[ARC8067] 2015 - 2018
ACADEMIC PORTFOLIO
TOM COWMAN 101711289
1
B
GC3.1 GC3.2 GC3.3
R
GC2.1 GC2.2 GC2.3
A
GC1.1 GC1.2 GC1.3
GC4.1 GC4.2 GC4.3
C
GC5.1 GC5.2 GC5.3 GC6.1 GC6.2 GC6.3
I A
GA2.1 GA2.2 GA2.3 GA2.4 GA2.5 GA2.6 GA2.7
R
GC11.1 GC11.2 GC11.3
E
GC10.1 GC10.2 GC10.3
T
GC9.1 GC9.2 GC9.3
I
GC8.1 GC8.2 GC8.3
R
GC7.1 GC7.2 GC7.3
CONTENTS
REFLECTION
4
ARCHITECTURAL DESIGN
[01]
RE MATERIALISING ROTTERDAM - BUILT FABRIC
6
HYBRID OBJECTS
[02]
ARCHITECTURE + - THESIS
45
“WELCOME TO THE MASC GAMES!”
[03]
OPERATION ROTTERDAM - URBAN FABRIC
112
URBAN HACKING
THEORY & WRITING
[04]
LINKED RESEARCH
130
LEARNING SPACE
[05]
CONSTRUCTION + MANAGEMENT
140
PROFESSIONAL PRACTICE REPORT
[06]
TOOLS FOR THINKING
144
ANALYSING THE ‘FABRIC’ IN FABRIC FORMED CONCRETE
3
Right - Work produced from Charette week, showcasing the variety of skills and outputs that can be learnt, developed and built in a very short period of time.
REFLECTION
Looking back over my time on the Architecture Masters at Newcastle University I realise now the connections that have been made between projects. It is only when we step back fully and see the whole picture, gaining just a little more perspective, that we can make these links and properly appreciate where we started from and what we have learned in the process. Hybrid Objects was such a fascinating project for me. The project’s brief was to design a new art depository using artwork as device to explore theory and construct a methodology for designing. This lead me to reading ‘The White Cube’ by Brian O’Doherty which discusses how the art gallery can be architecturally read much like a prison. It explores the idea of control and oppression, something that personally I found fascinating reminding me off such films like ‘The Matrix’ and wanting to understand how architecture can reinforce such ideologies. I wanted to highlight this idea of control, critiquing it by pushing the architecture to such an extreme point that it becomes satirical and ridiculous. These ideas stayed with me and ones that I kept coming back to. I was fortunate for my thesis year to be in a studio that particularly studied and focused on using science fiction (SF) theory as a method of designing. This was what I had already done to some extent in Hybrid Objects, pushing something to its extreme to make a critique of the present. In this studio we got to really study and understand SF in order to build our own worlds, something that I have found I really enjoy. The thesis project focused on critiquing mass consumerism and the notion of masculinity in society today. These both have connections back to ideas of control and a system that can oppress certain individuals in society, which becomes so normal and common place that it becomes invisible. SF has enabled me to shine a light on these issue and has been used as a method of extremefying and satiricalising mass consumption and the notion of masculinity through architecture. Through my research into masculinity I have come to realise that this ideological construct is a prison in itself, one where men guard the boundaries to the role, watching themselves and each other to make sure everyone is in check. I have found this both interesting that there is this connection with my first project and the my thesis and extremely useful because I felt like I had a foundation layer of knowledge to start my thesis with and develop the ideas further. Throughout both projects model making has always been something that I draw on as a method of designing. Model making allows me to design through making, I can work out issues and play with dimensions, height and voids much more quickly through making which allows spaces to be visualised and as an outcome I feel I can represent my ideas much more clearly. I believe this is why I chose a very practical hands-on linked research project. This project researched how space can be designed from an approach of testing, evaluating and redesigning, similar to why I construct models. The
4
project resulted in a wall that could tessellate into many different combination of layouts to provide students to change the space they occupied to suit their needs. What I most enjoyed about this project was researching into the field of psychology, specifically environmental psychology. This research allowed me to gain insight in to the behaviour of people specifically in relation to space and consequently we design architecture. As architects we need to understand the relationship that people and space have, which cannot always be generalised. I think it is important to remember that the role of the architect is changing. Technology is forever moving and changing and I believe the architect cannot be expected to master all these new fields and aspects. Again this idea of the ‘master builder’ and ‘control’ over the design needs to be updated to a more collaborative approach to design, involving specialists in multiple fields. Overall I have enjoyed the Masters Degree here at Newcastle. I have learnt that sometimes we need a little longer to understand ideas and which I have found frustrating with the rigid nature of the architecture education in general, finding it quite prescribed. Going forward after the degree I am considering moving away from the typical architectural career path towards something that I can really use my hands more with. I have been interested in the idea of set design and model making, but I have also been considering looking for a more research led design practice who like experimenting with materials, forms and ideas. The charette weeks here at Newcastle have always been something that I have really enjoyed. Allowing me to experiment and learn new skills. But also where the whole school can come together and learn from one another, both Bachelors and Masters students. It surprised me how much I enjoy sharing knowledge with others about my experiences at Newcastle and the skills that I have learnt.
5
ARB CRITERIA
[01]
GC
GA
[01] ARCHITECTURAL DESIGN
HYBRID OBJECTS
DE MATERIALISING ROTTERDAM BUILT FABRIC
7
Right - Piranesi’s prison series ‘Smoking Fire’.
INTRODUCTION
The aim of the studio, ‘Hybrid Objects’, was to create an architectural response to the complex space that exists between viewers and objects. A space where projected meanings collide to create a space of betweenness. The studio brief is to create a new art depository for the Boijmanns Museum picking a piece from their extensive collection to use as a catalyst in order to help design. Boijmanns Museum located in Museum Park in Rotterdam. The museum holds a large collection which is at risk of flood damage and where space is running out. The incredibly immersible world of Piranesi’s Prison Series fascinated me and after reading the text ‘Inside The White Cube’ by Brian O’Doherty I found the critique of the gallery as a prison very interesting. I explored this critique further by looking into dehumanising architecture, such as prisons and combining this with the automated world. I played on the idea of the gallery as a prison and exaggerated this through the use of materials, construction, programme and the journey through the building. Creating a building that was solely built for the machine and the storing of artwork. A building that controls the journey of the user and collection, separating the two physically but not visually and where the human final meets machine in a prison like cell high above the steel beam and columns below.
8
9
Right - An example of the gallery space.
THEORY
THE GALLERY The ‘White Cube’ refers to the gallery space that glorifies and pedestals artwork and dehumanises its viewers. The space does this by creating large spaces devoid of natural light and where speaking, eating or anything emotive seems frowned upon in order to feel accepted by the higher order that deems the artwork on view as art. One could compare the ‘White Cube’ gallery to a prison, where the architecture is all about control.
“For in return for the glimpse of the eternal ... we sacrifice our humanness and become the cardboard spectator.” “...one does not speak in a normal voice, one does not laugh, eat, drink, lie down, or sleep, one does not get ill, go mad, sing, dance, or make love...”
10
11
Right - Piranesi Model Series exhibited using ‘The White Cube’ theoretical methods
THE ARTEFACT
MODEL SERIES In order to gain a better understanding of the prison spaces Piranesi created in his etches, each space was modelled and then 3D printed.
PRISON MODEL SERIES
‘DRAWBRIDGE’
12
‘SMOKING FIRE’
‘PRISONER PLATFORM’
13
Right - A combined amalgamation of the Piranesi Model Series
UNPACKING THE ARTEFACT
- ‘Smoking Fire’ showcased the grid layout of architectural elements within Piranesi’s etches, which are further repeated in the following series models. - ‘Prisoner Platform’ showed the staircase descending into the body of water. This gave way to the idea of descending into an area of artwork storage. - ‘Drawbridge’ pictures the use of a watch tower and the idea of being viewed ‘panopticonism’. Also prominent is the endless circulation depicted in the etch. Again enforcing this notion of repetition.
PRISON SERIES: SMOKING FIRE
PRISON SERIES: PRISONER PLATFORM
PRISON SERIES: DRAWBRIDGE
14
15
Right - Plans and elevation of Alcatraz prison and the spaces inside.
UNPACKING THE ARTEFACT
DEHUMANISING ARCHITECTURE By unpacking Piranesi’s etches four key ideas have come to the forefront which can be used as the driving ideas in designing the depository. These are; Scale, Automation, Repetition and Isolation. Presidents were then interrogated further in order to understand these spaces. These included; - Alcatraz Prison - Amazon Warehouse
SCALE
- Use of autonomous robotic machinery
AUTOMATION
REPETITION
Above - Inside Amazon Warehouse showing the automated machinery and processes in place.
16
ISOLATION
UPPER FLOOR
GROUND FLOOR
LOWER GROUND
17
Below + Right - Renders of the MVRDV Boijmanns depositary scheme proposed next door to the existing museum in Museum Park.
MVRDV DEPOT
THE EXISTING PROPOSAL MVRDV, a renowned architectural firm, has proposed to build a depository on the current site. The scheme is already eluding to the idea of a prison and is practicing many of the elements that dehumanise space. This can be used as a springboard to build and exaggerate these ideas further.
18
19
Below + Right - Model of central space exploring panopticon design and construction and materiality using a steel grid.
THE REACTION
PANOPTICON + STRUCTURE Model testing the driving ideas expressed previously in conjunction with testing construction and materiality through the use of steel beams and metal walkways.
20
21
THE RESPONSE
BUILDING + SITE CONTEXT 1. Existing Car Park to be used as access point for public, employees and deliveries into building. 2. Boijmanns Museum 3. Car park entrance / exit ramp.
1.
2.
22
Museum Park
SCALE
3.
ISOLATION
23
Right - Section exploring journey through building. Also conveys the grid structure and art work automation.
THE RESPONSE
SECTION BB Visitors to the depository must enter the building via the existing underground car park, a symbol of the machine world we live in. The public use the automated lockers to deposit belongings before entering the body scanner and onto the lift taking them down to the artwork storage and sorting area. The entrance compresses the person forcing them down into the depth of the building, where the sound of the automated artwork rail system hums and rattles away.
HUMAN
ARTWORK MOMENT
ROUTE
A.
1.
2.
3.
1. Existing Car Park to be used as access point for public into building. 2. Automated lockers for the public to deposit all belongings 3. Body scanner
24
D.
A.
B.
C. 25
Right - Perspective showing entrance to building through existing underground car park.
MACHINE MOMENTS
CIRCULATION The use of machine is not only used to move artwork around the building. Escalators and lifts are used to circulate people around too.
1. D.
A.
2.
A. Building Entrance and Entrance Sequence. D. Artwork Viewing Platforms. 1. Mechanised vertical circulation. 2. HVAC ducts and cabling.
26
27
Right - Perspective showing automated art storage and the endless banks containing and protecting the collection.
MACHINE MOMENTS
ART STORAGE Automated robots pick up and store artwork when requested.
B.
Storage
STORAGE
28
29
Right - Perspective showing art work being moved around building using a track system.
MACHINE MOMENTS
SORTING Art work circulates around building using a track and RFID tag system and travels vertically through the central atrium.
Storage
C.
Sorting
SORTING
30
31
Right - Perspective showing cell where art work meets human and can be interrogated.
MACHINE MOMENTS
VIEWING PLATFORM Art work is called by the viewer and is brought by machine to the individual cell to be interrogated. The cells are arranged using the panopticon design.
D. Sorting
Viewing
VIEWING PLATFORM Machine Moments Route of artwork from storage to cell
32
33
INTEGRATED SECTION
SECTION AA Section through art depository moments and key design decisions.
indicating
machine
Key A. Existing Boijmanns Museum B. Automated Artwork Storage System. C. Automated Artwork Movement System D. Artwork Viewing Platforms E. Car Park Entrance / Exit Ramp F. Watch / Control Tower
D.
A.
B.
34
C.
F.
.
D.
ART WORK VIEWING PLATFORM
D.
E.
C.
B.
35
GROUND FLOOR PLAN
OBJECT STORAGE + VIEWING
36
The building is located where the existing MVRDV depository scheme is proposed. This isolates it from the surrounding buildings. The building is constructed using a steel grid and the collection’s objects are stored along
the periphery. These can be accessed using a robotic lift system taking the public to objects that they so desire to view.
37
BASEMENT FLOOR PLAN
ARTWORK STORAGE
38
The basement is where the artwork is stored. The environmental conditions are regulated to conserve the pieces at the correct temperature and relative humidity levels. Natural light is restricted to preserve pieces from
UV radiation. Artwork is stored in racks that can be retrieved using the automated retrieval system.
39
Right - Section showing how the two construction systems join together in the cell.
THE INTERACTION
HUMAN MEETS MACHINE Computers located at the entrance to the cell allow the user to assess the database of artworks available, choose a part of the collection and have it delivered to the cell. The lighting strategy of the cell changes as the artwork arrives allowing for better integrating of the piece. The grid gradually changes to the arch, which architecturally symbolises proportions to follow this procession of the human nearing the meeting of machine. As the user enters the cell the materiality also changes to reflect the hybridisation of human and machine. This has been done by the hanging of brick slip on a steel structure bring together the machine with the human.
1.
6. 2.
3.
4.
5.
1. Steel I beam. 2. Hollow curved steel arch. 3. Aluminium hanging rail system 4. Hung brick slip 5. Metal ventilation grill. 6. HVAC duct work.
40
41
Right - Structural diagram.
THE STRATEGIES
STRUCTURAL + ENVIRONMENTAL - The lighting strategy has minimal natural lighting to minimise damage to artwork from UV damage. The only source of natural light comes from the skylight at the top of the building otherwise the building is mainly light through artificial lighting which follows the machine thesis. - The natural ventilation strategy is minimal due to the precise environmental conditions require to conserve the artwork. Therefore the majority of the spaces are mechanically ventilated. However any warm air can rise through stack effect using the main central core and escape through mechanically controlled windows in the dome.
LIGHTING STRATEGY
- The humidity strategy must be strictly controlled throughout the building to maximise conservation of the artwork. This must be maintained at 50 +/- 5%. ref:http://www.tandfonline.com/doi/ full/10.1179/2047058414Y.0000000141?src=recsys - The heating strategy must be strictly controlled throughout the building to maximise the conservation of the artwork. This must be maintained at 20 +/-2C. ref:http://www.tandfonline.com/doi/ full/10.1179/2047058414Y.0000000141?src=recsys
NATURAL VENTILATION STRATEGY
HUMIDITY STRATEGY
HEATING STRATEGY
42
LARGE ARTWORK STORAGE
CANTEEN + LIBRARY
VIEWING PLATFORM
OBJECT STORAGE
DELIVERY + CONSERVATION
ART STORAGE
PILE FOUNDATIONS
43
ARB CRITERIA
[02]
GC
GA
[02] ARCHITECTURAL DESIGN ARCHITECTURAL DESIGN
“WELCOME TO THE MASC GAMES”
ARCHITECTURE + THESIS
45
Right - A selection of science fiction novels that the studio read in order to understand how science fiction can critique present day issues.
INTRODUCTION
ARCHITECTURE + The ‘Architecture +’ studio’s brief asks us to imagine and explore future worlds and the response architecture and new technologies have on the way we live, move and communicate in these new worlds. To imagine these future worlds allows us to critically question ideas of ‘progress’ and our apparent unquestioned faith in our advancement as society and the direction we are moving towards. SCI-FI NARRATIVE The platform through which we will explore and develop our future worlds will be through a science fiction narrative. With the extensive range of sci-fi novels available, we will critically analysis some of these texts in order to gain insight into methods of world building but more importantly the critiques that the authors are making within the novels about the present. As Elizabeth Grosz writes in ‘Architecture from the Outside’ “Fantasies about the future are always, at least in part, projections, images, hopes and horrors extrapolated from the present.” Works of Science Fiction often stand as visions of a path not taken, imagined futures whose moments of divergence from history now past. But by providing such apparently linear extrapolations from their present to an imagined future they allow us to critique the changing attitudes and approaches to ‘progress’ and reflect on our own current situation within the present. THESIS My thesis critiques mass consumption and the notion of masculinity and the consequences that these have on society. By using science fiction as a method to build a future world I can extremify and critique these issues in the present. My thesis aims to satiricalise mass consumption and the notion of hegemonic masculinity ‘as a last gasp’ attempt by men to keep it and over compensate for this loss which I have exacerbated using the imminent male infertility crisis that is to hit developed countries, rendering 90% of the male population infertile. Using architecture to highlight and exaggerate this critique creating a monument / memorial to masculinity. It is a world that is unsustainable much like how masculinity is today and stands as a warning to that events in the future could regress equality and freedoms we have more of today.
46
MARY SHELLEY FRANKENSTEIN (1818)
HG WELLS - THE TIME MACHINE (1895)
YEVGENY ZAMYATIN - WE (1924)
ALDOUS HUXLEY - BRAVE NEW WORLD (1931)
GEORGE ORWELL - 1984 (1949)
PHILIP K. DICK - THE THREE STIGMATA OF PALMER ELDRITCH (1965)
JOANNA RUSS - THE FEMALE MAN (1970)
GREG BEAR - BLOOD MUSIC (1983)
WILLIAM GIBSON NEUROMANCER (1984)
47
Right - Images and set up of the primer exhibition
PRIMER
ORYX & CRAKE - MARGARET ATWOOD (2003) The novel shows us a post-apocalyptic world exploring the idea of progress and power within society and who has control of its direction. Atwood plays out a scenario where we see the consequences of progress in a capitalist society which ultimately funds “progress’s” desires. CRITIQUE OF THE NOVEL The novel highlights the hierarchy and segregations within society, formed in to Compounds, self-contained communities created by corporations, protected from the surrounding Pleeblands where everyone “else” exists, consuming the corporations’ products. It also fetishises the use of technology as what we deem to be ‘progress’ SPACE IN THE NOVEL Explores an architectural space in the OrganInc Farms Compound where animals are used to grow organs for human transplantation. It shows the dehumanising of animals to justify ethics using their bodies for profit.
48
CRITIQUE OF THE NOVEL
SPACE IN THE NOVEL
49
Right - Using the text to create an image that portraying the novels manifesto. Using text and ordering it to create hierarchy.
NOVEL MANIFESTO
COMPOUND CASTLE “Long ago, in the days of knights and dragons, the kings and dukes had lived in castles, with high walls and drawbridges and slots on the ramparts so you could pour hot pitch on your enemies… the compounds were the same idea. Castles were for keeping you and your buddies nice and safe inside, and for keeping everybody else outside.” p32
- Science is more important than Art to society providing a better quality of life. - Compounds provide optimal conditions for products to be developed and produced maintaining a higher quality product for mass consumption.
50
51
Right - Using the text to create an image portraying the authors manifesto. Overlaying the two ideologies of art and science in the text.
AUTHOR MANIFESTO
NATURE VS AND CULTURE “When any civilisation is dust and ashes,” he said, “art is all that’s left over. Images, words, music. Imaginative structures. Meaning - human meaning, that is - is defined by them. You have to admit that.” “That’s not quite all that’s left over,” said Crake. “The archaeologists are just as interested in gnawed bones and old bricks and ossified shit these days. Sometimes more interested. They think human meaning is defined by those things too.” p197
- Science and Art are both as important when it comes to defining human meaning. There doesn’t need to be a dualistic relationship between the two. - Atwood is critiquing the current view of societies fetishisation of Science over Art and how this is the driving force for “progress” in a capitalistic developed world.
52
53
Right - Using a cartoon workshop to help depict thoughts on Western culture and the extraction of natural and human resources on 3rd world countries.
CONSUMPTION + ETHICS
Using cartoon to exaggerate mass consumption and the consequences this has on the plant and other forms of life. The performative nature we adopt to justify our actions in order for society to ‘progress’ is what I initially found intriguing. Spaces, such as the shopping centre allow us to perform, hiding acts of dehumanisation and extraction of resources.
54
55
Right - Info-graphic depicting information about the ensuing male infertility crisis in the western world.
MALE INFERTILITY CRISIS
In order to build this future world I needed a platform to build on that would help extremify mass consumption and threaten masculinity in order for me to satiracalise it. Research into the decline of sperm counts in men from western countries was that perfect platform to springboard the thesis. Data suggests that there has been a significant decline in sperm counts between 1973-2011, in developed western nations of between 50-60%. There has been no sign of this trend reaching a plateau with on average sperm counts declining 1.4% each year. What is also worrying is that there has been no evidence to suggest what is causing this decline and funding for this research is currently very low. If the decline of total sperm count continues to decline at this level by the year 2042 a high proportion of male in western countries will be unable to reproduce naturally. With sperm counts reaching 15 million per millilitre, the amount considered to be infertile. Fertility has culturally always had a huge part to play in the creation of masculinity and something that can be damaging to a man’s status when it is lost. This future society has created a new consumable product that can now be profited from on a extreme scale.
56
57
Right - Inside the Store. Purchasing of marketed semen in order to reproduce.
SCENARIO
BUILDING
NILE INC ‘The Store’ as a performative space where we consume and are sold products that act to hide acts of dehumanisation and resource extraction in order to legitimate them. The Store is a place where the infertile population can come to purchase male DNA in order to reproduce themselves.
58
59
Right - Inside the Farm. Harvesting of male DNA allowing the infertile population reproduce.
SCENARIO
BUILDING
NILE INC ‘The Farm’. The consequences of mass consumption and the dehumanising of objects. Corporations have found a new market. Nile Inc uses the remaining fertile men to harvest them for their semen in order to sell it to the infertile population to make money.
60
61
Right - NILE INC. The company that has harvest and selling male semen for mass consumption to Western Countries.
SCENARIO
BUILDING
CATALYST Using Newcastle as a site to test and explore our scenarios. Here the Baltic Art Gallery has been re purposed for the harvesting and selling of male semen TRANSHUMAN DEFINITION The manipulation of the human condition specifically in terms of modifying natural pro-creation using science and technology.
62
63
Right - Mapping of the Stud Farm mating rituals in order to impregnate the mare.
METHODOLOGY
EQUINE STUD FARM INDUSTRY Investigating an researching how the thoroughbred equine stud farming industry dehumanises the method of reproduction in order to make millions of dollars selling semen to potential buyers. Horses are ranked through their racing career and by the notoriety of the children they have fathered, allowing owners to sell their product for a higher price. The act of reproduction itself is highly performative and ritualised by the stud farms, with cleansing of the mare, teaser studs used to excite her and all watched by the mares owners in the hope that she will produce a winner. Studs are put through this up to five times a day in mating season, with extremely busy schedules. The mares wear protective gear in order to protect her from biting by the stud and to protect the stud from any kicks to the genitals.
64
65
Right - Mapping of the masculinity in western culture.
CONSUMPTION OF MASCULINITY
MAKING OF MAN Investigating and researching how masculinity is consumed by society. From social media to the marketing of products. In order to get an insight into how men are seen and the idea of masculinity used as a way to sell products and a method of reinforcing those ideals.
66
67
Right - Image of ‘Consumable Man’.
CONSUMPTION OF MASCULINITY
DISTILLATION OF MAN The ‘Consumable Man’ was created using the parts of the most consumed male figures within western culture. Cues were taken from Vitruvian man which looked at proportions of the male human body which were used to design in classical architecture.
68
69
Right - Image of the transhuman technology used to reproduce and sizing options .
THE TRANSHUMAN TECHNOLOGY
MECHANICAL TESTIS Research into sperm banks and the methods that are undertaken in order to preserve sperm until required created the opportunity to design the technology that would allow the infertile population to reproduce in the same biological manner. It is a highly over engineered piece of technology and designed to by highly masculine materially. The technology is designed to replace the non functional testes in the male body and connect to the existing delivery system. There are a number of sizes allowing a higher chance of impregnation but also size is a symbol of fertility. This also allows further pricing strategies and hierarchy. The product can be bought at any specific stores located in the city and delivered using drone technology to the individuals house.
THE STORE FRONT
70
NILE INC
‘TECHNOLOGY’
71
Right - Collage illustrating the features of masculinity using classical paintings a notion of nostalgia which hegemonic masculinity situates itself in.
HEGEMONIC MASCULINITY
DEFINITION As defined by Raewyn Connell, hegemonic masculinity refers to ‘the dominant model to which men must aspire to’ METHODOLOGY Research into masculinity lead me to Grayson Perry’s book ‘The Decent of Man’, which allowed me to break down elements of masculinity into its keys parts. Just as mass consumption is performative as a way to hide and justify morals, gender is also performative. However masculinity has been used as a way for men particularly, white, straight, suit wearing middle class men or ‘Default Man’ as termed by Grayson, to marginalise women and other forms of masculinity in order to benefit economically and socially. It has created a system that is grossly in biased of this model and which is natural, normal and common place becoming invisible to society but which is constantly reinforcing its own ideology. The key features of masculinity became apparent. - Masculinity situating itself in the past - The measurement of individuals masculinity against other men - Servitude to this system as a way to benefit from it Connell also writes that hegemonic masculinity is not a fixed position, and occupying the position is contestable and performed, a notion useful for thinking about architecture as the space that supports and frames identity. The idea of masculinity being performative therefore requires a stage and to which I looked at sport and right back to the founding of the Olympics. Taking references such as the Colosseum and to which the idea of a games to test and rank masculinity in the remaining fertile male population formed.
72
73
Right - Collage illustrating the key traits of masculinity using classical paintings a notion of nostalgia which hegemonic masculinity situates itself in.
HEGEMONIC MASCULINITY
TAXONOMY OF MASCULINITY Further reading lead me to Harvey Mansfield’s text ‘Manliness’ which illuminated the key traits of masculinity that are performed. He talks about how men who exhibit the traits of traditional masculinity are considered to possess hegemonic masculinity. In order to aspire to this social classification, there are a set of core features that a man must demonstrate. These include; - VIOLENCE - HETEROSEXUALITY - STRENGTH - RISK TAKING - LEADERSHIP - REPRESSION OF EMOTION - DOMINANCE
These 7 key traits became the founding masculinity games for me to explore architecturally and which play continuously, each trait played on a day during the week and which the infertile men in society come to consume.
74
75
Right - Collage illustrating the key traits of masculinity and the architectural elements that represent these traits. Using classical paintings a notion of nostalgia which hegemonic masculinity situates itself in.
HEGEMONIC MASCULINITY
ARCHITECTURAL TRANSLATION In order to start designing the 7 key masculinity games I needed to find references architecturally in to extremify them. I looked at distilling architectural elements that symbolised these key traits. Joel Sander’s ‘Stud’ looks at multiple spaces and interrogates them showing how masculine and architectural ideals reinforce one another mainly because these spaces are design for, design by and built by ‘Default Man’. He looks at Ayn Rand’s novel ‘The Fountainhead’ which depicts the architect as ‘the presentation of the ideal man - by portraying the protagonist as an architect, capitalising on popular cultural perception that authors of buildings, like the structures they design, embody the very essence of manhood.’
76
DOMINANCE
REPRESSED EMOTION
LEADERSHIP
RISK TAKING
STRENGTH
HETEROSEXUALITY
VIOLENCE
77 DEPARTMENT OF MASCULINITY
Right - Cartoon illustrating society consuming the Masculinity Games.
Cristano Ronaldo
116m Instagram Follows
MASCULINITY GAMES
THE GAMES IN SOCIETY The consumption of masculinity has now been elevated to a whole new level. The games rank the men’s masculinity through the points they gain from each trait. This creates a hierarchy of ranked men in which the rest of the population can consume; by watching them at the games, by purchasing their DNA in order to reproduce and the bombardment of marketing and advertising to sell these products. The pricing for this DNA will increase the higher the fertile man’s masculinity is creating and therefore promoting social inequality through DNA. In return the fertile ranked men are glorified and ‘celebrified’ within society. They are idolised and pedestalled being placed in adverts and paid to promote products.
LEAGUE TABLE RANK
NAME
PTS
LVL
1 -
ERIK
178
1
2
STEN CRISTOF
177
2
3
MATILDE
176
2
4 -
VLAD
174
2
5 -
KRIS
170
3
6 -
KARL
167
3
7
MARKUS
165
3
8
YEGOR
164
3
9 -
JAAN
158
3
10 -
BRETT
155
3
RISK TAK
HETEROS
MASC RA CO
TOM COWMAN
Captain America
$1.153bn Worldwide Box Office
Dwayne Johnson
97m
Instagram Follows
Cristano Ronaldo
116m Instagram Follows
LEAGUE TAB
TOM COWMAN
THE MASC GAMES LEAFLET
78
RANK
NAME
1 -
ERIK
2
STEN CRI
3
MATILDE
4 -
VLAD
5 -
KRIS
6 -
KARL
7
MARKUS
8
YEGOR
9 -
JAAN
10 -
BRETT
79
Right - Perspective showing the architecture and activity involved in each game.
MASCULINITY GAMES
VIOLENCE A R C H I T E C T U R E - This arena is based on the abattoir. Sight lines are restricted through the use of deep sharp channels to give the sense of a cut. G A M E - Contestants earn points by killing as many animals as possible with their bare hands in the allotted time.
MODEL
SECTION
80
81
Right - Perspective showing the architecture and activity involved in each game.
MASCULINITY GAMES
HETEROSEXUALITY A R C H I T E C T U R E - The arena is based on the ‘Frat House’ and the bachelor apartment. Both these places objectify women and the rejection of homosexuality through the idea of ‘active zones’ representing the masculine. Bedrooms are located upstairs, with courtship performed in the central atrium. G A M E - Contestants earn points by having intercourse with as many women as possible in the allotted time.
MODEL
SECTION
82
83
Right - Perspective showing the architecture and activity involved in each game.
MASCULINITY GAMES
STRENGTH A R C H I T E C T U R E - This arena is based on the column and reinterpreted through the tower block as a symbol of strength and defying the forces acting upon it. G A M E - In a player vs player style contest, contestants must battle it out to push their component off the tower.
MODEL
SECTION
84
85
Right - Perspective showing the architecture and activity involved in each game.
MASCULINITY GAMES
RISK TAKING A R C H I T E C T U R E - This arena is based on the cantilever, symbolising precariousness and risk. An element of danger is required. G A M E - Contestants earn points for the distance travelled across a precarious platform high above a large void.
MODEL
SECTION
86
87
Right - Perspective showing the architecture and activity involved in each game.
MASCULINITY GAMES
LEADERSHIP A R C H I T E C T U R E - This arena is based on a military assault course and authoritarian leadership in particular. Contestants are centralised and placed higher to give a sense of hierarchy. G A M E - Contestants earn points by directing as many men through the assault course in the allotted time.
MODEL
SECTION
88
89
Right - Perspective showing the architecture and activity involved in each game.
MASCULINITY GAMES
REPRESSION OF EMOTION A R C H I T E C T U R E - This arena is based on the design of the panopticon prison. Contestants are placed in an individual cell, which is backlit so they can be viewed and view the other contestants. G A M E - Placed in a virtual reality fear simulation, contestants earn points by the least amount of bodily fluid excreted during the simulation.
MODEL
Self Control / Repressed Emotion
SECTION
90
91
Right - Perspective showing the architecture and activity involved in each game.
MASCULINITY GAMES
DOMINANCE A R C H I T E C T U R E - This arena is based on parliament, House of Commons tiered seating and debating chamber. Raised podium in centre of space creating spectacle. G A M E - Contestants earn points by debating a topic and winning over other contestants support.
MODEL
SECTION
92
93
Right - Photo of the Tallinn Old Town which is a UNESCO World Heritage Site.
TALLINN
MASCULINITY PROBLEMS Perry writes ‘Men are performing for an invisible authority, The Department of Masculinity. We never know when we are being observed, so we constantly keep watch on ourselves and each other, we guard the boundaries of the role. We are all the authority figure and the prisoner.’ p53
A lot of men are led to believe that because of their gender they have the right to male domination, however instead lead lives of frustration and servitude. This idealised man is strived for by many men because we believe that society will regard us more positively, so we struggle to maintain a version that doesn’t really fit, termed ‘incongruence’ by psychologist Carl Rogers. ‘This idealised man is very brittle. He is so fragile that a casual rejection or slight can cause him to shatter and collapse’ p119.
Once this happens destruction can ensue. With 90% of violent crimes committed by men. However it doesn’t just damage other people. For some men not living up to this idealised man can harm them so deeply that they feel that life cannot carry on. In the UK, the leading cause of death for men under the age of 40 is suicide. Men are 2 x more like to commit suicide then women globally, 3 x more likely in developed countries and 6 x more likely in Eastern Europe.
HANSEATIC TALLINN
Tallinn the Capital of Estonia, a country situated in Eastern Europe and joined to Russia on its western border. Estonia has had a troubled past, with many nations occupying and controlling the country. Each one leaving its own mark architecturally and which it is trying find its own national identity. I believe Tallinn is therefore a perfect site to erect this monument to masculinity to show how much masculinity ideologies have and still are having an impact on a nation. SOVIET TALLINN
NEW ROTTERMANN QUARTER
94
95
Right - Collage illustrating the architectural references used in order to help design the Department of Masculinity.
REFERENCES
MASCULINITY IN ARCHITECTURE In Joel Sander’s ‘Stud’ Marcia Ian talks about the gym and body builders as a hyper masculine space. Where ‘men pump iron to; - substitute the rock hard for the soft - the monumental for the human - the masculine for the feminine’ She also refers to Vitruvius’s Ten Books of Architecture citing the form and mathematical symmetry of the human body as a paradigm for design ‘the architect should design the temple in the image of man, mimicking proportions of the human body.’
Ian talks about the language that the body builders use as low on content but high on performativity, a minimalist language of gesture and gesticulation and femiphobic, an important ingredient in the creation of hegemonic masculinity.
CORBUSIER ‘VILLE RADIEUSE’
Architecturally speaking this language can be translated into design and the materials used.
ALBERT SPEERS ‘VOLKSHALLE’
PIRANESI PANTHEON
96
DOMINANCE
HETEROSEXUALITY
REPRESSED EMOTION
LEADERSHIP
STRENGTH
RISK TAKING
VIOLENCE
97 DEPARTMENT OF MASCULINITY
Right - Plan / Ariel of the Department of Masculinity in Tallinn.
DEPARTMENT OF MASCULINITY (DOM)
PLAN The Department of Masculinity in Tallinn is situated on top of the Old Town, destroying most of the historical city. Placed here for its presence and height topographically and intended destruction of the Old Town. Symmetrical in design and made from concrete, the Department houses the Masculinity Games at its heart. Each game built as a stand alone ‘set’ which is stored in the crypt of the monument and is raised and lowered when required. Seven roads lead off the building, destroying whatever is in its path, allowing men to visit the monument each day, much like the Haussmann Plan in Paris.
98
99
Right - Axonometric of the Department of Masculinity in Tallinn.
DEPARTMENT OF MASCULINITY (DOM)
AXO This drawing highlights the hight and scale of the monument compared to the surrounding city. This is an over compensation for the loss of masculinity felt by the predominant infertile male population. The drawing also highlights more clearly the destructing nature that the axial roads cause to the city context.
100
101
Right - Perspective of the approach to the Department of Masculinity in Tallinn and the destruction that the axial roads have caused to the city.
DEPARTMENT OF MASCULINITY (DOM)
PERSPECTIVE This drawing mainly highlights the mass destruction that Department has caused to the site and its dominating nature in the city. Its shows men making pilgrimage to the monument to watch the ‘Masculinity Games’ which can only be viewed by men, women, homosexuals and people who have been ‘othered’ by society can watch through live broadcasting on personal devices. The drawing also highlights the consumption of the fertile men in society and the products that are being sold to the infertile population, reinforcing hegemonic masculinities ideologies. This new reproduction method is delivered by a drone delivery system.
DELIVERY SYSTEM
ADVERTISING
PILGRIMAGE
DEPARTMENT OF MASCULINITY
102
“ATTENDING THE GAMES”
103
Right - Section / Elevation of the Department of Masculinity in Tallinn.
DEPARTMENT OF MASCULINITY (DOM)
SECTION / ELEVATION Men enter the department from one of the 7 axial roads walking up a long staircase to get to the one of the 7 entrances. This first part of the monument is fitly named ‘The Hall of Men’. Men walk along this long passage way where the eyes of past contestants of the Masculinity Games watch as they progress to the central circulation space. The statues, checking the masculinity of the infertile men before they get to the arena. Once the men reach the colossal height of the circulation space they find their way to one of the staircase to enter the arena space to be seated. This space is also contestable. With the higher up a man sits the more masculine he has proved himself. The stairs and seating increasing in steepness, requiring men to enact many of the 7 key traits in order to sit higher up. Once seated men watch the days Masculinity Game, which rises up from the depths of the monument, where each game is stored. This is a huge spectacle and the games events dramatically played out and broadcast to the rest of society all underneath the vast domed space.
APARTMENTS
High above at the top of the tower are the apartments for the contestants. These spaces highlight and extremify the hierarchy and ranking of the fertile male contestants, where the highest ranked male is situated in the penthouse at the top of the monument. Not only do these men need to constantly be performing in the masculinity games each day but they also will be donating their DNA again using a machine to harvest their sperm. This will then be transported and taken to be frozen and stored in a huge ‘data centre’ like space. Situated underground to be protected. Autonomous robots being used to transport and deliver the sperm to and from storage facilities and to be delivered to the infertile population by a drone delivery system. ARENA
DEPARTMENT OF MASCULINITY “ARE YOU MAN ENOUGH?”
HALL OF MEN / STORAGE / CRYPT
104
105
Right - Sectional model showing the ‘Hall of Men’ in the Department of Masculinity in Tallinn.
DEPARTMENT OF MASCULINITY (DOM)
‘HALL OF MEN’ Procession from stairs up to the Department of Masculinity through ‘The Hall of Men’
106
107
Right - Section of the ranked apartment spaces at the top of the tower in the Department of Masculinity.
DEPARTMENT OF MASCULINITY (DOM)
APARTMENTS The apartments for the contestants are situated at the top of the tower in the Department of Masculinity. As well as the contestants being ranked the apartments are too, to highlight and exaggerate hierarchy amongst the men. I used references from the 1956 Playboy Bachelor Apartment, which talked about ‘active’ and ‘quite zones within the apartment. These referred to masculine and feminine zones where the masculine zones are highly performative and the feminine as space to retreat to and be alone. This plan was then modified eradicate these ‘quite’ zones by making every aspect of the contestants viewable by one another. Internal walls are all made from glass and the plan of the apartments is circular in nature, simulating design cues from Jeremy Bentham’s Panopticon Prison. Each apartment can be seen by another contestant and the each room is back lit allowing the person inside to be seen. Referring to this idea of men checking up on their own and each others masculinity which I have named - the ‘manopticon’ effect. The use of CCTV camera are used to film and document the lives of these men allowing the public to watch and consume these men’s daily lives. This is a take on reality TV which was firtst predicted in the BBC short film ‘The Year of the Sex Olympics’ in 1968 by Nigel Kneale. Highlighting the idea that even the most personal of activities will be viewed and watched by millions making their whole lives a performance. Referring back to the idea of hegemonic masculinity being ‘exnominated’ these activities and will become normalised and common place and a way for the contestants to prove themselves in trying to increase their rankings.
Department of Masculinity the floor to ceiling heights and floor plan increase the higher the ranked male is. Much like the ‘High Rise’ the circulation space is contestable, with there being only one lift to support the 60 contestants. Hierarchy is also asserted through the use of balconies which overlook apartments below. The apartments sit directly above the arena space allowing views directly from the apartments to the Games, as an omnipresent reminder of how they perform. Steven Cohon writes in ‘Stud’ about ‘The Bachelor Pad’. He writes how the bachelor pad served as primary setting in which a single man’s supposedly undomesticated sexuality was absorbed into the more important activity of consumption. However although it may have epitomised sexual freedom it also served to regulate the bachelor, whom was now expected to locate his sexuality in the consumption of a whole repertoire of products and technologies promoting masculine glamour. This is highlighted in the apartments by the increasing of technology and sophistication. In essence the apartments are a shell filled with technological products meant to represent the men’s masculinity however in reality they represent the hollowness of hegemonic masculinity.
The novel ‘High Rise’ by J.G.Ballard was also used as a reference for design. In the novel as you ascend the high rise the flats get larger and the columns become more slender. As you can see in the apartments in the
PLAYBOYS TOWN HOUSE APARTMENT
108
109
Right - Sectional Model of the ranked apartment spaces at the top of the tower in the Department of Masculinity.
DEPARTMENT OF MASCULINITY (DOM)
APARTMENTS Floor level Models
1.
2.
3.
4.
5.
110
111
ARB CRITERIA
[03]
GC
GA
[03] ARCHITECTURAL DESIGN
URBAN HACKING
OPERATION ROTTERDAM URBAN FABRIC
113
㠀
䜀攀爀洀愀渀礀 愀渀搀 䈀攀氀最椀甀洀⸀
䴀椀氀攀猀
Right - Diagram showing the sites POI, Person of Interest and the range of involvement they had in the West Kruiskade an area in Rotterdam.
刀漀琀琀攀爀搀愀洀 倀漀瀀甀氀愀琀椀漀渀 䐀椀瘀攀爀猀椀琀礀 INTRODUCTION
URBAN HACKING Urban Hacking, is a design project based in Rotterdam, Holland looking at the systems, approaches, objects and behaviours that occupy our urban environments. The aim is to break these down to explore whether these could be used in new ways to improve, enhance or even politicise our environments.
圀攀猀琀 䬀爀甀椀猀欀愀搀攀
“ Urban hacking means the destruction of the urban and rupture of
the urban environment as well as its rules and systems. The concept of hacking questions the city as a habitat and as an architectural construction,
using
modification,
reinterpretation,
over
-
identification and alienation.” (Melanie Gadringer - Urban
Hacking p35) 匀漀甀爀挀攀㨀 栀琀琀瀀㨀⼀⼀猀琀愀琀氀椀渀攀⸀挀戀猀⸀渀氀⼀
TARGET Prior to arriving in Rotterdam we were asked to find a person of interest within our target location. TOKO 51 was that POI for West Kruiskade due to the interesting events it was holding and place within the community, where it was trying to bring people together. SITE
洀
West Kruiskade, also known as Chinatown, is located in central Rotterdam, about a 2 minute walk from Station Centraal. This is one of the most vibrant and culturally rich streets in Rotterdam, which I felt was unique within the surrounding area. Rotterdam’s population is made up of 48% foreigners and West Kruiskade illustrates this.
䌀攀渀琀爀愀氀 匀琀愀琀椀漀渀
一愀琀椀瘀攀 䐀甀琀挀栀 ⴀ 㔀 吀甀爀欀椀猀栀 ⴀ 㘀㜀⸀㘀㠀─ 䴀漀爀漀挀挀愀渀 ⴀ 㘀⸀㘀㠀─ 䤀渀搀漀 ⴀ ⸀㤀㜀─ 䜀攀爀洀愀渀猀 ⴀ ⸀㔀── 匀甀爀椀渀愀洀攀猀攀 ⴀ 㠀⸀㐀 倀漀氀椀猀栀 倀漀氀椀猀栀 ⴀ ⸀㈀─ 䈀攀氀最椀愀渀猀 ⴀ ⸀㔀㈀─ 䈀爀椀琀椀猀栀 ⴀ ⸀㐀㤀─ 䌀栀椀渀攀猀攀 ⴀ ⸀ 㠀─ 匀漀洀愀氀椀愀渀 ⴀ ⸀㌀㠀─ 倀愀欀椀猀琀愀渀 ⴀ ⸀㜀─ 一攀琀栀攀爀氀愀渀搀 䄀渀琀椀氀 䌀愀瀀攀 嘀攀爀搀攀 䌀愀瀀攀 嘀攀爀搀攀 ⴀ ㈀⸀㐀㜀 匀攀爀戀椀愀渀 ⴀ ⸀㐀㠀─ 刀甀猀猀椀愀渀 ⴀ ⸀㜀㌀─ 倀漀爀琀甀最愀氀 ⴀ ⸀㘀㔀─ 匀瀀愀渀椀猀栀 ⴀ ⸀㔀 ─ 䐀漀洀椀渀椀挀愀渀 刀攀瀀甀 䠀漀渀最 䬀漀渀最渀攀猀攀 ⴀ 伀琀栀攀爀 伀琀栀攀爀 ⴀ 㐀⸀㤀─
䄀猀 愀 瀀漀爀琀 挀椀琀礀 愀渀搀 椀洀瀀漀爀琀愀渀琀 琀爀愀渀猀瀀漀爀琀 栀甀戀Ⰰ 刀漀琀琀攀爀搀愀洀 栀愀猀 氀漀渀最 愀琀琀爀愀 䐀甀攀 琀漀 琀栀椀猀 椀猀 栀愀猀 戀攀攀渀 愀琀 琀栀攀 昀漀爀攀昀爀漀渀琀 漀昀 琀栀椀渀欀椀渀最 愀戀漀甀琀 栀漀眀 琀漀 爀攀 猀攀最爀攀最愀琀椀漀渀Ⰰ S I T E 椀洀瀀爀漀瘀攀 L O C A T I O N猀漀挀椀愀氀 - W E S挀漀栀攀猀椀漀渀Ⰰ T K R U I S K A愀渀搀 D E . 戀漀氀猀琀攀爀 猀漀挀椀漀攀挀漀渀漀洀椀 椀洀洀椀最爀愀渀琀猀⸀ 吀栀攀 挀椀琀礀 挀漀甀渀琀猀 㜀㔀 搀椀昀昀攀爀攀渀琀 渀愀琀椀漀渀愀氀椀琀椀攀猀 愀洀漀渀最 椀琀猀 爀攀猀 搀椀瘀攀爀猀椀琀礀 挀漀洀瀀愀爀愀戀氀攀 琀漀 䄀洀猀琀攀爀搀愀洀Ⰰ 䰀漀渀搀漀渀 愀渀搀 一攀眀 夀漀爀欀⸀ 䄀 渀甀洀戀攀爀 栀愀瘀攀 琀漀 戀攀 爀攀洀漀瘀攀搀 戀攀昀漀爀攀 刀漀琀琀攀爀搀愀洀攀爀猀 漀昀 椀洀洀椀最爀愀渀琀 漀爀椀最椀渀 眀椀氀氀 戀攀 瀀愀 氀椀昀攀 漀渀 琀栀攀 猀愀洀攀 昀漀漀琀椀渀最 愀猀 琀栀攀 渀愀琀椀瘀攀ⴀ戀漀爀渀 瀀漀瀀甀氀愀琀椀漀渀⸀
圀攀猀琀 䬀爀甀椀猀欀愀搀攀 匀琀爀攀攀琀 䐀椀瘀攀爀猀椀琀礀
䐀甀琀挀栀⼀ 圀攀猀琀攀爀渀⼀ 䄀猀椀愀渀 ⠀䌀栀椀渀攀猀攀⼀䨀 䴀漀爀漀挀挀愀渀 ⴀ 㘀⸀㘀㠀─ 吀甀爀欀椀猀栀 ⴀ ⸀㔀── 匀甀爀椀渀愀洀攀猀攀 ⴀ 㠀⸀㐀 伀琀栀攀爀 ⴀ 㐀⸀㤀─
䄀戀漀瘀攀 椀猀 愀 猀琀甀 漀挀愀琀攀搀 漀挀愀琀攀搀 愀氀漀渀最 愀渀搀 琀栀攀椀爀 愀猀猀椀最 椀猀渀ᤠ琀 愀渀 攀砀愀挀琀 䌀甀氀琀甀爀攀猀 漀爀 搀 愀氀漀渀最 琀栀攀 猀琀爀攀攀 瀀爀攀猀甀愀搀攀 琀栀攀 瘀 挀漀洀瀀氀攀砀椀琀椀攀猀 礀 攀砀瀀攀挀琀 愀氀漀渀最 琀栀
吀漀欀漀 㔀 䌀漀甀渀挀椀氀 伀昀昀椀挀攀
匀漀甀爀挀攀㨀 伀渀ⴀ匀椀琀攀 䄀渀愀氀礀猀椀猀 ⴀ 一漀⸀ 漀昀 匀栀漀瀀猀 愀猀猀椀最渀攀搀 琀漀 愀 䌀甀氀琀甀爀攀 SURINAMESE - 45%
㈀㔀 䴀
Ballhausen, Thomas; Freisinger, Gunther; Grenzfurthner, Johannes; Urban Hacking: Cultural Jamming Strategies in the Risky Spaces of Modernity. (Deutsche Nationalbibliotek. 2010).
114
圀攀猀琀 䬀爀甀椀猀欀愀搀攀 愀渀 愀爀攀愀Ⰰ 椀渀 琀栀攀 挀攀渀琀攀爀 漀昀 刀漀琀 C H I椀猀 NE S E愀琀琀爀愀挀琀椀瘀攀 \ A S I A N -猀栀漀瀀瀀椀渀最 22.5% 瘀愀爀椀攀琀礀 漀昀 挀甀氀琀甀爀攀猀 挀愀渀 戀攀 昀漀甀渀搀Ⰰ 昀爀漀洀 䄀猀椀愀渀Ⰰ 匀甀爀椀渀愀洀攀猀攀Ⰰ 吀甀爀欀椀猀栀Ⰰ 䴀漀 TURKISH - 10.5% 夀攀琀 搀甀攀 琀漀 愀 栀椀最栀 瀀爀攀猀攀渀挀攀 昀爀漀洀 愀 渀甀洀戀攀爀 漀昀 琀栀攀 挀甀氀琀甀爀攀猀Ⰰ 渀漀 漀渀攀 椀猀 搀漀洀 DUTCH - 9.25% 椀猀 愀 眀攀氀氀 欀渀漀眀 猀栀漀瀀瀀椀渀最 氀漀挀愀琀椀漀渀Ⰰ 瀀氀甀猀 爀攀瀀爀攀猀攀渀琀猀 愀 猀洀愀氀氀攀爀 猀挀愀氀攀 漀昀 OROCC A N - 7 . 2 5 % 䐀甀攀 琀漀 琀栀攀猀攀 攀氀攀洀攀渀琀猀Ⰰ 椀琀 栀愀猀 渀漀爀洀愀氀氀礀 昀漀甀渀搀 M 眀椀琀栀椀渀 刀漀琀琀攀爀搀愀洀⸀ 挀愀爀攀昀甀氀氀礀 挀愀爀攀昀甀氀氀礀 椀渀琀漀 愀 搀攀猀琀椀渀愀琀椀漀渀 O T H E R - 猀瀀漀琀 5 % 琀栀爀漀甀最栀 挀愀爀攀昀甀氀 洀漀渀椀琀漀爀椀渀最 戀礀 琀栀 䬀爀甀椀猀欀愀搀攀 ⠀䰀漀挀愀氀 䌀漀甀渀挀椀氀⤀Ⰰ 圀漀漀渀猀琀愀搀 刀漀琀琀攀爀搀愀洀 ⠀匀栀漀瀀欀攀攀瀀攀爀猀 䄀猀猀漀挀 SHOP DIVERSITY - WEST KRUISKADE. ⠀䌀漀洀洀甀渀椀琀礀 倀爀漀樀攀挀琀⤀⸀
倀漀瀀甀氀愀琀椀漀渀 䐀椀瘀攀爀猀椀琀礀
COUNCIL FUNDED
REGULAR COMMUNITY EVENTS
MUSIC + GIGS
PERSON OF INTEREST
VINTAGE SHOP
LOCAL FOOD EVENTS
POI
ART CLASSES
FASHION EVENTS
GRAFFITI EVENTS
Prior to arriving in Rotterdam we were asked to find a person of interest within our target location. TOKO 51 was that POI for West Kruiskade due to the interesting events it was holding and place within the community, where it was trying to bring people together.
115
Right - Photos showing the connections between individuals within the community.
ETHNOGRAPHIC STUDY
PEOPLE Whilst in Rotterdam we interviewed people along West Kruiskade to gain a better understanding of the area. We naturally found people who knew each other and also worked with and supported TOKO 51. KEY LOCATIONS TOKO 51 is the birthplace and foundation for the CAI. The park which is located in the heart of the street felt empty and unused and I believe could be used to draw people together. Finally the Codart School of dance, music and art has a circus school that I wanted to provide a place from them to practice but also involve themselves within a community which is just as vibrant and expressive.
SHOP DIVERSITY
KEY LOCATIONS
116
117
Right - Propaganda poster using reference from the Obama ‘Hope’ poster by Shepard Fairey.
PROPAGANDA POSTER
CONTEXT This propaganda poster, featuring the Mayor of Rotterdam, Ahmed Aboutaleb, was created in response to a live interview in 2015 were he tells fellow Muslims who do not appreciate Western culture to “fuck off”. Aboutaleb also said Muslims who “do not like freedom can pack your bags and leave”. Based on the famous Obama “Hope” poster created by Shepard Fairey, we wanted to ask Rotterdam whether Aboutaleb’s words were inspiring and bringing hope to its cities people. In a time where the International news stories are flooded about refugees fleeing their home nations, Holland has previously deported 26,000 foreigners who were seeking political asylum. However these actions haven’t stopped forecasters predicting that by 2017 Rotterdam’s population will be made up of 58% foreign nationalities. We therefore felt that it was extremely important to create the CAI, Community Art Initiative, to get the community to come together, to talk and to able to set up new relationships and to become more understanding though the medium of art, where language, race and religious boundaries are transgressed.
118
119
Right - Events that occur throughout the year in West Kruiskade to increase community involvement.
COMMUNITY ARTS INITIATIVE
EXPANSION To try and expand, broaden and diversify TOKO 51’s interaction with the local community along West Kruiskade and from further afield, we created the, CAI, Community Art Initiative. We wanted to jump on board with TOKO 51’s existing community involvement programmes however from understanding, through our previous mapping exercise, that these were found to be exclusive. We therefore created a series of events through out the year that we believe to more inclusive and to include a wider range of demographics within the community and potentially draw in further people to the area. The events on the right are examples of what we think could enhance and break boundaries down between the many different types of people along West Kruiskade. TOKO 51 is a unique place that is starting to get real traction within the community even in its infancy. Its ideals of bringing people together through different means and also by trying to support them is an incredible feat.
TREE WRAPPING
As a group we wanted to hack into this system and inject it with more of what it is trying to do in order to reach out to more people and effecting a wider range of people within the community. In order to involve a wider proportion of the community along West Kruiskade we created the CAI, Community Art Initiative, to bring projects out of TOKO 51 and onto the street, giving these projects more visibility. These projects hope to transgress any social boundaries through the medium of art.
+ 120
=
121
Right - Design iteration for TOKO 51 facade. Model of West Kruiskade with facade structure attached to the front of TOKO 51.
FACADE ITERATIONS
FACADE Every Summer TOKO 51 designs a new facade for the front of a building along West Kruiskade. The idea behind this is to bring people together to help create a large design piece, which once finished can be celebrated at the end of Summer. DESIGN ITERATIONS 1. This first facade is based upon the idea of getting people of the local area to donate old CD’s, Tapes, Records etc. All this music will then be hung across the front of TOKO 51 and then other shop fronts by a wooden frame. 2. This facade has been proposed with the aim of letting the community get far more hands on with the final outcome. Each square represents a clay tile which has been made, painted/engraved and fired by members of the public under the supervision/assistance of members of TOKO 51. 3. This facade is made up of swatches knitted by the local community aiming to teach people new skills and to integrate themselves more fully into the area. The final facade will form a “quilt”, which in a sculptural manner will be draped over the front of the building. 4. The aim is to not completely cover the facade but instead highlight it. Using many lengths of rope we aim to create, with the help of the community an intricate rope parabola.
CRANE REHABILITATION Above - Facade design on TOKO 51 building.
122
1.
2.
3.
4.
123
Right - Diagram showing crane rehabilitation.
PARK ACTIVATION
CRANE MOVEMENT An important idea to the development of the crane system along West Kruiskade was not to lose that energy and vibrancy that is so unique to this area. Therefore the cranes have stopping points in key areas but never have any permanence. The cranes have a transient nature to their movement. As they move and occupy places they also activate these spaces through the different programmes that can be created by the community. As they leave they return to their original physical state.
EXISTING PARK
PARK ACTIVATED
CRANE ORIENTATION
PARK DEACTIVATION
EXISTING PARK
124
125
Right - Diagram showing crane configurations.
CRANE RECONFIGURATION
CRANE MOVEMENT Just like the transient and ephemeral nature of the cranes movements and permanence, so too are the additional parts to the crane that have been added, allowing the crane to return to its originally physical state. Not only do these parts move on and off the crane but they can also be configured to provide different functions for different events or programmes.
126
1. EXISTING CRANE INFRASTRUCTURE
2. PRIMARY PLATFORM CONFIGURATION
3. PROGRAMME PLATFORM CONFIGURATION
4. ANCILLARY INFRASTRUCTURE CONFIGURATION
127
Right - Perspective showing the cranes configured together in a big event in the park.
CRANE MOVEMENT
EVENTS This key visual illustrates the cranes use as structures in creating a huge event for the community. They are not only creating a platform but allowing all the ancillary equipment such as lighting and sound to be attached. This image is of the yearly circus event performed by the students of the Codart School located near by and some residents that have been taught throughout the year.
POTENTIAL FUTURE GROWTH OF NETWORK
MAP OF CRANE MOVEMENT
128
129
ARB CRITERIA
[04]
GC
GA
[04] THEORY + WRITING
LINKED RESEARCH
LEARNING SPACE VISUALISING THE INTANGIBLE
131
EXCERPT FROM ORIGINAL DOCUMENT
INTRODUCTION
In recent years a number of articles in the architectural press have criticised architectural education for teaching projects steeped in fantasy which lack the challenge of designing for real world people (Wainwright, 2013). It has been argued that there are fundamental limitations in architect’s understanding of what influences the actions and behaviour of people. In direct contrast, environmental psychology is a field that focuses on the interplay between individuals and their surroundings, people are at the core of this discipline. In the history of architectural design there was a stage, fleetingly over a few years, in which architects were keen to engage with psychologists, in turn creating the whole field of environmental psychology, starting in the 1970’s (Galan-Diaz, Martens, 2015). The importance of human-environment transaction is again now often overlooked in architectural design, spaces are often designed for practical and aesthetic purposes, neglecting the psychological needs of the user. Given the fact that psychologists are known to understand the symbiotic nature of the human-environment relationship (Kopec, 2012, p.1), it is not surprising that only 1 in 4 users are satisfied with the conditions of their working environment (Gensler, 2013). The key focus of this research document is to study and test how psychology and architecture disciplines can be brought together to improve the design process and outcomes. This project will work within a unique interprofessional learning environment, in collaboration with architects from EDable Architecture, environmental psychologists from University of SunderlandLayered Configurations
(fig 13.36)
EXCERPT FROM ORIGINAL DOCUMENT
SCAN QR CODE Link to the Video Demonstration of the Prototype and the Different Configurations.
132
Prototype 203
Elongated L Configuration (fig 13.34)
Closed Panel (fig 13.35)
133
EXCERPT FROM ORIGINAL DOCUMENT
MAPPING
EXTROVERT
MAPPING OF THE ARCHITECTURE STUDIO
Territory
Four occupants have been highlighted in this analysis who have been portraying extrovert characteristics over the week of mapping. Generally, extroverts are quite talkative and sociable, working better in a livelier atmosphere. They have a greater tendency to be outspoken and to be at the centre of a conversation to try and improve work.
Peripheral Vision
LAPTOPS Laptops are used on open desks predominantly which allows more visual contact due to the low screen level, and allows more visual stimulation. CONVERSATIONS There are a lot of conversations around this area, both about work and general topics due to the central location of the space.
Personal Space
SPEAKERS Music is often played aloud here, which stimulates an extroverted personality, yet can often be a distraction to others. HEADPHONES The occupants usually use headphones in this area when the space is quiet and low occupied to create noise to stimulate them.
Conversations
Sources of Sound
Territorial Markers Baseline Mapping 105
134
Baseline Mapping 91
135
EXCERPT FROM ORIGINAL DOCUMENT
PROTOTYPE
BUILDING OF THE PROTOTYPE
UNIT D
UNIT E
UNIT A
UNIT B
UNIT C
136
Prototype 195
9. Unit A main body. Each panel has two timber frames. (fig 13.10)
10. Unit A panel housing is CNC cut by RASKL. (fig 13.11)
11. The timber frame is attached to the housing panel. (fig 13.12)
12. Completed Units E and D are attached to Unit A. (fig 13.13)
13. The hinge component forms the top of the panel. (fig 13.14)
14. The hinge component forms the bottom of the panel. (fig 13.15)
15. Wheel base is drilled and castor wheels are attached. (fig 13.16)
16. Wheel base is reinforced and sanded. (fig 13.17)
137
Prototype 199
EXCERPT FROM ORIGINAL DOCUMENT
DEVELOPMENT
IMPROVEMENT TO THE PROTOTYPE
Axonometric of the Proposed Design
138
276 Future Considerations
Z - Configuration for Personal Workspace with Built-in Table and Chair
L - Configuration for Group Discussion Space with Stand Alone Tables and Chairs
Future Considerations 275
139
ARB CRITERIA
[05]
GC
GA
[05] THEORY + WRITING
ARCHITECTURE + CONSTRUCTION PROFESSIONAL PRACTICE REPORT
141
- The Museum’s presence and reputation is growing internationally and therefore desires a system to be implemented to aid in the storage and movement of pieces of work to keep the organisation at the forefront in EXCERPT FROM ORIGINAL DOCUMENT global rankings. The project brief can be broken down into three main categories, describing the key values and direction the client wants to take in developing and future proofing the Boijmanns Museum in the global market. These are as follows; PROFESSIONAL PRACTICE FUNCTIONAL
-R EanP Oart depository that creates a platform for the Boijmanns Museum to join the global market of exhibiting, RT moving, storing and restoring pieces of art across the globe
- facilities that provide artwork to be restored and preserved - a building that facilitates and provides for the exhibition of art work TECHNICAL
- providing an internal environment that will preserve the collections at optimal conditions - automated robotic storage and movement system to allow pieces of art to be brought in and out of the depository efficiently and safely
- automated robotic storage and movement system to allow pieces of art to be taken to and from exhibition areas
- connecting existing underground carpark structure to depository delivery area - connecting existing underground carpark structure to depository for pedestrian access 1. EXISTING BOIJMANNS MUSEUM (CLIENT) 2. EXISTING UNDERGROUND CARPARK (OWNED BY CLIENT) 3. PROPOSED ART DEPOSITORY BUILDING 4. EXISTING CARPARK RAMP ENTRANCE
1.
2.
3.
PROJECT OVERVIEW
LEGEND
The ‘Architecture +’ studio’s brief asks us to imagine and explore future worlds of transhumanism and the response architecture and new technologies have on the way we live, move and communicate in these new worlds. To imagine these future worlds allows us to critically question ideas of ‘progress’ and our apparent unquestioned faith in our advancement as society and the direction we are moving towards. The platform through which we will explore and develop our future worlds will be through a science fiction narrative. Science fiction can be used as a method to allow us to critique the changing attitudes and approaches to ‘progress’ and reflect on our own current situation within the present. For my project I am interested in researching the ethics surrounding mass consumption at present. In particular how humans exploit the natural resources around them and the developing countries that are subservient to the developed world. We have set up systems that detach us from processes in order to justify our morals. I will
Brief Building / Development Narrative Research Analyisis Narrative Development Site Research Site Visit Initial Project Programme Programme Development Wearable Concept Design Wearable Prototyping Wearable Development Concept Design Design Development Technical Design
142
OCT 1 (30th)
be using the science fiction approach to take the male infertility crisis in the developed world to an extreme. Using it as a platform to harvest fertile men for their bodily fluids through the use of ‘celebrification’ as a method of subversively hiding an industry that controls them for profit and consumption by this new infertile world.
TUTORIALS (WEDNESDAY & FRIDAY) CRITS & REVIEWS (FRIDAY) 03.11.17 - Primer Review 24.11.17 - Studio Review 15.12.17 - Cross Studio Crit 16.02.18 - Studio Review 09.03.18 - Cross Studio Crit
Currently I want to take the idea of a ‘Games’ as a method of ‘celebrifing’ these fertile males but it will also reflect the idea of mass consumption and ethics. The ‘Games’ will be designed to test fertile males in way that will critique, what we in the present, deem to be good characteristics for mating and the notion of masculinity. The ‘Games’ will therefore rank fertile males, subsequently increasing the price for their DNA to be sold to the infertile world.
DOCUMENT SUBMISSION 07.11.17 - Primer Document Submission 20.02.18 - Thesis Outline Document WORKSHOPS
The notion of masculinity will also be explored and critiqued through my project. What characteristics of man make him more eligible for reproduction. The ‘Games’ will test these ideas of masculinity and designed to favour the critique I take after further research.
08.11.17 - Dr. Caroline Edwards (Science fiction literature & theory) 29.11.17 - Nathaniel Coleman (Utopia workshop) 06.12.17 - Koldo (comic book workshop) 12.03.18 - Tech Consultancies
Figure 1. - Axonometric of the site, design and context.
PROJECT TIMETABLE
Key Activities
4.
2 (6th)
NOV 3 (13th) 4 (20th)
2017 5 (27th)
6 (4th)
7 (11th)
DEC 8 (18th)
9 (25th)
CHRISTMAS
10 (1st)
11 (8th)
JAN 12 (15th)
2018 13 (22nd)
ASSESSMENT
14 (29th)
15 (5th)
FEB 16 (12th) 17 (19th)
18 (26th)
19 (5th)
MAR 20 (12th)
21 (19th)
EASTER
3. DETAILED EXPLORATION OF CLIENT ISSUES QUALITY Quality is of high importance to the client, due to the high value of the art collections that are to be stored in the new depository. These pieces need to be stored at the correct temperatures, humidity and light levels in order to preserve them and therefore it is paramount that the construction and services perform to the clients requirements. Quality refers to the creation of these environmental conditions but also to the lifespan of the building materials and systems and the protection of the collection in unforeseen circumstances which could cause damage. i.e. flooding. With having such a large project team and multiple contractors (see table 1.) there is a risk that quality may suffer and therefore it is important that quality is managed closely, by placing the correct people to manage others and by setting up procedures and communication systems to maintain a high standard of quality to maximise value for the client. The roles that people play within the project team are a good way of managing quality throughout every stage of the RIBA Plan of Work. The architect will be taking on the role of project lead, allowing the architect to appoint the rest of the project team and have a larger management role in order to co ordinate the clients expectations and review work done by others throughout all stages of the Plan of Work and communicate this back to the client. The architect will also be undertaking lead designer in order to co ordinate, communicate and review others designers work. Finally the architect will be contract administrator which gives the architect control over the contracts issued for stage 4-5 and 7 and which can have a focus on producing a high quality building. By starting to assemble the project as early as possible and searching for other project team members with rigour, who have produced buildings of similar standards, have similar values and work collaboratively, can maximise the standard of quality in the building, providing value to the client. The NEC3 suite of standard contracts will be used as recommended by the government for larger projects over £5 million.3 This is because the language used is clear and concise, it encourages a collaborative style of working between the contracting parties and works well with BIM principles. A key benefit of using NEC over JCT is that an early warning system is set in place within the contract which requires contractor and manager to notify each other of any matter that could effect time, cost and quality. Encouraging a ‘no surprise’ approach, which is more suited to the clients expectations.4 MAINTENANCE / HANDOVER STRATEGY OF ASSET The project heavily incorporates an automated robotic storage and movement management system. This moves paintings from multiple sites within the building and stores them when not in use. Paintings are moved along a rail system which must be incorporated into the structure which ultimately influences the design and spaces of the building. The spaces are also environmentally conditioned to preserve the quality of the paintings and a huge array of systems and infrastructure will be in place to create this. The handover strategy is therefore important because of the scale and complexity of the project and the service systems that run the gallery. Any issues with the multiple systems will need to be closely monitored and improved to become more efficient which can be done in Stage 7 of the Plan of Work by reviewing operations and learning how best to operate. It is also important to the client that if these systems fail at some point that they can be quickly resolved by a specialist who understands and knows the infrastructure and systems in order to get the system and the clients business running again, minimising disruption. Furthermore, to minimise risk of a poor handover and to maximise value to the client it is important to take the time in the early stages, such as stages 1 & 2 of the project, to find a specialist supplier of the technology and services required. By selecting a supplier / sub contractor that is passionate about the project, who has similar values, that works collaboratively and having considered the location of the supplier / subcontractor in relation to the project can all reduce the risk of problems during handover and increase satisfaction to the client. Once the supplier / subcontractor has been selected it is also beneficial to involve them as early on in the project to discuss a handover strategy and to also be heavily involved in the design stages working collaboratively with the other designers on the project team including the architect, the structural and civil 3 RIBA, How to Choose The Right Contract 4 NEC Procurement and Contract Strategies
143
ARB CRITERIA
[06]
GC
GA
[06] THEORY + WRITING
TOOLS FOR THINKING
ANALYSING THE ‘FABRIC’ IN FABRIC FORMED CONCRETE
EXCERPT FROM ORIGINAL DOCUMENT
TOOLS FOR THINKING
FABRIC FORMED CONCRETE
146
The Thegarter garterstitch stitchisisthe themost mostbasic basicofof stitches stitcheswhere whereevery everyrow rowisisknitted knitted together. together.ItItcreates createsaauniform uniformpattern pattern that thatisisrevisable. revisable.(Figure (Figure2.) 2.) The Thestocking stockingstitch stitchisisalso alsoanother another basic basicstitch, stitch,which whichisisextremely extremelycomcommon mon and and used used extensively extensively within within textile textileindustry. industry.To Tocreate createthis thisstitch stitch you youneed needtotoalternate alternatebetween betweenaaknit knit stitch stitchand andaapurl purlstitch, stitch,producing producingaa wrong wrongand andright rightside sidetotothe thefabric. fabric. This Thisconfiguration configurationofofstitches stitcheshas hasaa tendency tendencytotowant wanttotonaturally naturallycurl curl up uptowards towardsthe theedges. edges.(Figure (Figure3.) 3.)
Figure Figure2.2. Garter Garterstitch stitch swatch swatch
Figure Figure3.3. Stocking Stocking stitch stitchswatch swatch
The The rib rib stitch stitch consists consists ofof alternatalternating ingknit knitand andpurl purlstitches stitchesalong alongthe the same same row. row. This This pattern pattern creates creates an an extremely elasticated elasticated fabric fabric that that extremely stretches and and bounces bounces back back toto its its stretches originalform. form.ItItisiswidely widelyused usedwithwithoriginal theapparel apparelindustry industryfor forits itselaselasininthe ticatitiveproperties, properties,used usedtotocreate create ticatitive hems,cuffs cuffsand andnecks. necks.(Figure (Figure4.) 4.) hems,
Figure Figure4.4.Rib Rib stitch stitchswatch swatch
11 11
Figure 17. Stocking stitch plaster cast.
Figure 16. Garter stitch concrete cast.
Figure 18. Rib stitch plaster cast.
147
148