubble

fig 01. Architects Journal. “Material Passport,” Materal Passports: Finding Value in

16

Extract 03. Contract Report

Contract Report

Firstly, thank you for issuing the sketch of the changes made on site, following my visit, last week, this is useful to have on record.

A Response Letter

As a respone so the contract scenario that was provided, this report aims to use the form of a formal letter to the contractor from the architect/contract administrator in order to resolve the issue. This letter relates to cluases in the Scottish Building Contract.

References Scottish Building Contract Committee Limited 2016, Standard Building Contract with Quantities for use in Scotland. The Joint Contracts Tribunal, 2016.

“4.3 Stairs and ramps,” Building standards technical handbook 2020: nondomestic, Scottish Government. Accessed Dec 13, 2021, https://www.gov.scot/ publications/building-standards-technical-handbook-2020-non-domestic/4safety/4-3-stairs-ramps/

Contract Scenario

a site visit you notice that a new doorway has been formed “ atAtthe top of a stair to the staff offices, and the original opening

indicated on the drawings has been blocked up. The contractor informs you that this is in response to an instruction issued by the client on their latest site visit. The contractor subsequently issues a sketch showing the changes that were requested by the client, which have now been made, indicating that the door swing now crosses a stair landing. They have advised that the changes will result in an increase in build time, and are seeking a variation. How should you proceed?

Rubble, Architects Journal, accessed Dec 13, https://www.architectsjournal.co.uk/

“Recycling buildings is nothing new. Stone and timber from crumbling Roman villas became medieval castles; redundant castle walls became seventeenth century townhouses. Recycling construction materials was the norm for our ancestors.”1 However this practice has gone from the commonplace and at this current date we are building new, more than ever.2 In his lecture on ‘Responsible Specification’ 2021, Craig Robertson highlights the importance of specifying suitable materials during the RIBA Plan of Works Stage 4. Robertson notes that if we are able to specify the correct materials at this stage, huge costs and environmental impacts can be reduced whilst the building is in use, hoping to lessen the need for constant maintenance. 3 A term that is appearing more frequently within the industry is ‘Building Material Passport’, which is used to describe a database of materials that contains information such as product origins, fire ratings, structural information and information on maintenance. 4 With these material banks developing, such as Madaster and BAMB in the EU, allowing access to such databases at early design stages could allow practices to select their materials with ease from buildings that no longer have the need for certain components of the building. One of the principles of Buildings as Material Banks (BAMB) is to “make it easier for developers, managers and renovators to choose healthy, sustainable and circular building materials”. 5

2. Wade Shepard, “Should we build cities from scratch?”, Guardian, July 10, 2019, accessed Dec 13, 2021, https://www. theguardian.com/cities/2019/jul/10/should-we-build-cities-from-scratch 3. Craig Robertson, “Responsible Specification,” (lecture, AMPL, University of Edinburgh, Edinburgh, Nov, 2021)

13

Hi James (Contractor), Firstly, thank you for issuing the sketch of the changes made on site, following my visit, last week, this is useful to have on record.

In relation to this however, I would like to advise against any further allowance of the client on site without myself as the Contract Administrator, being informed and giving approval first. I can refer to clause 3.1 of the Standard Building Contract, which allows the Contract Administrator to restrict access in order to protect proprietary rights. 1 As a result of this, I am contacting you today acting as Contract Administrator to give a formal instruction in writing to remove the changes that have been made to the original opening, given by unauthorized instruction from the client. 2 This is in accordance with clause 3.18 of the Standard Building Contract whereby “if any work, material or goods are not in accordance with the Contract the Architect/Contract Administrator, in addition to his other powers, may: .1 issue instructions in regard to the removal from the site of all or any of such work, materials or goods”3 Additionally, I must point out this new addition does not comply with Scottish Building standard 4.3.6, stating that “a stair landing should: be clear of any door swing or other obstruction”4 Normally I would be able to issue a Variation for this matter under clause 5.1 of the Standard Building Contract,5 however unfortunately I cannot offer a Variation for this matter as it is not in accordance with the contract. Therefore, acting as Contract Administrator and under clause 3.19 which states that the Contract Administrator may issue and instruction for necessary consequence 6, I will have to issue a formal instruction to remove the new door.

This is to be treated as a Relevant Matter under clause 4.22.2.2 as it is an instruction in relation to any discrepancy or divergence referred to in clause 2.15 .7 Please respond to this instruction within 7 days or this shall take effect as from the expiry of the latter 7-day period of this instruction, in accordance with clause 3.12 of the Standard Building Contract.

Joint Contracts Tribunal, 2016), 40

It may be possible to open the changes up for inspection, however as this was not in line with the contract, I am certain this will end in the removal of the new changes, again under clause 3.19. 8

Many thanks, Kind Regards, Tom Carney (Architect/Contract Administrator)

2. Scottish Building, Building Contract, 43 3. Scottish Building, Building Contract, 44 4. “4.3 Stairs and ramps,” Building standards technical handbook 2020: non-domestic, Scottish Government, accessed Dec 13, 2021, https://www.gov.scot/publications/building-standards-technical-handbook-2020-non-domestic/4-safety/43-stairs-ramps/ 5. Scottish Building, Building Contract, 55 6. Scottish Building, Building Contract, 44

14

7. Scottish Building, Building Contract, 52 8. Scottish Building, Building Contract, 44

15

Selected References

In relation to this however, I would like to advise against any further allowance of the client on site without myself as the Contract Administrator, being informed and giving approval first. I can refer to clause 3.1 of the Standard Building Contract, which allows the Contract Administrator to restrict access in order to protect proprietary rights. 1 As a result of this, I am contacting you today acting as Contract Administrator to give a formal instruction in writing to remove the changes that have been made to the original opening, given by unauthorized instruction from the client. 2

Scottish Building Contract Committee Limited 2016, Standard Building Contract with Quantities for use in Scotland. The Joint Contracts Tribunal, 2016.

“4.3 Stairs and ramps,” Building standards technical handbook 2020: non- domestic, Scottish Government. Accessed Dec 13, 2021, https://www.gov.scot/ publications/building-standardstechnical-handbook-2020-non-domestic/4- safety/4-3-stairsramps/

Within the RIBA Sustainable Outcomes Guide 2019, the RIBA set out that “Low carbon options and strategies need to be fully incorporated into drawings and specification for tender and procurement. The process needs to be tailored to engage with the supply chain, but not to increase tender prices.”8 If during RIBA Stage 4, there was a database of building materials then this could become a great asset towards promoting sustainable design.

4. Tom Lowe, “Orms proposes ‘live’ material passports to reduce construction waste”, BDOnline, May 17, 2021, accessed Dec 13, 2021, https://www.bdonline.co.uk/news/orms-proposes-live-material-passports-to-reduce-constructionwaste/5111828.article 5. BAMB, “Materials Passports BAMB”, BAMB 2020, accessed Dec, 13, 2021, https://www.bamb2020.eu/topics/ materials-passports/

6. Alyn Griffiths, “Triodos Bank is a reversible timber-framed office nestled in Dutch woodland”, Dezeen, Feb 21, 2021, accessed Dec 13, 2021, https://www.dezeen.com/2021/02/21/triodos-bank-remountable-officerau-architects-ex-interiors/ 7. Griffiths, “Triodos Bank” 8. RIBA, RIBA Sustainable Outcomes Guide, (London, RIBA: 2019), 22 9.Greater London Authority, The London Plan: Spatial Development Strategy for Greater London, March 2021. (London: GLA: 2021), 365, accessed Dec 13, 2021, https://www.london.gov.uk/sites/default/files/ the_london_plan_2021.pdf

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19

Selected References BAMB, “Materials Passports BAMB”, BAMB 2020. Accessed Dec, 13, 2021. https:// www.bamb2020.eu/topics/materialspassports/ Robertson, Craig. “Responsible Specification,” Lecture for AMPL University of Edinburgh, Edinburgh, Nov, 2021

I must also note that even though it has been advised that these changes will result in an increase in build time, in accordance with clause 3.18, no additions will be made to the Contract Sum and no extension of time will be given, as the client issued these changes without approval of the Contract Administrator.

I hope to hear from you within the next 7 days, to take effect of this Relevant Matter.

1. Scottish Building Contract Committee Limited 2016, Standard Building Contract with Quantities for use in Scotland (The

This type of construction has had a major breakthrough with the “first 100% wooden, remountable large scale project” 6 being completed by RAU Architects in 2019. The project has logged all of the materials and components that have been used within the building, and the construction was designed in a way that allows for each component to be easily replaced and re-used if necessary. 7 Using the Madaster database, which practices such as ARUP are now using with their projects, other architects are able to access this information when specifying materials on their own new build projects.

Looking into how this is being implemented, the London plan now includes a requirement for all large-scale developments to provide a circular economy statement under the Policy SI 7: Reducing waste and supporting the circular economy. This statement will have to demonstrate how materials will be reused, how much waste will be produced and how performance will be monitored. 9

madaster-and-the-circular-economy/

Eckert, Vincent, “Madaster and the Circular Economy”, Madaster. Accessed, Dec 9, 2021. https://madaster.com/ madaster-and-the-circular-economy/ Greater London Authority, The London Plan: Spatial Development Strategy for Greater London, March 2021. London: GLA: 2021. Accessed Dec 13, 2021. https://www.london. gov.uk/

This is in accordance with clause 3.18 of the Standard Building Contract whereby “if any work, material or goods are not in accordance with the Contract the Architect/Contract Administrator, in addition to his other powers, may: .1 issue instructions in regard to the removal from the site of all or any of such work, materials or goods”3

sites/default/files/the_london_plan_2021.pdf

In his lecture on ‘Responsible Specification’ 2021, Craig Robertson highlights the importance of specifying suitable materials during the RIBA Plan of Works Stage 4. Robertson notes that if we are able to specify the correct materials at this stage, huge costs and environmental impacts can be reduced whilst the building is in use, hoping to lessen the need for constant maintenance. 3 A term that is appearing more frequently within the industry is ‘Building Material Passport’, which is used to describe a database of materials that contains information such as product origins, fire ratings, structural information and information on maintenance. 4 With these material banks developing, such as Madaster and BAMB in the EU, allowing access to such databases at early design stages could allow practices to select their materials with ease from buildings that no longer have the need for certain components of the building.

Griffiths, Alyn. “Triodos Bank is a reversible timber-framed office

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

The Role of Writing Design Codes: How are Design Codes being enfoced in the UK?

Lecture Series

Lecture of Interest: Planning for the Future. Joanne Preston, Public Practice.

References Bolgar, Ben. “Planning for the future: Training is essential for design codes to bear fruit”, Planner. Aug 13, 2020. Accessed Dec 13, 2021. https://www.theplanner.co.uk/ opinion/planning-for-the-future-training-is-essential-for-design-codes-to-bearfruit Finch, Paul. “Design codes are written by people with little understanding of design”, Architects Journal. Mar 19, 2021. Accessed Dec, 13, 2021. https://www.architectsjournal. co.uk/news/opinion/design-codes-are-written-by-people-with-little-understandingof-design Gardiner, Joey. “Why some design codes work and others fail”, Planning Resource. Sept 10, 2020. Accessed Dec 13, 2021. https://www.planningresource.co.uk/article/1694089/ why-design-codes-work-others-fail Gov.uk, “Guidance, Design: process and tools”, Gov.uk. Mar 6, 2014. Accessed Dec 13, 2021. https://www.gov.uk/guidance/design Ministry of Housing, Communities & Local Government. Living with Beaty: Promoting health, well-being and sustainable growth, 2020.

Ministry of Housing, Communities & Local Government. Planning for the Future, Aug 6, 2020. 2020.

Public Practice, Resourcing a New Planning System: Public Practice’s response to the Planning for the Future White Paper. London: Public Practice, 2020. Accessed Dec 13, 2021. https://www.publicpractice.org.uk/uploads/PP_Resourcing-a-New-PlanningSystem_V1.pdf

fig 01. Allies and Morrison. “Districts and Blocks,” Why Urban Design Codes, Allies and Morrison. Accessed Dec 13, https://www.alliesandmorrison.com/research/whyurban-design-code

fig 01. Allies and Morrison. “Districts and Blocks,” Why Urban Design Codes, Allies and Morrison, accessed Dec 13, https://www.alliesandmorrison.com/research/why-

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21

urban-design-codes

A statement from ‘Guidance on Design: Process and Tools’ from the UK Government website reads, “Design codes can be commissioned or prepared by either the local planning authority or developer, but are best prepared in partnership to secure agreed design outcomes and maintain viability.”1 This suggests two key players when developing design codes in the UK, both having an input from different means of approach, by nature of their retrospective professions.

Paul Finch, editor of the Architects Journal, argues that “there is an ever-present tendency of planners and regulatory types to assume they have a unique understanding of the world of creative design which is not available to actual designers.” 2 The way in which this statement is phrased, shows a slight lack of respect for the planning authorities, representing an opinion from the industry that it might find it hard to follow design codes if they are being written by planners. He continues by saying, if none of the state officials writing the design codes have an actual design qualification, why should their advice on design be followed. 3 The ‘Living with Beauty Report 2020’, highlights the importance of extending the training of existing planning officers, as there is currently only a two-week induction course on design, and provide a mid-career postgraduate qualification in urban design, funded by the government.4 Further to this, the Governments ‘Planning for the Future’ plans to “Establish a new body to support the delivery of design codes in every part of the country”5, ensuring that a new Chief Officer for design and placemaking in employed in each local council.

David Birkbeck, chief executive of social enterprise Design for Homes argues that “codes can work well if they’re enforced by a landowner, but local authorities often don’t have the leverage to enforce them.” 6 This is true in the case of South Hams District Council, when the Developer, Vistry, announced that the Design Code was too prescriptive for their proposal. It ended in the developer blackmailing the council to change the design code or they would “go slow” with the development ending with fears from the council that they would be building another clone town. 7 Public Practice developed a response to the Planning White Paper, in which they use a case study from Sweden to analyse the involvement of the private sector with the creation of design codes. It mentions developers complaining about the waiting times for the adoption of design codes, and therefore deciding to allow for greater participation from the developer.

However, it points out that the developers proved inadequate to coordinate effectively with other public agencies such as highways and health, leading to an increase in cost.8 Perhaps the new developments in ‘Planning for the future’ for new governing bodies and extended training for planners, can ensure a greater relationship with developers and design codes, as the standard can start to be raised.

1. Gov.uk, “Guidance, Design: process and tools”, Gov.uk, Mar 6, 2014, accessed Dec 13, 2021, https://www.gov.uk/ guidance/design 2. Paul Finch, “Design codes are written by people with little understanding of design”, Architects Journal, Mar 19, 2021,

6. Joey Gardiner, “Why some design codes work and others fail”, Planning Resource, Sept 10, 2020,

accessed Dec, 13, 2021, https://www.architectsjournal.co.uk/news/opinion/design-codes-are-written-by-people-with-

accessed Dec 13, 2021, https://www.planningresource.co.uk/article/1694089/why-design-codes-work-

little-understanding-of-design

others-fail

3. Finch, “Design codes are written by people with little understanding of design”

7. Gardiner, “Why some design codes work and others fail”

4. Ministry of Housing, Communities & Local Government. Living with Beaty: Promoting health, well-being and sustainable

8. Public Practice, Resourcing a New Planning System: Public Practice’s response to the Planning for the

growth, 2020, 113.

Future White Paper. (London: Public Practice, 2020), 9, accessed Dec 13, 2021, https://www.publicpractice.

5. Ministry of Housing, Communities & Local Government. Planning for the Future, 2020, 22.

org.uk/uploads/PP_Resourcing-a-New-Planning-System_V1.pdf

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Selected References Bolgar, Ben. “Planning for the future: Training is essential for design codes to bear fruit”, Planner. Aug 13, 2020. Accessed Dec 13, 2021. https://www.theplanner.co.uk/ opinion/planning-for-thefuture-training-is-essential-for-design-codes-to-bear- fruit Finch, Paul. “Design codes are written by people with little understanding of design”, Architects Journal. Mar 19, 2021.

Accessed Dec, 13, 2021. https://www.architectsjournal. co.uk/ news/opinion/design-codes-are-written-by-people-with-littleunderstanding- of-design

A statement from ‘Guidance on Design: Process and Tools’ from the UK Government website reads, “Design codes can be commissioned or prepared by either the local planning authority or developer, but are best prepared in partnership to secure agreed design outcomes and maintain viability.”1 This suggests two key players when developing design codes in the UK, both having an input from different means of approach, by nature of their retrospective professions.

Paul Finch, editor of the Architects Journal, argues that “there is an everpresent tendency of planners and regulatory types to assume they have a unique understanding of the world of creative design which is not available to actual designers.” 2 The way in which this statement is phrased, shows a slight lack of respect for the planning authorities, representing an opinion from the industry that it might find it hard to follow design codes if they are being written by planners. He continues by saying, if none of the state officials writing the design codes have an actual design qualification, why should their advice on design be followed. 3

Gardiner, Joey. “Why some design codes work and others

nestled in Dutch woodland”, Dezeen. Feb 21, 2021. Accessed

fail”, Planning Resource. Sept 10, 2020. Accessed Dec 13, 2021.

Dec 13, 2021. https://www.dezeen. com/2021/02/21/triodos-bank-

https://www.planningresource.co.uk/article/1694089/ why-

remountable-office-rau-architects-ex-interiors/

design-codes-work-others-fail

Guardian. July 10, 2019. Accessed Dec 13, 2021, https://www.

Gov.uk, “Guidance, Design: process and tools”, Gov.uk. Mar

theguardian.com/cities/2019/jul/10/should-we- build-cities-from-

6, 2014. Accessed Dec 13, 2021. https://www.gov.uk/guidance/

scratch

GENERAL CRITERIA

Extract 05. Ethics & Social Purpose

Ethics & Social Purpose

Figure

1. Vincent Eckert, “Madaster and the Circular Economy”, Madaster, accessed, Dec 9, 2021, https://madaster.com/

”

12

17

news/material-passports-finding-value-in-rubble

“Recycling buildings is nothing new. Stone and timber from crumbling Roman villas became medieval castles; redundant castle walls became seventeenth century townhouses. Recycling construction materials was the norm for our ancestors.”1 However this practice has gone from the commonplace and at this current date we are building new, more than ever.2

design

73

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ESSAY.

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

06 AMPL

DESIGN STUDIO D

DESIGN REPORT

ARCHITECTURAL MANAGMENT, PRACTICE AND LAW

c.

‘Achieving Value: A study of the values in the UK Planning System and how as professionals, the architect can ensure such value is achieved.’

Brief Extract

Research and write a critical essay exploring one of the areas of contemporary practice described in the lectures which structure this course. This essay should be framed by your interests in response to the course content. These topics align with the lectures. You may take one of these questions directly, exploring and developing it through your work, or form your own questions or topics in response to the themes discussed.

Value: Assessing Design Codes 26

Reflective Response The essay took an interest in how as professional architects, we can achieve value, looking specifically at the planning system.

Through two largely different housing projects, their two respective Design and Access Statements and planning applications have been analysed to see where, how and if architects and planners have given value to certain aspects of the project.

40

fig 09. Feilden Clegg Bradley fig 01. Mikhail Riches, “Goldsmith Studios, “Murray’s Mill,” Street,” (Photograph, Mikhail (Photograph, Feilden Clegg Riches, 2021) Bradley Studios, 2021)

27

Goldsmith Street Photograph Murray’s Mill Photograph The architect has also shown to have made use of guidance from the National Model Design Code in multiple places across their Design and Access Statement in response to both objective In Government - Essay 8: to positively enhanceValue the individual character andExtract culture of Prime Minister Boris Johnson out a manifesto to Build, Build, Build!, the area and ObjectiveIn4:June to 2020, promote regeneration andsetreduce placing jobs and infrastructure at the centre of the UK Government’s new growth deprivation.

1

41

strategy highlighting the need for at least 300,000 new homes per year within the UK.2 This statement presented to the building industry, a direction in which the Taking an example from the Design Code, the for quality of space is government saw most valuable the country.

defined as “partly about the way it is designed and partly about if one was to turn to the frontpage27of Architect’s Journal’s RetroFirst the way it is enclosed byHowever, well-proportioned buildings.”

fig 08. Riches Hawley Mikhail Architects.

“Communal Design and Access Statement, Norwich City Council, 2015, accessed Dec 13, Goldsmith Street Design and AccessGarden,” Statement Extract https://planning.norwich.gov.uk/online-applications/applicationDetails.do?keyVal=NK7ZM5LX0OH00&activeTab=summary

Campaign, which was emerging at the same time as the Boris Johnson’s manifesto, it would be hard to find the same enthusiasm for a value in building as many new homes The architects seem to as have responded to this possible.

The manifesto from recommendation AJ argues that the most important thing to do is to retrofit over build, into in every sector of the industry. 3 In that same month through how they haveprioritise introduced playnew space their design of June in 2020, as Boris Johnson was announcing that we must build 300,000 new scheme. They have considered the wider impact of the street homes per year in the country, RetroFirst was requesting the Government considers layout and tried to ensure safe environment to play within retrofitting wherever possible in which a letter requested, “we must not return to the 28 4 makes option use of “integrate natural the proposal. The strategy “business-as-usual” of demolition and rebuild.”

landscape elements, seating opportunities and artistic elements within industry are misaligned, and so how one takes lead over the throughout the publicValues realm totheprovide a often flexible, play-able other becomes a tricky process. How can one value take action over the other in an landscape to meet the needs of different ages and be shared by industry where everything we build is of precious value? all generations throughout the day.”29

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

74

SKILL DEVELOPMENT

COLLABORATORS

CO WS CW GR TD PH

LE MW TS SG

DESIGN STUDIO G

ATR

DESIGN STUDIO B

SCAT

DESIGN STUDIO C

06 AMPL

DESIGN STUDIO D

DESIGN REPORT

ARCHITECTURAL MANAGMENT, PRACTICE AND LAW

Provision of Value

Providing Value - Essay Extract Lara Schrijver, in her essay Design for Values In Architecture writes, “In architecture, a general relationship between values and design is present, throughout the history of the discipline”.5 Schrijver refers back to various architects such as John Ruskin and Ebenezer Howard by highlighting their striving for socio-political and moral values in each of their own unique ideologies for architecture and place. She notes that it is hard to talk about architecture without speaking of the values embodied within. 6 However, Ruskin and Howard existed in a world where ideas of planning where just being introduced and at the time represented an expression of utopian idealism.7 As the UK government introduces more prescriptive ways to ensure quality design through the planning system, questions of how value is achieved in such a prescriptive environment arise.

Simon Foxell recalls that in its Royal Charter from 1837, the RIBA states that at its core is a societal purpose that it must uphold.8 It released a statement at the time of creation, defining its purpose as: “The general advancement of Civil Architecture ... as tending to promote the domestic convenience of citizens, and the public improvement of towns and cities”9 Foxell continues to note that the British professional institute has an unremarkable desire for its purpose in public interest, over many other institutes abroad.10 This can start to show how there might be a link between the UK Government and planning system, with achieving public betterment.

5. Lara Schrijver, “Design for Values in Architecture.” In Handbook of Ethics, Values and Technical Design, edited by Jeroen van den Hoven, Pieter E. Vermaas and Ibo van de Poel, 589, (Dordrecht: Springer, 2015) 6. Schrijver, “Design for Values in Architecture.” 593.

7. Gordon E. Cherry, The Evolution of British Town Planning: A history of town planning in the United Kingdom during the 20th century and of the Royal Town Planning Institute, 1914-74 (Plymouth: Leonard Hill Books, 1974), 6 8. Simon Foxell, Professionalism for the Built Environment (Oxon: Routledge, 2019), 67 9. Foxell, Professionalism for the Built Environment, 70 10. Foxell, Professionalism for the Built Environment, 70

Murray’s Mill Achieving Value - Essay Extract Leaving the design proposals for Goldsmith Street behind, If Mikhail Riches were to develop in Manchester, would they find themselves designing to the same values as they did in Norwich? If it is the architect that defines the value in a project then perhaps, but if its the planning system they find themselves in, then the architect must act in their professional interest to design to these values.

Manchester Core Strategy Development Plan, which sets out the Core Strategy Vision for the City,30 contains a particular policy that is focused on sustainable design. Policy EN 4 Reducing CO2 Emissions by Enabling Low and Zero Carbon Development, sets out that “Where possible new development and retrofit projects will be used as a mechanism to help improve energy efficiency and provide low and zero carbon energy supplies to existing buildings.”31 Taking this policy into action, the ‘Ancoats and New Islington Neighbourhood Development Framework’ (2014) applies the policies to a conservation area within Manchester, creating a unique set of values that the architect must ensure to follow in order to act professional in a successful way.

In the case of Former Murray’s Mill situated in the Ancoats area of Manchester, architects Feilden Clegg Bradley Studio had to respond to the asset of value in Heritage and sustainable retrofitting.

Outlined in their Design and Access Statement the values of the brief was highly considered at RIBA Stage 2. 32 It sets out that there was consideration from the Heritage Assessment, design options for reuse and intervention of the existing fabric, consideration for quality living and compliance with building regulations for energy and acoustic performance.

As the RIBA Plan of Work highlights, “Stage 2 is about getting the design concept right and making sure that the look and feel of the building is proceeding in line with the client’s vison, brief and budget.” 33 Which the architect has shown to achieve.

Lara Schrijver, in her essay Design for Values In Architecture writes, “In architecture, a general relationship between values and design is present, throughout the history of the discipline”.5 Schrijver refers back to various architects such as John Ruskin and Ebenezer Howard by highlighting their striving for sociopolitical and moral values in each of their own unique ideologies for architecture and place. She notes that it is hard to talk about architecture without speaking of the values embodied within. 6 However, Ruskin and Howard existed in a world where ideas of planning where just being introduced and at the time represented an expression of utopian idealism.7 As the UK government introduces more prescriptive ways to ensure quality design through the planning system, questions of how value is achieved in such a prescriptive environment arise.

In June 2020, Prime Minister Boris Johnson set out a manifesto to Build, Build, Build!, placing jobs and infrastructure at the centre of the UK Government’s new growth strategy1 highlighting the need for at least 300,000 new homes per year within the UK.2 This statement presented to the building industry, a direction in which the government saw most valuable for the country.

Selected Bibliography ACE. The Value of Design and the Role of Architects. Reading: ACE, 2019. Accessed Dec 13, 2021. https://www.ace-cae.eu/uploads/tx_ jidocumentsview/Value_of_Design.pdf

However, if one was to turn to the frontpage of Architect’s Journal’s RetroFirst Campaign, which was emerging at the same time as the Boris Johnson’s manifesto, it would be hard to find the same enthusiasm for a value in building as many new homes as possible. The manifesto from AJ argues that the most important thing to do is to prioritise retrofit over new build, in every sector of the industry. 3 In that same month of June in 2020, as Boris Johnson was announcing that we must build 300,000 new homes per year in the country, RetroFirst was requesting the Government considers retrofitting wherever possible in which a letter requested, “we must not return to the “businessas-usual” option of demolition and rebuild.” 4

Simon Foxell recalls that in its Royal Charter from 1837, the RIBA states that at its core is a societal purpose that it must uphold.8 It released a statement at the time of creation, defining its purpose as: “The general advancement of Civil Architecture ... as tending to promote the domestic convenience of citizens, and the public improvement of towns and cities”9

Values within the industry are often misaligned, and so how one takes lead over the other becomes a tricky process. How can one value take action over the other in an industry where everything we build is of precious value?

fig 02. Paul Ellis “UK Prime minister Boris Johnson said: ‘We will not be responding to this crisis with what people call austerity’” (Photograph, Getty Images, 2021)

Cherry, Gordon E. The Evolution of British Town Planning: A history of town planning in the United Kingdom during the 20th century and of the Royal Town Planning Institute, 1914-74. Plymouth: Leonard Hill Books, 1974

2021, https://www.gov.uk/government/news/build-build-build-prime-minister-announces-new-deal-for-britain

In a report from ACE, it is noted that increasingly in today’s procurement routes, value is being measured with the advent of outcomes rather than its form. 14 This could mean that architects have to demonstrate their services in increasingly descriptive ways, through documents such as Design & Access Statements, rather than through drawings that demonstrate the value in their built form.

van den Hoven, Pieter E. Vermaas and Ibo van de Poel, 589, (Dordrecht: Springer, 2015)

10, 2021, accessed Dec 13, 2021, https://www.theguardian.com/society/2021/oct/10/tories-manifesto-pledge-to-build300000-houses-a-year-now-almost-impossible 3. Architects Journal, “RetroFirst”, Architects Journal, Dec 13, 2021, accessed Dec 13 2021, https://www. architectsjournal.co.uk/news/retrofirst 4. Will Hurst, “RetroFirst campaign goes to government” Architects Journal, June 22, 2020, accessed Dec 13, 2021, https://www.architectsjournal.co.uk/news/retrofirst-campaign-goes-to-government

29

Additionally, the ‘Norwich Housing Strategy 2013-18’ was developed as a requirement by the Local Government Act 2003, in order to set a framework to help achieve quality housing in Norwich.17 The foreword for the document declares, “the five outcomes of this strategy are focused around improving housing supply, quality, affordability, choice, accessibility and support.”18

Goldsmith Street In 2008, architects Mikhail Riches won a design competition run

by Norwich City Council for a site within Norwich City centre.15 The council demanded a strong push for an improvement in social value and quality sustainable design within the area, through the development of their Delivering Affordable Housing Partnership. 16

2. Contribute to improvements to the neighbouring open space

Objective 2: to allocate enough land for housing, and affordable housing, in the most sustainable settlements

fig 04. Norwich City Council, “Policy R27 Objectives”, Norwich Local Plan, 2014. accessed Dec 13, https://www.norwich.gov.uk/info/20199/local_plan

Objective 4: to promote regeneration and reduce deprivation

With the project at Goldsmith Street, Norwich City Council were acting as both the planning authority and the client, and so the architect, Mikhail Riches, under their professional duty, had to ensure the values of Norwich City Council were absolutely met. This duty, as Foxell recalls from John Soane’s definition the professionalism of an architect, could be described as the duty to act as the intermediate between the employer, whose honour and interest he is to study and of the mechanic, whose rights he is to defend. 19

Objective 7: to enhance transport provision to meet the needs of existing and future populations while reducing travel need and impact Objective 8: to positively enhance the individual character and culture of the area fig 03. Norwich City Council, “Local Plan Objectives”, Norwich Local Plan, 2014. accessed Dec 13,

13. Foxell, Professionalism for the Built Environment, 271 14. ACE, The Value of Design and the Role of Architects. (Reading: ACE, 2019), 6-7, accessed Dec 13, 2021, https://www.ace-cae.eu/uploads/tx_jidocumentsview/Value_of_Design.pdf

30

In response to this the DAS demonstrates a series of studies undertaken by the architect and the collaboration with necessary consultants to achieve this Passivhaus standard. The architects worked with Passivhaus consultants WARM to achieve the standard set out by the council, whom became responsible for modelling the scheme and working with the client at a specific detail to achieve the correct standards.22

After conformation from Norwich Council Planning department, it was made clear that the ‘design guide’ the Local Plan is referring to in the final point of Policy R27, is the National Model Design Code, and so this became the standard of design in which the architect had to respond to.

Objective 5: to allow people to develop to their full potential by providing educational facilities to support the needs of a growing population

12. RIBA, RIBA Code of Professional Conduct, 16

9. Foxell, Professionalism for the Built Environment, 70 10. Foxell, Professionalism for the Built Environment, 70

31

Referring back to the objectives set out in the Local Plan, one of the key ambitions set out from Norwich City Council was to minimise the contributors to climate change and address its impact. Recognised in the DAS, the architects write, ““the City [of Norwich] intends to adopt the ambitious ‘Passivhaus’ standard with regard to energy use, and so residents fuel bills could be as little as £70 per year.”21

3. Be well designed in line with its design guide.

Objective 3: to promote economic growth and diversity and provide a wide range of jobs

Code-of-Professional-Conduct--May-2019pdf.pdf

8. Simon Foxell, Professionalism for the Built Environment (Oxon: Routledge, 2019), 67

Using the Design and Access Statement as a reference for recognition in value, Mikhail Riches first understand where their values are coming from, as they highlight in the opening of the document that the client (Norwich City Council) has a “corporate policy to make Norwich a city with decent housing for all,” and that the council have committed to delivering 250 new council homes, set out in their Housing Strategy 2013-18. 20 They have acknowledged that they have a standard to meet, and this document will provide proof of how it has been achieved.

1. Include a pedestrian/cycle route as an integral part of its design to provide links between Midland Road open space and Old Palace Road

Objective 1: to minimise the contributors to climate change and address its impact

11. RIBA, RIBA Code of Professional Conduct. (London: RIBA, 2019), 9-16, accessed Dec 13, 2021, RIBA-

7. Gordon E. Cherry, The Evolution of British Town Planning: A history of town planning in the United Kingdom during the 20th century and of the Royal Town Planning Institute, 1914-74 (Plymouth: Leonard Hill Books, 1974), 6

With these values having now been set out by Norwich City Council, the job of the architect was to demonstrate how these values would be met through their own professional duty.

Written in the Norwich Local Plan, Policy R27: Goldsmith Street ensures that the development will:

To help demonstrate which values they were aiming to achieve, Norwich City Council developed their ‘Norwich Local Plan’ in 2014, which set out eight objectives for all proposed developments in the city at the time. These objectives were as follows:

6. Schrijver, “Design for Values in Architecture.” 593.

Value: Sustainable Design

Within the Norwich Local Plan, site specific policies are set out, providing those taking on the site an indication of the value in which the council sees necessary for the site.

fig 05. Riches Hawley Mikhail Architects. “Passivhaus,” Design and Access Statement, Norwich City Council, 2015, accessed Dec 13, https://planning.norwich.gov.uk/online-applications/applicationDetails.do?keyVal=NK7ZM5LX0OH00&activeTab=summary

The architect has acknowledged the need for other expert advice and is acting in line with the Code of Professional Conduct here, as they are demonstrating competence in accepting responsibility for the professional services provided by them to the client under duty 1.3 of Competence.23 They have recognised the need to outsource the work to achieve the correct value for their client.

Clause 1.3 “Members must accept responsibility for the professional services provided by them to their clients.

Members should undertake to perform those services only when they (together with those whom they may engage as employees or consultants) are sufficiently qualified by education, training, and/or experience in the specific areas involved and have the necessary resources to satisfactorily complete those services.”

https://www.norwich.gov.uk/info/20199/local_plan

15. Riches Hawley Mikhail Architects, “Goldsmith Street”, Mikhail Riches, accessed Dec 13, 2021, http://www.

20. Riches Hawley Mikhail Architects, Goldsmith Street Norwich: Design and Access Statement 15/00272/F (Riches

mikhailriches.com/project/goldsmith-street/#text 16. RIBA, “Striking gold: RIBA competition design wins Stirling Prize”, Architecture, Dec 5, 2019, accessed Dec 13, 2021,

Hawley Mikhail Architects: Norwich 2015), 2

17. Norwich City Council, Housing Strategy 2013-18, 2013, 2-5.

https://www.architecture.com/knowledge-and-resources/knowledge-landing-page/striking-gold-riba-competition-design-

21. Riches Hawley Mikhail Architects, Design and Access Statement, 4

18. Norwich City Council, Housing Strategy 2013-18, 2013, 2.

wins-stirling-prize

22. Riches Hawley Mikhail Architects, Design and Access Statement,73

19. Foxell, Professionalism for the Built Environment, 78-79

32

Foxell, Simon. Professionalism for the Built Environment. Oxon: Routledge, 2019.

Gov.uk, “’Build build build’: Prime Minister announces New Deal for Britain”, Gov.uk. June 30, 2020. Accessed Dec 13, 2021. https://www. gov.uk/government/news/build-build-build-prime-minister-announcesnew-deal-for-britain

Foxell outlines how, acting as a professional, the architect has a duty to provide value. Looking specifically in relation to the creation of value in place, he writes “Making improvements to buildings and places, especially once there is a broadly agreed means of measuring and predicting asset values, however inaccurately, will almost certainly become subject to algorithmic assessment and automated propositions for betterment.” 13

5. Lara Schrijver, “Design for Values in Architecture.” In Handbook of Ethics, Values and Technical Design, edited by Jeroen

2. Michael Savage, “Tories’ manifesto pledge to build 300,000 houses a year now ‘almost impossible’”, Guardian, Oct

Objective 6: to make sure people have ready access to services

Feilden Clegg Bradley Studios, Former Murray’s Mills: Ancoats Design and Access Statement. 108566/FO/2015/N2.Manchester: Manchester Life: 2015

For example, under clause 3.1, the code states, “14.1 Members shall have proper concern and due regard for the effect that their professional activities and completed projects may have on users, the local community and society. 14.2 In performing professional services Members should promote stronger communities and improve equality, diversity and inclusion in the built environment.”12

1. Gov.uk, “’Build build build’: Prime Minister announces New Deal for Britain” Gov.uk, June 30, 2020, accessed Dec 13,

28

Architects Journal, “RetroFirst”, Architects Journal. Dec 13, 2021.

Accessed Dec 13 2021. https://www.architectsjournal.co.uk/news/ retrofirst

Foxell continues to note that the British professional institute has an unremarkable desire for its purpose in public interest, over many other institutes abroad.10 This can start to show how there might be a link between the UK Government and planning system, with achieving public betterment.

The creation of the ‘RIBA Code of Professional Conduct’ demonstrates the recognition from the profession of always providing value in its service, setting out various principles of an architect. One principle that is explained in great depth is that of the Competence of an architect. This heading highlights that any member of the RIBA is responsible for providing their service to the best of their ability in areas such as building performance, heritage, the environment, the community and society. 11

33

23. RIBA, RIBA Code of Professional Conduct. (London: RIBA, 2019), 9

34

35

Value: Public Engagment As another means of achieving value, Norwich Council set out a strong demand for public involvement in their ‘Statement of Community Involvement for Norwich’, stating that “in order to achieve the council’s vision and priorities through the planning service, it is essential that there is effective public involvement in plan.”24 The architects have shown to take responsibility of engaging with community complaints, by including comments from the local residents and then showing where they have acknowledged these comments and made changes based on these.25 An example taken from the DAS is as follows:

Value: Assessing Design Codes The architect has also shown to have made use of guidance from the National Model Design Code in multiple places across their Design and Access Statement in response to both objective 8: to positively enhance the individual character and culture of the area and Objective 4: to promote regeneration and reduce deprivation.

“I would prefer the proposed block of flats opposite the existing houses on Greyhound Opening to be moved to allow the construction of a substantial green area which would extend the length of Greyhound Opening and include the Catalpa trees.”

Hurst, Will. “RetroFirst campaign goes to government” Architects Journal. June 22, 2020. Accessed Dec 13, 2021. https://www. architectsjournal. co.uk/news/retrofirst-campaign-goes-to-government

Taking an example from the Design Code, the quality of space is defined as “partly about the way it is designed and partly about the way it is enclosed by well-proportioned buildings.”27

fig 07. Riches Hawley Mikhail Architects. “Public Consultation,” Design and Access Statement, Norwich City Council, 2015, accessed Dec

1/ Flat block along Greyhound Opening Omitted Following concern from residents along the terrace of houses on Greyhound Opening about privacy and overshadowing, a proposed building on the east side of the street has been omitted. Instead, the east side of the road is to be landscaped, thus reinforcing one of the major green routes into the scheme.

Together with the raised table in the road at the junction of Midland Street, this side of the road will form a continuation of the green-space of Midland Park.

13, https://planning.norwich.gov.uk/online-applications/applicationDetails.do?keyVal=NK7ZM5LX0OH00&activeTab=summary

Through this community engagement, they also demonstrate an attempt to meet another objective from the Local Plan (2014), objective 8: to positively enhance the individual character and culture of the area. The architects are able to gain feedback about whether their proposal is meeting this objective, with 52.4% of responses agreeing that they are.26

Extract from Design & Access Statment fig 06. Riches Hawley Mikhail Architects. “Public Consultation Response Note” Design and Access State-

fig 08. Riches Hawley Mikhail Architects. “Communal Garden,” Design and Access Statement, Norwich City Council, 2015, accessed Dec 13, https://planning.norwich.gov.uk/online-applications/applicationDetails.do?keyVal=NK7ZM5LX0OH00&activeTab=summary

The architects seem to have responded to this recommendation through how they have introduced play space into their design scheme. They have considered the wider impact of the street layout and tried to ensure safe environment to play within the proposal.28 The strategy makes use of “integrate natural landscape elements, seating opportunities and artistic elements throughout the public realm to provide a flexible, play-able landscape to meet the needs of different ages and be shared by all generations throughout the day.”29

ment, Norwich City Council, 2015, accessed Dec 13, https://planning.norwich.gov.uk/online-applications/ applicationDetails.do?keyVal=NK7ZM5LX0OH00&activeTab=summary

Mace Group. “Manchester Life: Driven by passion for our vibrant and progressive city”, Mace Group. accessed Dec 13, 2021. https://www. macegroup.com/projects/manchester-life

27. Ministry of Housing, Communities and Local Government, National Model Design Code, 2021, 25 28. Riches Hawley Mikhail Architects, Design and Access Statement, 48

24. Norwich City Council, Statement of Community Involvement for Norwich, (Norwich: Norwich City Council, 2020), 6 26. Riches Hawley Mikhail Architects, Design and Access Statement, 16

25. Riches Hawley Mikhail Architects, Design and Access Statement,15-17

36

29. Riches Hawley Mikhail Architects, Design and Access Statement, 66

37

38

39

30. Manchester City Council, Core Strategy Development Plan Document, 2012, 28 31. Manchester City Council, Core Strategy, 174-175 32. Feilden Clegg Bradley Studios, Former Murray’s Mills: Ancoats Design and Access Statement, 28 33. RIBA, Plan of Works Overview. London, RIBA: 2020, 20

Murray’s Mill

Manchester City Council. Core Strategy Development Plan Document.

2012.

Manchester City Council. Stronger Together, Greater Manchester Strategy 2013. 2013

Leaving the design proposals for Goldsmith Street behind, If Mikhail Riches were to develop in Manchester, would they find themselves designing to the same values as they did in Norwich? If it is the architect that defines the value in a project then perhaps, but if its the planning system they find themselves in, then the architect must act in their professional interest to design to these values.

Manchester Core Strategy Development Plan, which sets out the Core Strategy Vision for the City,30 contains a particular policy that is focused on sustainable design. Policy EN 4 Reducing CO2 Emissions by Enabling Low and Zero Carbon Development, sets out that “Where possible new development and retrofit projects will be used as a mechanism to help improve energy efficiency and provide low and zero carbon energy supplies to existing buildings.”31 Taking this policy into action, the ‘Ancoats and New Islington Neighbourhood Development Framework’ (2014) applies the policies to a conservation area within Manchester, creating a unique set of values that the architect must ensure to follow in order to act professional in a successful way.

In the case of Former Murray’s Mill situated in the Ancoats area of Manchester, architects Feilden Clegg Bradley Studio had to respond to the asset of value in Heritage and sustainable retrofitting.

Ministry of Housing, Communities and Local Government, National Model Design Code. 2021.

Outlined in their Design and Access Statement the values of the brief was highly considered at RIBA Stage 2. 32 It sets out that there was consideration from the Heritage Assessment, design options for reuse and intervention of the existing fabric, consideration for quality living and compliance with building regulations for energy and acoustic performance.

As the RIBA Plan of Work highlights, “Stage 2 is about getting the design concept right and making sure that the look and feel of the building is proceeding in line with the client’s vison, brief and budget.” 33 Which the architect has shown to achieve.

fig 10. Feilden Clegg Bradley Studios. “Blowing Room: Building Assessment and Apprailal for Reuse,” Design and Access Statement, manchester City Council, 2015, accessed Dec 13, https://pa.manchester.gov.uk/online-applications/applicationDetails. do?keyVal=NMHGC9BC01D00&activeTab=summarydo?keyVal=NK7ZM5LX0OH00&activeTab=summary

This consideration is evident throughout the DAS. In a particular instant, the design team carried out an assessment of the ‘Impact of the Removal of the Blowing Room and Canteen’, which were not fit for re-use.34 This assessment proved to be crucial in ensuring the rest of the Mill could be retrofit in a sustainable way, which refers back to Policy EN 4 of the Manchester Core Strategy.

It is worth noting, that both projects have achieved recognition for their achievements in design quality, with Goldsmith Street winning the Stirling prize and Murray’s Mill being nominated for the Architects Journal’s Retrofit awards. Could it be argued that in both cases the architects were successful in achieving value, as it both cases, the reason for recognition reflects both retrospective planning systems.

30. Manchester City Council, Core Strategy Development Plan Document, 2012, 28 31. Manchester City Council, Core Strategy, 174-175 32. Feilden Clegg Bradley Studios, Former Murray’s Mills: Ancoats Design and Access Statement, 28 33. RIBA, Plan of Works Overview. London, RIBA: 2020, 20

fig 09. Feilden Clegg Bradley Studios, “Murray’s Mill,”

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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(Photograph, Feilden Clegg Bradley Studios, 2021)

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34. Feilden Clegg Bradley Studios, Murray’s Mills: DAS, 125

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DESIGN STUDIO D ISLAND TEMPORALITIES ADRIAN HAWKER // VICTORIA BERNIE LEARNING OUTCOMES On completion of this course, the student is expected to demonstrate: LO1 (GC 1.3, 2.3, 3.3 GA 2.1) The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

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

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

GENERAL CRITERIA

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

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ISLAND TEMPORALITIES

Brief Extract Seeding Islands is the conceptual framework for this semester, a process germinating from the kernels of your House of Estrangement. The landscape of the Bay of Mont Saint Michel - from the inner grain of the abbey to the tapestry of polder fields - will be the territory into which these seeds are cast. Like the occupant of the house, this extended terrain, and the environment it creates and registers, should have always been in your field of vision, in your thoughts. Inevitably, it will have influenced the sensibility of your designs.

cultivating House for [re]stitching horizons

Estranged Seeds Two houses of estrangement, one for an arpenteur (surveyor) and one for anyone wishing to cultivate the bay, have been bought together on the Northern edge of the Merveille. Both houses of estrangement look out over a shared stretch of the bay and have been bought together to seed the ritual in which the anchorite operates his garden.

surveying House for an Arpenteur

Reflective Response Both facing out to the northern part of the bay, Stuart and I were able to make a collective assessment of the bay of Mont Saint-Michel and use two unique understandings of the bay to plant the seeds for new thought.

The coming together of the two projects proved to be a great way to work, both taking their positioning within the Merveille as an anchoring point to situate the Garden for an Anchorite.

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ISLAND TEMPORALITIES

“arrival of the sea...

The sea having withdrawn more than 12 kilometres from the Mount when it is low water, arrives at the moment of the surge, announcing itself by a roaring at first confused and which soon becomes a frightful noise and forms a formidable bar, an eddy of water, in the rivers which flow on the shores and on the whole extent of the vast estuary which it soon covers entirely. This immense sheet of water overflowing the shores not with the rapidity of a horse going full gallop, as it has been hyperbolically said, but going forward by a continuel movement, with an implacable strength, produces an extraordinary effect.”

Edouard Corroyer, 1883

Surveying a Bay GENERAL CRITERIA

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ISLAND TEMPORALITIES

Cones of Vision A restitching of the landscape; focusing on the segment of the silt flats that the seeds of estrangement look out onto, directly to the north of the island.

Mapping the sight lines against the new horizon, set to the ancient crossing point of Genest, the landscape has been broken into segments, and repositioned within the focused area to the north.

With this, the language of the landscape is condensed and rethought within a new terrain, producing a collection of situations against each other.

The sculptural work of Barbara Hepworth, was a key precedence for taking hints of the landscape and reworking it into a built form, specifically her work ‘Pelagos’.

The process was filmed from above and can be viewed here: https://www. youtube.com/watch?v=vBlIoGgY56Y

Reflective Response Using the information gathered from my first semester project; [Re]Stitching Horizons, which mapped sight lines coming from within the island commune, we were able to capture specific moments of the wider bay.

This then became the foundation for first architectural move - re-situating the specific moments of the landscape to the focused area of the bay to the north.

Cones Folded and Calibrated

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ISLAND TEMPORALITIES

situating

upscaling

calibrating

cutting

new landscape

downscaling

Choreographing a Landscape

Reflective Response A constant interplay with the scales of the bay lead to a process of calibrating and scaling, as well as gathering, to produce a new landscape, as an amalgamation of the wider bay.

The thoroughness of this initial process proved to be a great grounding for producing architectural interventions in the later weeks, as there was an endless field of suggestions for new landscape strategies.

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ISLAND TEMPORALITIES

Garden for an Anchorite in its Bay The Garden has been curated for the use of an Anchorite whom provides a harvest for the Merveille refectory on the island. An anchorite is a religious person who isolates themselves in order to dedicate their life to a particular ritual, in most cases prayer. Here, our anchorite dedicates themselves to a ritual of producing harvest.

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ISLAND TEMPORALITIES

Reflective Response The crafting of each field in the garden required a tectonic understanding in order to respond and inhabit the new landscape in which it sits. Gathering information from the wider landscape, the same tectonic responses could be used when crafting each footing, field and gate. A series of card model responses allowed the beginning of a response to the new landscape conditions..

Crafting a Landscape

Surveying a Bay GENERAL CRITERIA

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ISLAND TEMPORALITIES

Crafting a Landscape The work of Morphosis in ‘Morphosis: Connected Isolation: No. 23 (Architectural Monographs)’ had an influence on the development of our architectural tectonics. The isolated nature of the work helped to develop tectonics that sit in vast context without a tapestry of neighbouring architecture.

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ISLAND TEMPORALITIES

Crafting a Landscape

Crafting a Landscape

GENERAL CRITERIA

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ISLAND TEMPORALITIES

ReSeeding Reflective Response Once serving a purpose in their own right of cultivating and surveying, the two seeds of estrangement are now tethered by the anchorite in his garden. Their new positioning continues the story they once told upon the Merveille, setting them within the use of a garden landscape.

This architectural move of re-situating the two Houses of Estrangement within the anchorites garden, allowed for a grounding of scale, tethering the new pieces of architecture to them, as to keep the garden at the same experiential level throughout.

Masking Continued Two two Houses of Estrangement have mask tectonics which allow for a specific surveying of the bay. This mask tectonic has grown from a research into ideas behind masking, such as Stuart’s exploration of the Masquerade in Venice in year 1. These tectonics are bought forward into the other architectures in the garden.

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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Tools of the Garden Each piece of architecture has been designed with a process in mind, in relation to a unique field of production.

Seven tools occupy the garden: Anchorites Window, Arpenteur’s Mask, Oyster Farm, Mussel Farm, Cider Press, Bread Mill and Anchorites House.

The Anchorites Window acts as the gateway and offering space for the tools of the garden. This is where the yield is placed in various boxes inspired by the work of Juan Sánchez Cotán, such as ‘Still Life with Game Fowl,Vegetables and Fruits’

Anchorites Window

Arpenteurs Mask

Juan Sánchez Cotán Still Life with Game Fowl, Vegetables and Fruits

Oyster Farm

Mussel Farm

Cider Press

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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Bread Mill

Anchorites House

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ISLAND TEMPORALITIES

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1. Mussel Farm House 2. Mussel Hanging Ropes 3. Sea Water Channels 4. Wild Marsh Botanical Garden 5. Herb Botanical Gardens 6. Anchorites Yard 7. Anchorites Workshop 8. Anchorites House 9. Wheat Storage 10. Potato Storage 11. Vegetable Storage 12. Bread Mill and Bakery 13. Wheat Field 14. Potato Field 15. Vegetable Field 16. Walkway to the Island 17. Anchorites Window and Harvest Boxes 18. Arpenteurs Mask 19. Orchard 20. Cider Press and Study 21. Salt Pans 22. Oyster Cages 23. Oyster Farm

A Garden for an Anchorite Garden Plan When designing the garden, we would always keep the new landscape drawing that we developed as an underlay, in order to keep to the tectonics derived from the wider bay.

11

8

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ISLAND TEMPORALITIES

Farmhouse Seeded Seen in the southern polders, multiple farmhouses and barns are nestled within their farmland, protected by the dike walls that surround their land. In the garden, each field has its own respective ‘farmhouse’ which sits within the garden walls and overlooks the protection of its product. For example, the cider press sits nestled between the dike walls of the orchard, staying close to its own process. As drawn out here, the bread mill also sits within its landscape, onlooking of its fields. These farmhouses can be described as anchored pieces of architecture sat within their fields.

Reflective Response Through the process of gathering specific moments within the landscape, clues within the existing nature of the landscape could be cultivated and rethought within the garden tectonics.

This became a fundamental process of working out how the garden would respond to the landscape in which it sits, by referencing how the existing landscape responded.

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ISLAND TEMPORALITIES

i. sand

ii. low tide

iii. daily high tide

Tidal Response

Material Gathering

The above series demonstrates the changing nature of the garden as the tide rises and falls both throughout the day and throughout the year. The architecture can be separated into anchored and tethered pieces. The granite and copper dike walls protect most of the garden, however, certain elements that can be described as tethered, are left vulnerable to the tidal rise.

The materials used in A Garden for an Anchorite have been cut from the local stretches of the coastland and bay.

Three key materials are used within the garden: granite, copper and chestnut.

The granite outcrop of the Chaussey islands, 30km north of Mont SaintMichel is able to provide the granite for the garden, carrying the stone back via boat, as would have occurred in the 13th century.

The copper is able to be mined at a local town 40km northeast of Mont SaintMichel, Villedieu-les-Poêles-Rouffigny, which is famous for its bell production.

iv. seasonal high tide

Chaussey Islands Map

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ISLAND TEMPORALITIES

Tethered Architecture Certain areas of the garden do not need protection from the sea and even encourage the flow of the tide to serve farming purposes.

The oyster farm is set on stilts inspired by the mussel and oyster farming that pre-exists in the bay of Mont SaintMichel and beyond. These mussel farms are set on large rows of stilts that keep the shellfish suspended in the water, with a constant flow of water running past them to encourage development.

The stilt structures that exist in the garden also allow for water to flow in-between the structure and help with the growing of these sea animals to develop into the appropriate sizes. Safer elements of the farming process are then positioned higher out of the way of the tides, such as the spawning tanks and washing equipment.

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ISLAND TEMPORALITIES

Layering of the Garden (Physical Model)

Reflective Response Throughout the semester there was a constant thinking of the way in which the garden would respond to the changing nature of the bay. This thinking was fundamental to the development of the project and how it sat within the bay, allowing certain areas to flood and others to remain forever safe from the tide.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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A Garden for an Anchorite Short Section 1. Mussel Farm 2. Anchorite’s House 3. Bread Mill 4. Arpenteur’s Mask 5. Cider Press 6. Oyster Farm

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ISLAND TEMPORALITIES

Copper Masking When wondering through the silt flats, the copper posts will shield the lower parts of the garden from anyone walking past, blurring the boundary, and making it harder to see how the garden is accessed or navigated. The garden will at some points appear floating above a wall of copper stilts, appearing completely separate from the landscape below.

Monastery Neil Denari Neil Denari’s Monastery for New York, proposes a series of 60 feet concrete parallel walls that separate the sacred space in the centre, from the busy city streets. This was a key precedence in developing the copper field that separates the garden from the rest of the bay.

The Tudela-Culip Restoration Project,

by EMF + Ardevol gave inspiration on the pieces in the landscape that gently touch the silt as to not disturb the flow of the bay.

GENERAL CRITERIA

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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

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ISLAND TEMPORALITIES

9

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8 10

1. Anchorite’s Wash Area 2. Sorting Area 3. Oyster Spawning Tanks 4. Oyster Labratory 5. Stairs to Algae Growing 6. Nursery (below) 7. Oyster Cages (To The North) 8. Copper Wind Mask 9. Copper Walkway to Orchard (tethering) 10. Granite Walls (anchoring) 11. Stairs to Silt Landscape

Oyster Farming The tectonics of the Oyster Farm have been derived from a series of responses from both the development of masking and screens that have been developed through both Stuart and my own thesis projects, and from a response to the landscape. The copper mask that wraps around the oyster laboratory, protects the internal spaces from the prevailing winds from the northwest.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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DESIGN STUDIO D

DESIGN REPORT

ISLAND TEMPORALITIES

“The workshop is the craftsman’s home.

Traditionally this was literally so. In the Middle Ages craftsmen slept, ate, and raised their children in the places where the worked” Richard Sennett, The Craftman

Anchorites House

1. Bedroom 2. Terrace 3. Bathrom 4. Living Area 5. Kitchen 6. Terrace Platform (overlooking spaces) 7. Workshop Yard 8. Entrance Steps 9. Timber Clad Mask 10. Copper Wind Mask

The Anchorites house also has several masks, derived from a thinking through masks throughout the two semesters.

One on the western facade protects from the wind, whilst the one to the east provides the anchorite a lookout on specific moments within his garden.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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DESIGN STUDIO D

DESIGN REPORT

ISLAND TEMPORALITIES

Summative Reflective Response Studio D has been a very successful means for development as a culmination of all other modules taken prior to finishing this studio. I feel as if I have been able to test the knowledge and skill gained throughout the two year masters program and apply it to a thesis project.

I have also greatly appreciated working closely with Stuart Gomes, which has been an invaluable experience to working collaboratively in order to reach design decisions and produce working methodologies throughout the semester 2.

I feel as if the thesis project has been successful in response to the ARB General Criteria in the following ways: GC 01 - The project responds to the needs of a singular user, the anchorite, and creates a landscape that caters for the needs of a gardener.

GC 2 & 3 - The project takes forward theories of masking, drawn from Stuarts first year project in Venice, and also is derived from a thorough understanding of the historical context of the island commune of Mont SaintMichel.

GC 8 & 9 - The project responds to the weather conditions of the bay by understanding how the landscape already responds and uses this information to build the architectural tectonics of the garden,

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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DESIGN STUDIO D

DESIGN REPORT DESIGN REPORT

08

DESIGN REPORT

[fourth ritual] crafting (verb)

ISLAND TEMPORALITIES ADRIAN HAWKER // VICTORIA BERNIE [third ritual] masking 1.

2.

(verb)

1.

2.

3.

[second ritual] seeding (verb)

1.

2.

3.

[first ritual] anchoring

iv. the meal

mask... i. to survey ii. as aperture

to sow cause something to begin to develop or grow produce and reproduce itself by means of its own seed

iii. as shelter iv. to conceal

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

i. a landscape ii. footings... seeded iii. field... iv. gates...

204

v. beddings...

an anchorites... i. bay 98

LEARNING OUTCOMES On completion of this course, the student is expected to demonstrate: 257

seeding... to moor to the sea bottom with an anchor secure firmly in position provide with a firm basis or foundation

crafting... i. the bay ii. the fields iii. tools

256

(verb)

1.

2.

3.

to cover with a mask to conceal (something) from view. to prevent the perception of (another sensation).

to make or manufacture (an object) with skill and careful attention to detail to exercise skill in making (an object), typically by hand.

ii. island

99

LO2205(GC 2.2, 2.3, 8.1, 8.2, 9.3 GA 2.1, 2.2, 2.3, 2.4, 2.6, 2.7) Demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architecture’s professional and economic context.

iii. ritual iv. garden

26

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

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GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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BRIEF EXTRACT The Design Report sets out the research and design development undertaken, incorporating images including the key representations of the project itself. The design report should allow the reader to follow the student’s study process, allowing an understanding of the material examined, decisions taken, etc. The design report is also a reflective document allowing the students to reflect not only on their finished project but also a key aspect of their methodology and practice.

While the report is an academic document that must be fully referenced and observe all relevant protocols as set out in the briefing materials issued to students, is also itself a designed object.

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DESIGN REPORT DESIGN REPORT

Brief Extract Demonstrate ability to analytically and logically synthesise documentation which encompasses a range of architectural issues, research and design processes undertaken in the development of a major architectural thesis and to reflect upon aspects of personal practice.

[first ritual] anchoring

[first ritual] anchoring (verb)

Describes how the garden has been anchored through the idea of solidarity and devoted ritual, similar to that of an anchorite, a religious hermit who confines themselves to a cell to devote their life to prayer. Here, the bay and the island are imagined as the character of the anchorite in their box* and how each respond to the world outside their own.

to moor to the sea bottom with an anchor secure firmly in position provide with a firm basis or foundation

1.

2.

3.

an anchorites... i. bay ii. island

[second ritual] seeding

iii. ritual iv. garden

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Explores the process in which the garden has been imagined through existing landscape conditions within the bay. Such conditions have been captured through lines of sight from Mont Saint Michel, allowing a careful consideration of the best response to the weather conditions that exists in the bay.

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[third ritual] masking To survey, to cultivate, to shelter and to conceal; can all be operated through the use of a mask. In this thesis project, the use of the mask is broken down into these four acts, seeded by the initial demand of the houses of estrangement born out of the first semester and planted into the Garden for an Anchorite in semester two.

Mont Saint-Michel

Mont Saint-Michel

[fourth ritual] crafting

[second ritual] seeding (verb)

Demonstrates the act of making through a considered hand focused craft. This is shown from the crafting of a new horizon, a new bay and a new garden, through to the crafting of the tools necessary to produce the meal for the Abbey on Mont Saint Michel.

to sow cause something to begin to develop or grow produce and reproduce itself by means of its own seed

1.

2.

3.

seeding...

i. a landscape

sequence

ii. footings... seeded iii. field...

The design report works through the thesis via a set of rituals towards producing harvest for the meals which will be consumed by those using the multileveled refectory of the island Abbey. Each move describes a transition through scales, from the wider reaches of the bay down to the turning of a handle on the press of a cider mill.

iv. gates... v. beddings...

Reflective Response

98

The design report has been broken down into a series of rituals, undertaken by the character of the anchorite that occupies the garden. These five rituals explain the project as through the eyes of the anchorite, but also break down the project into tectonic responses and working methodologies.

01

99

01

*An anchorites box or cell is a permanent containment of an anchorite within a church or cathedral, accessed only via the anchorites window.

[third ritual] masking

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11

(verb)

1.

2.

3.

to cover with a mask to conceal (something) from view. to prevent the perception of (another sensation).

mask... i. to survey ii. as aperture iii. as shelter iv. to conceal

[The Anchorite’s Ritual] 204

205

The five rituals are:

[first ritual] anchoring

[second ritual] seeding

[third ritual] masking

i. an anchorite’s bay

i. landscape

i. to survey

[forth ritual] crafting

[final ritual] harvest

i. the bay

i. yeild

Mont Saint-Michel

Mont Saint-Michel

[anchoring] [seeding] [masking] [crafting] [harvest]

Venice

Venice

[fourth ritual] crafting (verb)

1.

2.

to make or manufacture (an object) with skill and careful attention to detail to exercise skill in making (an object), typically by hand.

03 02 01

04 05 06 07

08

crafting... i. the bay ii. the fields iii. tools iv. the meal

256

03

05

06

257

ii. an anchorite’s island

ii. footings

ii. as an aperture

ii. the fields

iii. an anchorite’s ritual

iii. fields

iii. as a shelter

ii. tools

iv. an anchorite’s garden

iv. gates

iv. to conceal

iv. the meal

08

Venice project shown within smaller booklet

oject

[final ritual] harvest Celebrates the yield of landscape and architecture as isolated objects, as products of a process of anchoring, seeding, masking and crafting.

v. bedding

[final ritual] harvest (noun)

1.

2.

the process or period of gathering in crops. the product or result of an action.

(verb)

3.

gather (a crop) as a harvest.

harvest... i. yeild

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GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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DESIGN REPORT DESIGN REPORT

surveying a bay

Extracts from [first ritual] anchoring

i. an anchorite’s bay An island in isolation, against the forces of the bay in which it lies.

It sits vulnerable and alone, having the necessary control and fortification provided to keep it from being overtaken by the wind, tides, sand and storms.

[first ritual] anchoring

A series of elements allow for the anchorite to carry out his ritual in solitude. As follows are the three key features that provide solidarity in the anchorites work:

(verb)

1.

2.

3.

to moor to the sea bottom with an anchor secure firmly in position provide with a firm basis or foundation

Extracts from [Venice] surveying a lagoon Stuart Gomes (Year 1)

1. An Island Isolated 2. Forces of the Bay [Venice] Surveying a Lagoon

[Venice] surveying a lagoon Surveying first took place through the examination of the Venice Lagoon. Here, the islands of the lagoon, tides and silt build ups were mapped onto historical maps of the area.

an anchorites... i. bay ii. island iii. ritual iv. garden

fig.01 Bay of Mont Saint-Michel, aerial image

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27

1. anchoring

30

i. an anchorite’s bay

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[venice]

1. anchoring

surveying a bay

forces of the bay The bay of Mont Saint-Michel is an uncertain landscape, full of secrets and mysteries. When discussing a lost map once said to have been contained within the Merveille, Edward Eigen writes “to trace the lines on this map, which limned the time worn contours of the Bay of Mont-Saint-Michel, is to detect a particular form of errancy and the attempts to straighten it out.” 4

a. from the anchorites window A typical anchorite, contained in their cell that is attached to either a church or cathedral, only has visibility to the outside world via their anchorites window. This provides a narrowed and focus view from within their confinement. A likening to the anchorites window can be made with Mont Saint-Michel and its relationship with the bay. When moving through the island it is rare to get a full understanding of the entire bay that surrounds it.

Eigen continues to describe the pilgrims crossing the bay with their staffs, unaware of the history of the bay in which they walk, including a long-lost ancient forest that once protected the island against the forces of the bay.

He continues, “Manet notes the “famous storm” of January 9, 1735, which, as if to reverse time, or rather to make its eddying regime visible, swept away the top layer of the bay’s bottom, revealing thick stands of fallen trees.” 5

We are often understanding the bay through slices of the landscape, seen through a variety of openings scattered across the layers of the island. As one moves through the islands streets and up towards the Abbey, they are provided with a unique glimpse of the landscape, each one different, providing the puzzle pieces of the bay as a whole.

Eigen quotes James Hairby by saying, the past and present nature of the bay is almost always disagreed upon by historians and geographers.6 Thus, through our own understanding of found geographical data documenting the bay, we were able to map out a field drawing that demonstrated the forces acting against the island of Mont Saint-Michel. These key forces are; the land and sea, geological surface, silt, tide and winds. From this study, relationships between elements were bought to light, including the relationship between certain granite outcrops, such as between Mont Saint-Michel and its sister island, Tombelaine, as well as between the Chaussey Islands and Ponterson.

It was key to ground the scale of Mont Saint-Michel against the ginormous scale of the bay is sits within to determine the architectural response that the island provides against its setting.

4. Edward Eigen, On accident: episodes in architecture and landscape. edited

by Chelsea Spencer (Cambridge, Massachusetts: The MIT Press, 2018), 155 5. Eigen, On accident: episodes in architecture and landscape, 161 6. Eigen, On accident: episodes in architecture and landscape, 155

fig.03 View of Tombelaine from the island, photograph

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[venice]

1. anchoring

iii. an anchorite’s ritual

1. anchoring

surveying a bay

iii. an anchorite’s ritual

cultivating House for [re]stitching horizons

1-5 Insula of Venice scale 1:600,000 1. Murano – known for its glass making.

2. San Michelle – Venetian cemetery island.

3. Castello – Sestiere (district) of Venice within which the Querini Stampalia sits, and famous for its gardens and arsenal.

4. Pellestina Lido – narrow strip of naturally formed land which protects the lagoon, and Venice, for the Adriatic Sea. 5. Chiogga – small town, south of lagoon known for being first form of defence and first warning against attack.

Known for its unique regular planning. a. Lagoon depth up to 20m (lighter is shallower and darker is deeper) b. Morphological areas of Venice Lagoon - (dark grey) salt marshes - (grey) Sea water - (light grey) vegetation c. 1873 Map of Venice Lagoon d. Gridlines of 5km by 5km squares e. 1720 Map of Venice Lagoon. Dominii Veneti cum vicinis Parmae, Mutinae, Mantuae et Mirandolae Statibus Nova Descriptio.

surveying House for an Arpenteur

b. surveying Surveying has been used here as a way of examining and recording the area and features of Mont SaintMichel and its bay. The house for an arpenteur (surveyor) enables the arpenteur to observe, record and document the daily events of the bay. This includes the weather, tides, the activity of the people of the bay and all unique occurances of the landscape.

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41

[venice]

a. estranged seeds Two houses of estrangement, one for an arpenteur (surveyor) and one for anyone wishing to cultivate the bay, have been bought together on the Northern edge of the Merveille. Both houses of estrangement look out over a shared stretch of the bay and have been bought together to seed the ritual in which the anchorite operates his garden.

Reflective Response

fig.04 Surveyors using a Plane Table, photograph

62

In amongst the five rituals, Stuarts work from the first year of the integrated studio demonstrates where certain ideas and tectonics are derived from. These are displayed in smaller paged booklets throughout the report.

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64

iii. an anchorite’s ritual

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1. anchoring

iv. an anchorite’s garden

Extracts from [first ritual] anchoring

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43

a. the walled garden A garden for an anchorite has been arranged as a series of walled gardens that interlink with each other through a specific route that is accessible only by the anchorite. This is created through a series of granite walls that separate operations, such as orchards, fields and marshes and interlinking bridges and staircases. The heavy granite walls ensure that there is no entrance from the outside of the garden.

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GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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DESIGN STUDIO D

DESIGN REPORT DESIGN REPORT

Mont Saint Michel / Sight Lines

2. seeding

i. seeding a landscape To create a garden in a bed of flat silt, an understanding of the nature of the surrounding bay is key to determining the best response against the forces of the bay. A series of choreographed moves allowed the architecture to be seeded from the landscape that surrounds it.

A collection of landscape tectonics have been bought forward into the garden and have been laid out in the following chapters as follows: a. pilgrimage route from Genest

i. a landscape

New Horizon

Ginest

b. crafting the sight lines c. cones; mapped d. calibrating a landscape [Venice] choreographing a landscape

[second ritual] seeding

e. a choreographed landscape

(verb)

1.

2.

3.

Extracts from [second ritual] seeding

a. pilgrimage route from Ginest

to sow cause something to begin to develop or grow produce and reproduce itself by means of its own seed

seeding...

The pilgrimage route to Mont Saint-Michel has from the 9th century been one of the most popular pilgrimage routes in Europe. Today, pilgrims can use the newly constructed bridge from the south to access the island, however 1000 years ago the coastline on the south was much further inland, due to the non-existence of the polders. Pilgrims would wait until the tide was at its lowest and make the trek across the silt flats from various points from the northwest, including the town of Ginest.

When defining the boundary for the observable bay that would be folded and condensed to create the garden, the crossing point of Ginest was used as the limit. This symbolises the experiential beginning of the bay as a pilgrim, and so it was thought appropriate to set the limit at this point.

i. a landscape ii. footings... seeded iii. field... iv. gates...

fig.07 (Above) Pilgrimage crossing at Ginest, photograph, 1961

v. beddings...

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2. seeding

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i. a landscape

2. seeding

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i. a landscape

2. seeding

i. a landscape

case study #02

b. crafting the sight lines

pelagos, barbara hepworth

A restitching of the landscape; focusing on the segment of the silt flats that the seeds of estrangement look out onto, directly to the north of the island.

Barbara Hepworth often takes moments of the landscape she finds herself in, into her sculptures. Growing up in London she felt that one could not relate themselves to the landscape. She was able to move down to St. Ives, Cornwall and began sculpting her surroundings and the people within them.9

Mapping the sight lines against the new horizon, set to the ancient crossing point of Genest, the landscape has been broken into segments, and repositioned within the focused area to the north. With this, the language of the landscape is condensed and rethought within a new terrain, producing a collection of situations against each other.

Her work, Pelagos, is drawn from a particular view of the bay, where the sea is surrounded by two stretches of land either side. The spiral shape is representative of the wave or roll of a hill, and the strings the tension she felt between herself and the sea. 10

Breaking into three distinct collection of sight lines, one to the east, one to the south and one to the west, each brings a uniquely different set of conditions to the new field to the north. To the east, we see the effects of rivers breaking into the marshland below, creating strong breaks in the terrain. To the south, a condensed and rich arrangement of polders, roads, farms and infrastructure, with the dam water channel cutting through this condensed landscape. Finally, to the west, a similar marshland than to the west, however with much less intrusive rivers, creating a flatter, seemingly more open terrain.

folding the landscape

9. London Magazine, “I the sculptor am the landscape – Barbara Hepworth’s Roots of Stone” London Magazine, 3 August , 2015, accessed 10 May, 2022, https://www.thelondonmagazine.org/ithe-sculptor-am-the-landscape-barbara-hepworths-roots-of-stone/ 10. Tate, “Dame Barbara Hepworth, Pelagos”, Tate, accessed 10 May, 2022. https://www.tate.org. uk/art/artworks/hepworth-pelagos-t00699

Once in their new position, an identification of the moments of tension within the existing landscape found in each cut, was analysed and taken as a crease or a new cut in the landscape. A series of folds was then created, highlighting the moments with extreme tension and moments of calm, into an even greater condensed field.

fig.09 (Left) Barbara Hepworth, Pelagos, Elm wood with colour and strings

fig.08 Pilgrims against the edge of the silt flats by Ginest, photograph

fig.10 (Top) Barbara Hepworth, Figures in Landscape, 1953, video screen capture

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i. a landscape

01

sight lines to the West

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2. seeding

2. seeding

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i. a landscape

2. seeding

i. a landscape

fields + crops

calibrated and folded

textures; mapped Essential for creating a new landscape is to understand the textures of the surrounding bay and the relationship towards each other. Each cone helps to gather the textures of the bay and set them out in their new positioning. From this an understanding of the movement of the forces of the bay such as the tide and wind has had an effect on the landscape as it pushed further inland and away from the shore.

02

sight lines to the East

This understanding became the basis for setting out the new polders, fields and rafts in the Garden for an Anchorite and allows for a basis of relationships to be set out. Where rocks sit between silt and marsh sits between sand, can be set out from the mapping of each cone of vision.

01

sight lines to the West

02

sight lines to the East

wetland

calibrated and folded sand + marsh

situating

03

d. cones; mapped Seen again here, the sight lines from Mont SaintMichel have been identified into three main cones of vision: east, south and west. In a series of drawings, the movements of the folds, cuts and repositioning, has been mapped onto each cone, showing what has been moved and what has been left behind.

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upscaling

calibrating

cutting

new landscape

downscaling

silt + rocks

sight lines to the South

sand + grass

03

d. calibrating a landscape

sight lines to calibrated and folded the South

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Reflective Response

e. a choreographed landscape

A process of calibrating occurred with the landscape once positioned back into the bay.

Situating, upscaling, calibrating, cutting, new landscape and then downscaling became the six moves which bedded the garden landscape in its position.

silt + sea

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ii. footings

With a merging of data found from the process of sewing and gathering, a new choreographed landscape has been allowed to form. In turn A Garden for an Anchorite, is a collection of found landscape conditions that have been sewn and seeded into a garden that represents the bay at a new scale, in order to prepare a harvest for the Abbey.

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137

2. seeding

2. seeding

ii. footings

ii. footings; seeded The footings become the foundation for the garden, the layout for the fields and the walkways that lie in-between. Once these have been set out, what comes next can be determined.

An extract from the first 16 pages of [Second Ritual] Seeding, which explains the process of gathering information from the landscape and re-imagining it into the Garden for an Anchorite.

The chapter moves through working methodologies, precedence and final images of the project.

The footings of the garden have been followed by the tectonics of two main elements:

a. dike walls

a. dikes

Dike walls surround the polders to the south of the island and provide key protection against the tide, especially at extreme high tides that occur in August and September. Granite walls act as dikes within the garden, protecting areas that need to stay safe from the tide the whole year round.

b. stilts [Venice] stilts

These walls allow the tide to rise higher than the garden that they surround, meaning the tide will never spill out into the protected land. The heights of the walls have been set against the most extreme tide heights that rise against the walls of Mont Saint-Michel.

Seasonal High Tide Daily High Tide Daily Low Tide

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GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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DESIGN STUDIO D

DESIGN REPORT

ii

EUSAS COMMITTEE

ii.

EUSAS COMMITTEE

COMMITTEE GRAPHICS TEAM

Graphics Team For the entirety of year two of the masters program I have been involved with the graphics for EUSAS. I have designed a series of posters for the lecture series, as well as climate talks and the poster for the EUSAS Ball: Wildflowers.

GENERAL CRITERIA

GRADUATE ATTRIBUTES

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

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