DABE MArch (ARB-RIBA Part 2) YEARBOOK 2021 - Year 6 by UoN - Department of Architecture and Built Environment

UNIVERSITY OF NOTTINGHAM DABE MArch Architecture (ARB / RIBA Part 2) YEAR 6 YEARBOOK 2021

YEARBOOK ORGANISERS

COVER ARTWORK

Chris Bennett Caty Goulbourn Conor Vale Jenni Wilson

Matt Urry

6TH YEAR UNIT REPRESENTATIVES

Imogen Bryce Ruvarashe Chipato Sheel Kothari Jessica Lawton Rachel Marshall Abigail McHardy Conor Vale Ventsi Videlov Joe Wareham

5TH YEAR UNIT REPRESENTATIVES

Chris Bennett Abbey Dean Lucy Galloway Caty Goulbourn Brady Hull Georgina Lay George Logan Jamie Trevillion Jenni Wilson

CONTENTS YEAR 6 INTRODUCTION CONTRIBUTORS ARCHI-TÊTES REMOTE WORKING

04 05 06 08

YEAR 6 THESIS PROJECTS S1 CONTINUITY S2 LIVEABLE UNIVERSITY S3 FORM, MATERIAL S4 TERRITORIES OF TRANSFORMATION

10 36 60 76

YEAR 6 @uon_architecture_part2

COMPLETE DESIGN A FRAMEWORK FOR ACTIVITY

Existing View

Architecture Research Unit: The Cass Florian Beigel Image sourced from: https://www.architectural-review.com/today/londonschools-part-three-london-metropolitan-by-aru

Location Diagram

LUCY WREN lucywren@sky.com @lwrendesign

NOTTINGHAM CITY ZOO

LIN ZHU

The Urban Picturesque Informing a Sanctuary in the City

laylz9@nottingham.ac.uk

Picturesque principles and ideas of sanctuary create a space of separation and delight in the city that breaks the monotony of the quotidian experience, taking the form of a zoo in the centre of Nottingham. This project interprets the picturesque as the formation and curation of objects in space in a harmonious assemblage, and frames compositions such that they both celebrate existing monuments, and inspire movement. Processing through insulate spatial arrangements allows the guests to transition from the known city to the ‘otherness’ of the site. The focus is on a new build visitor centre, the renovation of an existing warehouse into and elephant house and the masterplanning and landscaping of the site.

A “RIVER” BESIDE THE “MOUNTAIN” This project provides a cultural and educational center as the extension of the Power Station of Art, a transformed contemporary gallery next to the Huangpu River (the central river of Shanghai).

INTRODUCTION It is a building as a horizontal “garden” for the creation of art, connecting to the “vertical” Power Station of Art, which has a chimney in 180m height. It focuses on the connection to the demolished historical garden on the site and its layout fits the current refurbished industrial land. The concept is to place a “river” on the side of a “mountain”(the PSA). The idea of the “river” refers to the historical garden, which has a lot of water. It also implies the Huangpu River, the view of which is blocked by a flood wall. With its reflection and ambiguity of the “water” and historical narrative, the journey in this contemporary building needs to be a pleasant experience, as a part of the daily life of the citizens.

Each Year 6 student had the choice of 4 different Studio units, each with a unique ethos, aligned by a desire to enhance the built environment and make a positive contribution to architectural discourse. The year commenced with a group research project alongside year 5 students, before starting thesis research in earnest. In the Autumn Semester, each student selected a unique research topic to explore through theory, architectural case studies and site analysis - all with the goal of identifying concluding ‘solutions’ to an architectural / societal problem, or theory. Following a 6000 word research paper, briefing document and Thesis research portfolio, design theses were developed in the Spring Semester in response to preliminary research conclusions. The body of work contained in this yearbook forms the outcome of this years’ student design theses, as categorised by Studio unit.

COURSE LEADER

UNIT TUTORS

RESEARCH TUTORS

TECHNICAL TUTORS - UON

TECHNICAL TUTORS - ARUPS

Tim Collett

Tim Collett Chloe Lockart Nina Lundvall James Payne Will Pirkis Shaun Young Nick Haynes Laura Hanks

Katharina Borsi Didem Ekici Nicole Porter Laura Hanks Graeme Barker

Mark Alston Robin Wilson Parham Mirzaei Lucelia Rodrigues Renata Tubelo Mark Gillott Lorna Kiamba Graeme Barker Tim Collett Paolo Beccarelli

Maela Allegretti Luca Bocelli Laura Solarino Matteo Lazzarotto Tom Clewlow Stuart Chambers Simon Welbirg Francesco Banchini Hassan Moharram Hasan Yousaf

CONTRIBUTORS

Takero Shimazaki Architects Cecile David Unit3 Toku Oba David Leech Architects David Leech Witherford Watson Mann Architects Vassia Chatzikonstantinou Florian Beigel Architects Philip Christou TU Delft Mark Pimlott Hugh Strange Architects Hugh Strange Houlton Architects Andrew Houlton Atomik Architecture Mike Oades Sheppard Robson Anna Shapiro East Architecture Julian Lewis Naja Hendriksen Adam Hines-Green

ARCHI-TÊTES

Team 5D

YEAR 1, 5 & 6 INDUCTION PROJECT The ‘ARCHI-TÊTES’ project acts as in induction project to bring together approximately 300 students, from both the incoming Year 1 and Year 5 students with the Year 6 team leaders, in a student led two-day design project. Inspired by the drawings ‘ARCHI-TÊTES’ by Louis Hellman, Architect turned cartoonist, who created a series of caricatures of architects using elements of their own buildings combined with the architects own facial features, the ‘ARCHI-TÊTES’ induction project evolves this concept for the digital age. Hellman created his first drawing as a competition entry to the Architectural Review in 1984, which he won. He went on to create numerous caricatures of architects, designers, politicians and himself for the Architectural Review for many years, which were published in the book Archi-têtes: the id in the Grid (2000).

Team 3B

Team 4D

REMOTE WORKING @uon_architecture_part2

Matt, Ventsi & Tilly introducing an online T-Talk

ONLINE MASTER-CLASS OF 2021 This year saw a balance of distanced in-person learning as well as remote study, presenting unique barriers to our usual collaborative studio environment. From model making on the kitchen table, to Teams calls in the living room, the class of 2021 architecture student has had to improvise and adapt like no other in the face of a global pandemic. That isn’t to say challenge didn’t bring opportunity; online working afforded us the chance to ‘go global’ and have virtual tours of buildings and places we would’ve never otherwise seen, from Sweden to Japan and many between. In March, our usual field trip went virtual, with a number of workshops and tours to enjoy a much-needed break from Thesis. Closer to home, we enjoyed more frequent T-Talks from practices such as: Allford Hall Monaghan Morris, Rogers Stirk Harbour + Partners, Witherford Watson Mann, Hopkins and many more.

Kitchen table model photos

Design studio from home

Vertual festive hangout

Virtual building tour

A little help from family

S1 YEAR 6

CONTINUITY Unit Leads: Tim Collett, Chloe Lockart

Emily Atkinson Allison Au Imogen Bryce Ruva Chipato Samuel Emmett Kenneth Kong

Joelle Kwuo Jessica Lawton Abigail McHardy Lottie Smith Lin Zhu

Allison Au & Payal Patel

CONTINUITY Continuity is rooted in the premise that what makes people love old buildings is the quality of ‘oldness’, where the age of the built fabric is felt, the quality of being lived in is tangible, and the passage of time evident. Continuity is about revealing ‘oldness’, feeling history, and connecting the present to the past. We are interested in harnessing the emotive potential of existing buildings, and we see architecture as part of a continuum, and therefore always incomplete. The studio methodology consists of a three-pronged approach to develop thoughtful and meaningful interventions: Looking at Oldness –A rigorous understanding and documentation of the existing fabric, physical emotional and historical. Assessment of Significance- A personal assessment of the most significant features, characteristics or atmospheric qualities of the existing building based on in-depth analysis. Designing Interventions – using the findings from the assessment of significance we then develop meaningful interventions, rooted in the history, character and ambience of the existing fabric.

YEAR 6 STUDIO 1 - CONTINUITY

GROUP RESEARCH PROJECT @uon_architecture_part2

Caty Goulbourn & Lottie Smith

KAZUO SHINOHARA- 10 HOUSES In Studio 1 we carried out a detailed investigation of 10 houses by Japanese architect Kazuo Shinohara. From 1954-1978 Shinohara designed and built a series of individual houses that embody a chronological evolution from an interest in traditional Japanese typologies to emotionally charged buildings. We focused on his four theoretical constructs: 1. A House is Art, 2. Fissure Space, 3. Naked/Savagery and 4. Progressive Anarchy. Using the studio methodology, we recorded facts of the houses through a series of measured drawings and a 1:50 structural model, then sought to understand the history emotion conveyed in each house through photo essays and sketches. Finally concluding with an assessment of significance in the form of a 1:20 spatial model that captured the key essence and ideas behind the individual house. The 10 houses included: Tanikawa House (1958), Umbrella House (1961), North House in Hanayama (1965), the House in White (1966), Repeating Crevice (1971), Cubic Forest (1971), the House in Higashi-Tamagawa (1973), Tanikawa House (1974), House in Uehara (1976) and the House on a Curved Road (1978).

YEAR 6 STUDIO 1 - CONTINUITY

Abigail McHardy

Imogen Bryce & George Logan

Ruva Chipato & Rhea Pascual

Emily Atkinson & Abbey Dean

YEAR 6 STUDIO 1 - CONTINUITY

EMILY ATKINSON Atkinson.emily@outlook.com

THE COURTYARD ARCADE My Thesis Design Project explores the appropriateness of the principles of a Japanese court-yard gardens to the UK by investigating the balance between function and poetics. Incorporating the aspects of live/work in the typical Machiya, I am proposing a public coworking scheme with makers’ studios in Nottingham city centre, working with an existing unsuccessful arcade. A new inviting journey is created via a series of courtyards that draw you through the building providing framed views into lush vegetated miniaturised landscapes with flora and materials native to Nottingham. Each courtyard has been carefully curated to directly benefit the user, whether it be a much needed contemplative view while working in the coworking space or a decked outside area for cafe users to sit outside surrounded by lush greenery. Overall I aim to capture the translation of perceptions of nature to become part of daily life of the Japanese courtyard gardens into daily life in Nottingham.

YEAR 6 STUDIO 1 - CONTINUITY

Route Circulation Courtyards

YEAR 6 STUDIO 1 - CONTINUITY

ALLISON AU allison.part2@gmail.com, @allisonau

PROGRAMME MATTERS What architect do is, we try to give coherence to the world and what I suggest is ‘Programme Matters’. My design approach suggests a dynamic collaboration between different authors such as designers, builders and management through time. This is a revitalisation project sited on an uninhabited Central Police Station in the context of Central, Hong Kong - one of the most dense population area in Hong Kong. The key design focus in this sustainable design proposal includes the HQ, which is proposed to transform to be a Tea Cultural Hub aspires to offer the best heritage, cultural and arts experience, and the dormitory block to be a new Studio Accommodation Hall. Given my sustainable and economical design concept of ‘Achieving the Maximum Impact Using Minimum Moves’, a set of design rule is developed to respect the armature to the greatest while increasing visual and urban connection that allow people to appreciate the past and present through programme.

YEAR 6 STUDIO 1 - CONTINUITY

Central Police Station Compound, Central, Hong Kong

9 Thesis Design Studio Portfolio // by Allison Au

nalysis

Local Networks & Programmatic Analysis Context Integration The relationship between the urban interior and the developments around the perimeter of site is critical in determining the degree of re-integration of the chosen site. Through the analysis of the existing conditions of local facilities in Central, Hong Kong helps to understand the requirements and demand on site as well as to provide stronger connections in the community. Moreover, the network within the study area implies the urban life on site which could become a source of mutual strength. The site is surrounded by art, historical and ceremonial space, the diagram on the left shows none of these are community-focused. The majority of the neightbouring events venue are predominently cultural related and are not necessarily multi-functional. Most of the Tea Houses are small business with limited capacity, which validates a need for a larger community space to revitalise private historical site (CPS Compound), potentially includes performance art theatre, tea ceremony space and focus rooms to translate the past to present.

Chapter Five .2.a: Programmatic Proposal (Headquarter Block: Performance Hall)

Room 1 // Transformation from Gymnasium (Private) to Performance Hall (Public)

Site (CPS Compound)

46 Thesis Design Studio Portfolio // by Allison Au

Historical Buildings & Streets High-Rise (+30m) Tea House Performance Hub Pedestrian Routes (Visibility) High

Low Skyscrapers Networks General Networks

Chapter Five .2: Programmatic Proposal (Headquarter Block)

Taking Building As An Object

Adds warmth and retaining the existing texture to enhance the atmospheric quality in key rooms

Existing Canton red brick facade tie the whole courtyard facade

// Key Space 1 - Proposed Design Rules //

and internal Performance Hall on LG 2 & LG 1 (Proposed: Public) appearance together 2021 Proposal

Sustainble and recylable

Existing Red Canton Brick

Roof Structure: Existing Timber Truss

Furniture: Rattan

Brown Painted Existing Frame

PerformanceRestored Halland as a programme, an agent of transition of the building, to translate the stories and memories from the past to the present. Restore and retain repainted the 5 key programmatic listed onroof the above and aim to enhance the significance of the building to the city through transforming timber existing frames instrategies areexisting brown thestructure new key space radically through structural and surface alteration.

Staining Technology on Existing Red Canton Brick

Sustainable metal that has a long lifespan and can be recycled without deminishing physical properties

Handrail: Steel

Sustainable, renewable, recyclable and replaceable

Ceiling: Light Oak

Stage/ Flooring/ Screen: Dark Oak

Window: Low E Glass

Replaced existing single glazing to be double glazed low-E glass to control the amount of infrared light that enters and leaves the room

Floor Structure: Concrete

Street Facade & Roof: Cement Render

Existing cement render on the Hollywood Road side provides a clear statement of the power and authority of the Police Force

Enhance interior lighting with minimal artificial light, and create a sense of openness by demolishing the least

Sustainable, renewable, recyclable and replaceable

Ceiling Edge: Dark Mirror

Retain and restore most existing concrete structure of building -partially removed LG 1-

PROTECT IDENTITY APPRECIATION - Room 1 // Transformation from Gymnasium (Private) to Performance Hall (Public) The identity, character, ambience and quality Learn and tie tradition and culture together

Thesis Design Studio Portfolio // by Allison Au

GATHERING POINT Where communities and interactions are created Where connections could be made between users and architecture

Thesis Design Studio Portfolio // by Allison Au

ARMATURE VISUAL CONNECTION - .2.a: Programmatic Proposal (Headquarter Block: Performance - Hall) Chapter Five Grid structure, implies the spatial division Windows, are meant to reveal yet conceal at the within a big space same time

Dormitory Block C

Pottinger Gate

Arbuthnot Road Performance Hall

Tea Ceremony Room

Gymnasium Proposed Sustainable Material Strategy Performance Hall & Tea Ceremony Room

Performance Hall 2021 Proposed

1950

Materials chosen to construct new surface alterations are first decided based on economic sustainability strategy with regards to the whole-life use and need to be change. A neutral material quality palette of new materials respect the exiting armature and identity of the architecture. - Relate to the 5 Design Rules. It is also appropriate to use within the Neo-Classical Revival style building to add warmth, texture and human element, therefore to activate the building by approaching people through well-design thought material and spatial quality.

Level 01

Level G

// Key Space 1 - Developed Design //

LG 1

YEAR 6 STUDIO 1 - CONTINUITY

IMOGEN BRYCE @IKB Architecture

MARINE INDUSTRIES TRAINING CENTRE With sustainability now at the forefront of discussion of architectural practice, it is necessary to consider the importance and value of the adaptive re-use of historical buildings in maintaining a sense of place and identity for both Plymouth and other port cities, through examining the positive factors of their shift from industrial to civilian use. The site presents an ‘edge condition’ - the dockyard wall forms a dichotomy between the city and dockyard and is currently both a physical and social barrier for the residents of Devonport, Plymouth. Using an existing naval/maritime building within Devonport Southyard, the project aims to reconnect through a community and educational programme. A West Ropery once sat adjacent to the East Ropery building but was demolished after being damaged in the war. The vision is to reimagine what was there through the implementation of a new building on the previous site of the West Ropery. The ‘ghost’ building mirrors the form of the existing in a contemporary way, using CLT and ETFE to juxtapose the existing ashlar limestone and granite maritime buildings.

YEAR 6 STUDIO 1 - CONTINUITY

RUVA CHIPATO ruvaj.chipato@yahoo.com, @rjc.architecture

SEVERN’S SPIRITUAL LIBRARY & WORKSHOPS This project creates spirituality within the mundane. This is by celebrating Severn’s House’ simpler qualities and creating new spaces which surprise the visitor. By subverting expectation from the outside, the visitor will go through layers of surprising atmospheres by moving through contrasting spaces. The building is a hub of knowledge. The library side acts as one side of acquiring knowledge, through reading literature. This side of the project is a civic space for meeting as well as contemplating. The workshops act as the practical side of knowledge, learning through practice. Visitors can learn or buy local crafts. ‘Calm and Awe’ will be represented in both my typologies with the library atrium becoming the finale of the journey. The sculptural perforated atrium acts as the ‘Awe’ space of the library. The ‘Concrete Yard’ is the Awe space of the workshop. The ‘Calm’ spaces become the library nooks or workshop activities the visitors explore and take part in.

YEAR 6 STUDIO 1 - CONTINUITY

SAMUEL EMMETT @samuel_d_emmett

FROM SECULAR TO SACRED A scheme for a sustainable church in the 21st Century. The Scheme centres around a former church located in the heart of Derby. My design thesis seeks to restore the grain of the built environment that has been lost through slum clearance by the development of a wider complex that serves the community. Taking influence from the Liturgical movement of the 1950’s and 60’s, the scheme seeks to address issues present to churches in the 21st century and proposing a combination of: worship, community, and commercial spaces. The scheme would involve returning the former church of St. Michael’s to use for worship and the creation of community spaces, supported by commercial offices and diocese restoration facilities. The newly redefined public realm is encapsulated in a family of courtyards, each with a unique personality but with unifying elements that allude to Derby’s history.

YEAR 6 STUDIO 1 - CONTINUITY

KENNETH KONG kentkong95@gmail.com

NOTTINGHAM MONTESSORI SCHOOL Nottingham Montessori School is designed as a primary school that accommodates children from the age of 6 to 12 years old. Conceptually, these spaces form an almost human-like arrangement, with a head (administrative and nursery), body (learning street), leg (tower) and arms (Y1 – Y4 classrooms) that spring from the body. As “a çhildren’s house”, each classroom is considered like a home base for the children to immerse with their learnings as if a safe nest for the birds to return everyday. Circulation and various visual links are treated as a ‘learning street’ to arouse everyone’s curiosity and motivate their learning journey’ because a school should be like a small city. This scheme is also imagined as ‘a school in a garden’, extending and capturing the gardens into the each classroom for the children.

YEAR 6 STUDIO 1 - CONTINUITY

JOELLE YI XUAN KWUO KWUO joelle.kwuo@gmail.com @jk.arc joelle.kwuo@gmail.com, @jk.arc

CREATING A HEALTHCARE SPACE AS AN ENVIRONMENT This project is a refurbishment of a current local community centre transformed into a mental health rehabiliation centre for patients with emotinonal disorders. The site is located at the foot of a mountain in the quiet suburbs of Taipei City. The centre aims to create an environment for recovery and healing instead of a machine-like hospital. The building focuses on the relationship to sunlight and nature, responding to the surrounding context. The building fits into the landscape and looks over the the existing park. It acts as a intermediate between landscape and urban for patients to have a balance of both environments. Through my thesis, I explored the phenomenological aspects in architecture that improve a person’s well-being to help the recovery process through exploring the similarities and differences between the two case studies of Paimio Sanatorium by Alvar Aalto and REHAB Basel by Herzog & de Meuron.

YEAR 6 STUDIO 1 - CONTINUITY

JESSICA LAWTON jessicalawton06@gmail.com

ADVANCING BRUTALISM Brutalist buildings in England are under threat of mass demolition. This not only risks erasing examples of a significant architectural style but also increasing carbon emissions through demolishing huge buildings with high embodied carbon and replacing them with new build. Advancing Brutalism proposes to advance the Derby Assembly Rooms through retrofit to 21st century energy standards while enhancing its existing heritage and significance. It documents the original building in the 1970s and in 2020 before exploring how the existing spaces convey emotion and represent the Spirit of Brutalism and concludes with an assessment that informs design decisions. A strategy of preservation and restoration, and transformation and intervention at a range of different scales from urban to detail is then applied. The project upgrades the existing whilst opening-up the ground floor to connect to the public realm. Preservation and restoration is prioritised before improving energy performance and future usability while harmonising the old and new to create an improved version of the building’s original self.

YEAR 6 STUDIO 1 - CONTINUITY

ABIGAIL MCHARDY abigail.mchardy@hotmail.co.uk, @ajm.architecture

SUSTOPIA: NOTTINGHAM’S NEW EXCHANGE The project seeks to re-establish Nottingham’s Exchange building as a thriving town hall, giving Nottingham’s biggest landmark back to the public. The design takes on two key components as a part of this, the first being to revitalise and open up the Exchange Building by making sensitive adjustments to what exists, primarily opening up the ground floor in the way the original architect intended. The other key component is using the existing Primark building and transforming it into a market, which acts as a catalyst that transforms the Exchange and the city. The Primark becomes an urban anchor that brings people through the Exchange Building north to south, so that the building is fully activated in all directions, a true arcade. Doing this will renew the relationship between the Exchange and Old Market Square by transforming the Primark building and returning Nottingham’s lost market. A true embodiment of continuity, food and sustainability. A sustainable ‘endless landscape’, where Nottingham’s new Exchange breeds a new lease of life into the heart of the city.

YEAR 6 STUDIO 1 - CONTINUITY

LOTTIE SMITH lottie.rs@gmail.com

HOUSEPLACE This project proposes a new almshouse for Nottingham, structured around the idea of ‘Houseplace’ to give the elderly a safe and beautiful place to call home. Located in the shadow of St Mary’s Church on the edge of the cliff overlooking the historical narrow Marsh area. The new almshouse encloses a garden with views and a new connecting public path. ‘Houseplace’ is based on a medieval hall room type, a place for social interaction and freedom of use; an undefined space that can be used in many different ways. The site, void of purpose, is itself an undefined space. Undefined rooms in domestic architecture, such as Ballie Scott’s ‘Houseplace’ at Blackwell, are the generator of human interpretation, where freedom from conditioned behaviours is found. This project proposes a design for the client, Nottingham Community Almshouse Charity, that will provide a variety of undefined rooms and spaces to enhance freedom in interpretation of inhabitancy, and to generate atmosphere, social interaction, positivity and promise.

YEAR 6 STUDIO 1 - CONTINUITY

LIN ZHU laylz9@nottingham.ac.uk laylz9@nottingham.ac.uk

“RIVER”BESIDE BESIDETHE THE“MOUNTAIN” “MOUNTAIN” A “RIVER” a cultural and educational centre center as the exThis project projectprovides provides a cultural and educational as tension of the Power Station of Art, a transformed the extension of the Power Station of Art, a contemporary transformed gallery next to the Huangpu (theHuangpu central river of Shanghai). contemporary gallery nextRiver to the River (the central river of Shanghai). It is a building as a horizontal “garden” for the creation of art, connecting to the “vertical” Power Station of Art, has a chimney It is a building as a horizontal “garden” for which the creation of art, in 180m height. It focuses on the connection demolished his-a connecting to the “vertical” Power Stationtoofthe Art, which has torical garden on theheight. site and layout on fits the the current refurbished chimney in 180m It its focuses connection to the industrial land. The concept is to a “river” the side demolished historical garden on place the site and itsonlayout fits of thea “mountain”(the PSA). industrial The idea ofland. the “river” refers toisthe current refurbished The concept tohistorical place a garden,on which has of a lot of water. It alsoPSA). implies Huangpu River, “river” the side a “mountain”(the Thethe idea of the “river” the view which is blocked by a which flood wall. refers to of the historical garden, has a lot of water. It also implies the Huangpu River, the view of which is blocked by a With its reflection and ambiguity of the “water” and historical flood wall. narrative, the journey in this contemporary building needs to be a pleasant as aambiguity part of the of daily of the citizens. With its experience, reflection and thelife “water” and historical narrative, the journey in this contemporary building needs to be a pleasant experience, as a part of the daily life of the citizens.

YEAR 6 STUDIO 1 - CONTINUITY

S2 YEAR 6

LIVEABLE UNIVERSITY Unit Leads: Nina Lundvall, James Payne

Poppy Chinn Tilisha Franklin Phil Hawkins Georgia Hillier Aidan Mwombeki

Matthew Skelding Kate Stephenson Dhwani Vekaria Ventsi Videlov Joe Wareham

Ventsi Videlov, Max Hargrave

LIVEABLE UNIVERSITY S2’s pedagogical methodology links atmosphere and perception with the tactile realities of construction through a blend of research and design. The design process begins with fragments and imaginary spaces as a route into a project; Exploring a detailed vision of a space allows a unique appreciation of materials and tectonic logic without designing everything in detail. In a way, we design the final ‘killer’ view as a starting point, not the end point of the development of a project and brief. The year began with a precedent research project on College and Campus buildings, explored through a set of drawings and spatial/ detail models. Above shows one such example, a study of Cripps College’s Fellow Flat in Cambridge by Ventsi Videlov. From here, sixth year students embarked on their individual research and design projects. Our projects vary widely in their typology and location, but all are developed from rigorous architectural research and demonstrate our passion for making beautiful spaces.

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

GROUP RESEARCH @uon_architecture_part2

Jennifer Wilson, Matthew Skelding, Joe Wareham

BRITISH UNIVERSITY BRUTALISM “What moves a New Brutalist is the thing itself, in its totality, and with all its overtones of human association.” Reyner Banham This research project was to research and re-present a collection of precedent projects of British University buildings from the 20th century. All of these examples can loosely be described as “Brutalist” - but unlike the widespread misconception that this means these buildings brutalise their inhabitants - they all have an elemental presence and offer a generosity in occupation. They may be beastly, but they are beasts with feelings. For this project we all were (temporarily at least) New Brutalists and found out how spaces, materials and places were put together as whole environments. The work samples featured illustrate spatial, detail and site scale studies.

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

Jennifer Wilson, Matthew Skelding, Joe Wareham

Kate Stephenson, Larisa-Anamaria Voicu

Jennifer Wilson, Matthew Skelding, Joe Wareham

Poppy Chinn, James Campbell

Ventsi Videlov, Max Hargrave

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

POPPY JAYE CHINN poppy.jaye.chinn@gmail.com, @poppy.chinn

Process - Case Studies

MAKING AFFORDABLE HOUSING FEEL LIKE A GRAND HOME The feeling of grandeur within a home shouldn’t be represented through expensive finishes and lavish detailing. Simple architectural considerations can be used to enhance a domestic environment and provide a grand architectural home. Looking at some of the work of Andrea Palladio, Peter Märkli and the Smithson’s, we see a celebration of good proportions, room to room connectivity and undifferentiated spaces for living. These ideas provide grandeur with no real connection to cost. This thesis project has utilised the findings from academic essays, case studies and current housing standards to propose a new housing typology on the site of the Nottingham War Room’s. The idea of ‘compromise’ is used to provide more green space, a car free environment and homes with ‘grand rooms’. This proposal is located in Beechdale, Nottingham. The site boarders a large newbuild developer housing estate which highlights this thesis project’s proposal of a drastically different solution to the same problem. 40

Palladio 1556

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

Site Plan Proposal

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

TILISHA FRANKLIN @tilisha.franklin

COMPLETE DESIGN A FRAMEWORK FOR ACTIVITY

A PEOPLE’S COLLEGE Topic: Exploring the complexities of social and educational requirements in contemporary University Architecture. Throughout the Thesis Research Document (TRD) one of the questions I posed was: “How can the architectural model for places of teaching and learning be reformed to engage with community and public to private thresholds and thereby, meet the requirements of a contemporary society?” What I concluded from the research was the need forArchitecture a newResearch knowledge Unit: The Cass typology, a Florian Beigel socially centred university architectural model. The thesis design Image sourced from: https://www.architectural-review.com/today/londonschools-part-three-london-metropolitan-by-aru project provided an opportunity to investigate how to create a place of social and educational significance to the community, as an evolution of a university building. The purpose of the building is primarily a building for learners, university students. However, to ensure the building is not under-utilised and to promote interaction with the local community, appropriate public and community amenities have been evaluated and incorporated.

Location Diagram

TILISHA FRANKLIN @tilisha.franklin

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

COMPLETE DESIGN NEW SOCIAL LANDSCAPE

A PEOPLE’S COLLEGE Topic: Exploring the complexities of social and educational requirements in contemporary University Architecture. Throughout the Thesis Research Document (TRD) one of the questions I posed was: “How can the architectural model for places of teaching and learning be reformed to engage with community and public to private thresholds and thereby, meet the requirements of a contemporary society?” What I concluded from the research was the need for a new knowledge typology, a socially centred university architectural model. The thesis design project provided an opportunity to investigate how to create a place of social and educational significance to the community, as an evolution of a university building. The purpose of the building is primarily a building for learners, university students. However, to ensure the building is not under-utilised and to promote interaction with the local community, appropriate public and community amenities have been evaluated and incorporated.

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

PHIL HAWKINS @phil_hawkins_architecture

COLLECTIVE INHABITATION Collective living offers a possible alternative to the current housing situation present in the UK. The emergence of this movement requires a new form of architecture which may develop from a renewal of historic shared housing models. Through the examination of historic precedents, this project explores the spatial characteristics that promote the necessary degree of sociability and conviviality for collective inhabitation. The project offers an insight into how the series of inter-connected rooms and the middle room can be used in the creation of a new collective household. One which facilitates a more adaptable and contingent form of plan making. These principles are in line with the design methodology of studio two, which is based on developing design fragments across multiple scales, with a high precision of detail and material knowledge.

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

GEORGIA HILLIER georgiahillier1@gmail.com

‘AS FOUND’ AND IDENTITY Through this research it was considered how the UK’s current reliance on commodified housing forms could be addressed through an alternative approach to design, specifically the Smithson’s ‘As Found’ principle developed in the 1950s. The principle, in its original intention, set out to producing housing which better related to the societal needs of the time through analysing and finding value in things in their current state. Through understanding the Smithson’s own approach as well as the re-interpretations of the principle through changing socio-political contexts within the wider context of ‘New Brutalism’, the research approached the question: How relevant is the Smithson’s ‘As Found’ principle as an architectural methodology in a modern context? The ‘As Found’ principle is versitile in regards to the way it seeks to find value regardless of time, social and economic context. Based upon this research, the proposed project endevours to employ the ‘As Found’ methodology in order to produce a new form of elderly living based in the heart of the community, elevating this typology from the background of our society to something which is of value.

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

AIDAN PROSPER MWOMBEKI aidanmbeki@gmail.com

MAKUMBUSHO CENTRE This project consists of an existing Makumbusho Village Museum (open-air museum) and the proposed entrance building with part of the programme spread across the site to increase activity and enhance the experience within the site. The proposal aims to amplify the sites significance through creation of quality places for social interaction, learning and experience. The main entrance building is a collection of four main spaces with services and adequate well ventilated and lit corridors for circulation , these are the auditorium, library, exhibition space and archive, all under one roof. Across the site are the cafe, workshop and conference rooms that accessed by the walkway which leads to the vernacular buildings. It runs along the site periphery to enhance movement and experience of the open-air museum.

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

MATTHEW SKELDING mskelding96@gmail.com, @skelding.arc

PERMANENCE & CHANGE: NORTH-WEST ASSEMBLY Manchester is historically known as the UK’s ‘Warehouse City‘ for its abundance of Industrial Revolution era warehouses. Having once been critical in establishing Manchester as a global city, their differential fate among the incursion of glass and steel skyscrapers begs the question of how to adapt these buildings to function within modern society. This thesis design project re-imagines the next chapter of the iconic Great Northern Warehouse’s story as a busy civic building, with functions ranging from a regional devolved parliament to a temporal market hall. It investigates a holistic approach to continuity that ranges from urban context to internal adaptability, and the compromise between permanence and change. Adopting a sustainable, light-touch approach to intervention, engaging with the existing building’s narrative, the project transforms the relationship with the urban realm, internal spatial hierarchies and qualities in a way that exceeds functional lifecycle and guarantees the public occupation of the building.

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

KATE STEPHENSON @katestephensondesign

DESIGNING ACROSS SCALES Designed across scales, from public realm to furniture, the Trent Basin project aims to encourage an interactive community atmosphere for the developing residential neighbourhood. The proposals include an enhanced public realm and a community building titled ‘The Front Room’. Just like the front room of a house, ‘The Front Room’ isn’t a space for one activity; it can be used for eating, socialising, working or exercising and acts as the heart of the Trent Basin neighbourhood. The various interventions - public realm, façade, aedicule, and furniture – are designed at different scales, from the city scale of 1:10,000 through to the construction detail scale of 1:5. This allowed me to analyse how community interaction and exploration could be designed into the city as well as into the construction of a bench. As a result, this ‘total design’ is flexible and user defined as opposed to the generally controlled environments of ‘total works of art’.

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

ales Synthesis: Designed Scales

 

Research: Furniture Scale  

SESC Pompeia: Communal and Larger Groups

Interior Model View of the Front Room

Model Study of Lina Bo Bardi’s SESC Pompeia Aedicule: 1:100 Worm’s Eye Axo and Bird’s Eye Axo

Library

Fire Pit

An Assembly of Scales

Main Elevation to Public Realm, a Composition of Aedicules

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

DHWANI VEKARIA dhwanivek@googlemail.com

LEARNING TO LIVE WITH WATER Shifting perceptions of water through flood resilient architecture and landscape by adopting an embrace approach. An ever increasing threat of flooding in the UK has highlighted the level of damage to our properties. We rely on hidden underground water management as opposed to the landscape thereby missing out on the wider environmental and aesthetic benefits of connecting water management to making exciting places. The aim of this connection with the cycle is to heighten both awareness of its natural properties and its ecological fragility to step away from the negative connotations associated with it and begin to embrace it. The solution is not resistance rather resilience, changing water from a potential nuisance, to a way of life. My proposal adopts a ‘Holistic flood resilient model (aesthetic + technical co-benefits)’ deduced from my research. Designing a housing scheme that feels connected to its flood resilient landscape whilst enjoying and celebrating water.

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

VENTSI VIDELOV ventsislav.videlov@gmail.com, @thevidelovportfollio

THE TOBACCO CITY: STUDENT PALAZZO An extension to the autumn thesis research related to type and style of tobacco warehouses, this design proposal is generated as a response to the city and as a part of the Tobacco City study area by being aware of the disposition of Plovdiv’s primary elements and infrastructure nodes. Typally, the idea of a tobacco warehouse in the city is revisited with a materialistic angle. The design proposal constitutes a typal shift by borrowing formal moves from student courts and palazzo buildings. These moves are then driven by tectonic regeneration in a multitude of degrees of intervention. These include preserving and expressing the existing masonry enclosures, extending the remaining tectonics with a complementary language and inventing new architectonics to serve as a tool for radical intervention. The created atmosphere of the proposed spaces is defined by the idea of robust tectonic presence, which reinforces the idea of a warehouse building in the city regardless of programme.

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

Proposed Long Sectional Perspective Proposed Long Sectional Perspective

Proposed Long Sectional Perspective

posed Long Sectional Perspective

Resistance by Transgression Resistance by Transgression Resistance by Transgression

stance by Transgression

Model View of a Proposed Student Dwelling on the Upper Floors Model View of a Proposed Student Dwelling on the Upper Floors Model View of a Proposed Student Dwelling on the Upper Floors

del View of a Proposed Student Dwelling on the Upper Floors

TheTransformed Transformed Tobacco Tobacco Warehouses The Warehouses The Transformed Tobacco Warehouses

A Civic A Ground Floor Floor Civic Ground A Civic Ground Floor

JOE WAREHAM YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

@wareham.archi

JOE WAREHAM @wareham.archi

Additions to Brandon Estate Public Realm

THE AUTONOMOUS ESTATE

THE AUTONOMOUS ESTATE Between 2011 and 2014, over 50,000 families were moved out of

their London boroughs, to cities far afield and Manchester andout of Between 2011 and 2014, overas 50,000 families were moved Glasgow. Under the guise of their London boroughs, toregeneration, cities as far successive afield andgovernments Manchester and have overseen significant reduction in both successive social housing stock Glasgow. Undera the guise of regeneration, governments and overseen communitya significant facilities. ‘The Autonomous explores stock have reduction in bothEstate’ social housing this displacement and dispossession and makes the case for an and community facilities. ‘The Autonomous Estate’ explores autonomous architecture that gives agency to the end user whilst this and dispossession and makes the case for an also displacement avoiding displacement. autonomous architecture that gives agency to the end user whilst The avoiding project is displacement. a retrofit of six 18-storey towers on Brandon Estate, also Southwark, with additional balconies and winter gardens added

on each floor. additions simplify the floorEstate, The project is aThese retrofitarchitectural of six 18-storey towers on Brandon plan, which allows residents tobalconies radically redesign theirgardens flats andadded Southwark, with additional and winter more communally. live each project also includes numerous on floor. TheseThe architectural additions simplifypublic the floor facilities including music rooms, allotments, parks. The project plan, which allows residents to radicallyand redesign their flats and embraces the concepts of autonomy and agency and explores the live more communally. The project also includes numerous public role architects can play in the fight against displacement. facilities including music rooms, allotments, and parks. The project embraces the concepts of autonomy and agency and explores the role architects can play in the fight against displacement.

Resistance by Transgression. Model Studies of Squat Culture

YEAR 6 STUDIO 2 - LIVEABLE UNIVERSITY

Model View of Communal Living in Brandon Estate Cooperative

Model View of Community Ground Floor Music Room

S3 YEAR 6

FORM, MATERIAL Unit Leads: Will Pirkis and Shaun Young

Merick Hennrie Ryder Kirk-Newstead Nicole Korta

Sheel Kothari Rufaro Matanda Nikola Matusiewicz

FORM, MATERIAL The studio began by looking at art practices, at the observation, preparation, experiment and discourse that takes place around a certain context. We looked at north-American practices from the 1960s, as well as contemporary artists Ima Abasi Okon, Thomas Demand and Jeff Wall, with talks from Naja Hendriksen and Adam Hines-Green. Groups of students chose a practice, read artist texts and interviews, made performative pieces after Walter de Maria’s text Meaningless Work, and designed building parts in response. The student’s projects build on this, where the context of their practice became the physical site, a reference, or a social action.

YEAR 6 STUDIO 3 - FORM, MATERIAL

GROUP RESEARCH @uon_architecture_part2

Jaden Morton, Matthias de Veer, Nikola Matusiewicz

ARTIST INFLUENCES ON FORM & MATERIAL To focus our research and to find some common ground between art and architecture, we looked at artists with an interest in form and material. Students then designed parts of buildings, focusing on the elements of buildings for living: a window, loggia, hall, porch, facade. In each case students developed an idea about form, material and construction related to the art practice.

Precedents

een the internal and external space. The brick exterior e clean concrete materiality in the internal space.

The concrete surround of the fireplace will be a polished to allow the YEAR 6 STUDIOconcrete 3 - FORM, MATERIAL daylight to reflect into the room. The precedents show the light qualities that the concrete can produce when polished. This will allow the fireplace to become the focal point of the room.

Areas with Polished Concrete

Areas with Un-polished Concrete Katherine Krysiak, Lucy Galloway

The diagrams above show the decision making process for the location of the polished concrete. The first diagram was the preferred area for the polished concrete as it highlighted the fireplace well. Although the second option framed the fireplace well, carrying on the polished concrete towards the fire created a more warmer feeling. This can be seen in the image on the right.

John Holroyd, Anthimos Marinou, Ryder Kirk Newstead, Merick Hennrie

Sheel Kothari, Nicole Korta, Yun Hao

1: 2 0 AT A2

F L OO R P LA N

Antoni Nedelchev, Sisir Debnath, Rufaro Matanda

YEAR 6 STUDIO 3 - FORM, MATERIAL

MERICK HENNRIE merickhennrie@hotmail.com, @merick.hennrie

A CONDITION OF CONSTRUCTION - TRAFFIC STREET On the periphery of the city, where a dissipating industrial band stretches from east the west lies Traffic Street. Found to have a continuation of industry on a street frontage, several conditions are prevalent among the sites location: A dual carriage way and adjacent tramline tracks bordering the areas of the industrial site and the suburbia of the Meadows in the South, two new large developments in the vicinity have begun to drive a wedge creating a precarious awkward tension amongst the city’s fabric. In its mass Traffic Street, takes a stance on retaining a sensitive position to alleviate between the old and new, whilst spatially challenging the potential present and future use of the proposal. Traffic Street promotes the planning of re-using new buildings by carefully considering the possibilities of use.

YEAR 6 STUDIO 3 - FORM, MATERIAL

RYDER KIRK-NEWSTEAD ryder001@live.co.uk, @rkirknewstead

CLIFF ROAD APARTMENTS Cliff Road sits at a complex junction at the periphery of Nottingham’s city centre; an overpass, the Nottingham Contemporary, a 1930’s housing estate, a sandstone cliff and a new college all stand fragmented as the remains of a century-long process of ‘slum clearance’ and de-industrialization. Two new apartment buildings are proposed with live/work apartments and ground floor ateliers, to bring more active occurrences back to the street and to connect the currently disparate 1930’s council houses with the institutional buildings of the new college and Nottingham Contemporary. These two new figures seek to engage with the various fragmented characters of Cliff Road through communicative architecture, which acknowledges both the persistence’s of tradition unique to human culture, as well as the disruptive, macro-scale insertions of the modern city.

YEAR 6 STUDIO 3 - FORM, MATERIAL

NICOLE KORTA nicolekorta@gmail.com

THE ARCHITECTURE SCHOOL IN THE CITY The design thesis focuses on how to create ‘a sense of place’ through the theoretical framework of ‘palimpsest’ in architecture, based on one case study – an old Town of Cyprus. The aim of the design is to bring the back to an abandoned part of the town, by bringing the past with the present and the future. The brief consists of five buildings, a mixed use of existing and new buildings, which will accommodate a new program for the old town, the Architecture Faculty of the state University of the island, creating, a school within the city. The new buildings consist of an Exhibition Hall/Teaching Hall/Archive and a pavilion which is studio spaces for the students. The other three buildings consists of a café, more studio spaces and a workshop. Palimpsests is reflected on the layering of the new program on the urban fabric, as well as on the choice of materiality that recalls the vernacular architecture of the old town of Aglantzia.

YEAR 6 STUDIO 3 - FORM, MATERIAL

SHEEL KOTHARI sheelk23@hotmail.co.uk, @sheeldesigns

HOUSING FOR THE ELDERLY ‘Housing for the Elderly in the Nottingham Arboretum. An Experiential Investigation’ This Thesis looks beyond the conventional models of elderly care and incorporates the Thesis Research findings into a design response. With a focus on the health, well-being and comfort, the spatial qualities of Light/Views, Interactions, Domesticity and Place have been carefully considered to create a home for the aging population. The programme includes 22 Private Apartments for both single elderly people or couples, as well as a Public Café and a Day-Care/ Treatment Centre for the residents and occupants of the Care-home nearby. A forgotten corner of the Nottingham Arboretum has been selected to enable the proposal to sit amongst the tree canopies with picturesque views. Influences from Josef Hoffman’s Villas in Hohe Warte, the iconic Stoclet Palace in Belgium and several English Country Houses informed the form of the building.

YEAR 6 STUDIO 3 - FORM, MATERIAL

RUFARO NATALIE MATANDA nataliematanda@hotmail.com

A NEW HOPLEY:THE STORY OF HARARE SLUMS The Universal Declaration of Human Rights Article 25.1 highlights the provision of a good standard of living for all but basic living resources have become scarce within densely populated areas in cities, resulting in housing being developed in hazard-prone areas through informal and unplanned settlements. This thesis explored the theory of place within informal settlements in Zimbabwe’s capital city: Harare and in particular, Hopley Farm. Using three phenomenological approaches of place as process, lived experience and power, they define the daily activities of the socio-spatial correlations that co-exist between neighbourhoods . Through re-imagination of Hopley Farm, the project produced a self-build strategy on three specific sites representative of conditions across the settlement that focuses on housing, sanitation and infrastructure. The intervention celebrates the culture and traditions of the area whilst presenting opportunities that cultivates community culture and individuality expressionism.

YEAR 6 STUDIO 3 - FORM, MATERIAL

NIKOLA MATUSIEWICZ nikola.matusiewicz@gmail.com

LIVE/ WORK IN KELHAM ISLAND Inspired by the current Covid-19 context, continuously changing society and emerging new modes of living and working, this Design Thesis Studio Portfolio builds on the researched typology of live/work - the reuse of old, industrial buildings and architecture combining activities of both living and working within one. The project is based in the most exciting, undergoing gentrification, industrial area of Sheffield- Kelham Island. And as the Thesis Design Research identified old, industrial buildings as offering qualities neither domestic nor dedicated to an activity of working for the present and future, the project creates a possibility of live/work. It reuses an old, industrial building and proposes housing for both artists and ‘working from home’ individuals as a response to the 21st Century need for the typology.

YEAR 6 STUDIO 3 - FORM, MATERIAL

00 - Artists Studios 00 - Artists Type Studios 01 Type 01 1 : 50

1 : 50

Proposed Ground Floor Plan 1:50@A1

01 - Artists Studios 01 - Artists Type Studios 01 Type 01 1 : 50

1 : 50

Proposed First Floor Plan 1:50@A1

Artist’s Studio - House Type The artists’ studios are dominantly inspired by the precedents of Arrhov Frick, Fem Hus and Donald Judd, Loft. References of Knapkiewicz and Fickert, The Lokomotive are also made, not only in the creation of a threshold with the house entrance lobby, but also in the layout. The home building and its architecture sit on the inner side of the atelier/workshop within the existing building. In this way, the domesticity and more private activities of living face the shared, more private internal/external street as well as the other, homes across it. Internally, rooms, which are associated with the activities of living such as the kitchen and the bedroom have their window openings onto the street, where as the living room and the first floor room, which can be used as living or working and vice versa, open up to the atelier. These spaces altered by the user if they wished to work on a smaller piece of art or carpentry in a private, heated space. Double doors and exaggerated window openings, designed also to borrow light, allow for this to happen. Aside from these spaces, it is the ateliers/workshops, which proportionate in plan to the precedents they were inspired by act as working spaces and create a defined live/work house type. More public, the ateliers open up to the artists’ working yard, where the public and artists can interact.

00 - The Silk Weaver's House Type 01 Plan 1:50@A1 Proposed Ground Floor 1 : 50

01 - The Silk Weaver's House Type 01 Plan 1:50@A1 Proposed First Floor 1 : 50

02 - The Silk Weaver's Type 01 Plan 1:50@A1 ProposedHouse Second Floor 1 : 50

The Silk Weaver’s House - House Type The house type, which combined both living and working within one, which set the dynamics of the whole project. Referencing The Silk Weaver’s House in its elevation and plan, the house type reminisced strongly with the precedent of Knapkiewicz and Fickert, The Lokomotive too. With working spaces interwoven between the domestic, the ground and first floor plan is inspired by The Silk Weaver’s House as well as The Lokomotive with ‘working’ room on the ground floor and a space dedicated to no defined activity on the first floor, which overlooking the spaces below reflects on the qualities often found in the old, industrial buildings. The ground floor room is a space neither domestic or ‘working’, private or public. With another means of entrance, the house allows for flexibility of what the user defines it to be. The possibility of live/work is created. Until, the plan moves to the second floor and opens up onto The Silk Weaver’s House ‘top-shop’, in which the activity of silk weaving happened; with large openings and therefore ambiguous light penetration and open plan suggest the activity of working. Unlike The Silk Weaver’s House, this house type is vertically accessed by only one stair core, but it similarly creates the live/work type, which is equally home and working dominated.

S4 YEAR 6

TERRITORIES OF TRANSFORMATION Unit Leads: Nick Haynes, Laura Hanks

Somera Bano Pooja Chikhlia Bethan Crouch Vaishnavi Gore Rachel Marshall

Rumbi Mukundu Leo Tsakalotos Conor Vale Frank Wood Lucy Wren

Conor Vale, Chris Bennett, Matt Urry

TERRITORIES OF TRANSFORMATION This studio places emphasis on deploying the intrinsic strategic potential of architecture within the city. It investigates the spatial and compositional dexterity of architecture, to locate it within the four-dimensional structure of the city and its natural laws of persistence and transformation. Using considered urban and typological analyses to propel new urban strategy, we task architecture to generate a higher contribution back to the city than by solely responding to surrounding (visual) context, thus forming more tangible and sustainable interventions to the environments we each participate in. ‘Territories of Transformation’ seeks to explore these processes as means to give full voice to the innovative potential of architecture in the environments we inhabit the most: the domains of the city.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

GROUP RESEARCH @uon_architecture_part2

Bethan Crouch, Brady Hull, Georgina Lay

BROADMARSH STUDY AREA, NOTTINGHAM In Studio 4 we explored the urban processes that govern the constitution of our cities and provide some clarity to the overarching question “what is the city?”. The objective was to produce a nuanced contribution to the understanding of the role of the Broadmarsh area within the wider pattern of urban dynamics in Nottingham, understanding its significance and interfaces with the urban whole. Our first task was to investigate the position of the Broadmarsh study area within Nottingham’s wider city situation. Identifying and graphically conveying the patterns of urban and architectural change that are manifest as we transition between different study areas. Each group then explored a different area of interest. This included explorations of the role of historical urban artifcats and primary elements, the persistence of the street plan, thresholds, edges and boundaries and patterns of inhabitation.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

Lucy Wren, Rachel Marshall, Tommy Simpson

Conor Vale, Chris Bennett, Matt Urry

Pooja Chikhila, James Trevillion, Harriet Beale

Conor Vale, Chris Bennett, Matthew Urry

Rumbi Mukundu, Thomas Wickens, Owen Davies

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

SOMERA BANO somerabano@hotmail.co.uk, @somera.bano

THE SEED PROJECT “Being imprisoned in the punishment, the architecture shouldn’t have to be” is a quote by Gudrun Modden which heavily inspired this project. The scheme proposes an urban halfway house which explores interfaces within the city to incrementally rehabilitate youth offenders back into society. This is achieved through a varied framework under the theme of food and horticulture providing users with vocational skills. The site is based on Queensbridge Road in Nottingham. It can be defined as an interim area that acts as a threshold between the city centre and suburban meadows. The Seed charity is the main client and their core aim is to reduce re-offending through the training and rehabilitation of low risk, category D youth offenders with six to eighteen months of their sentence. The programme covers; Accommodation, Culinary and Horticulture School, Restaurant Food Market and Food Bank.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

CIRCULATION OFFENDERS & STAFF

The perforated walkway gives the option to extend the existing corridor and offers an alternate, experiential route for users to the take across the space. It creates snapshots of the courtyards below and a playful, non institutionalised atmosphere.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

POOJA A. CHIKHLIA poojachikhlia@gmail.com

THE URBAN AND CULTURAL REVIVAL OF STATION INFRASTRUCTURE Transit infrastructure plays a pivotal role in orchestrating the urban grain in a dendritic fashion and is thus detrimental to local surrounding communities. By harnessing a station’s role in performing as a public entity, the fundamental capacity of the station can be amplified to operate as a community catalyst. There is, however, the need to address the lack of communication and dexterity between infrastructure and it impositional status with local communities. Transit-Oriented Development is a vehicle for station design, where refurbished infrastructure is being transformed into monotonous spaces. Stations have a responsibility to the city in order to sustain culture and exchange, however how is this viable with the current trend of mass redevelopment in contrary to mass localism? This proposed scheme thus presents a hypothesis to augment existing infrastructure’s imposition as an armature for strengthening local exchange patterns in Elephant and Castle.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

BETHAN CROUCH Bethan.crouch@hotmail.co.uk

ARKWRIGHT CO-PLACE “Few contemporary home-based workers live and work in conditions that suit them. But they could.” (Frances Holliss, Beyond Live/Work: The Architecture of Home-Based Work, p.204) My design proposal follows on from thesis research which advocated ways in which architectural design could improve spatial conditions for urban homeworkers, answering the question implied by the quote above: what could an urban block designed for homeworking look like? The theoretical conclusions of the Autumn semester’s work were then tested on a site on the edge of Nottingham city centre, proposing a mixed-use programme with overlapping aspects of live/work, cohousing and coworking which benefits both residents and the wider community. Spaces for social interactions and moments of encounter are considered across all scales, allowing homeworkers a sense of community with shared knowledge transference and support to replicate, and better, that of a workplace outside the home.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

VAISHNAVI GORE vaishnavi_gore@hotmail.co.uk

NEST HOUSE Maggie’s Cancer Care Centres act as an architectural haven for those Living with Cancer, complimentary with clinical treatments. Through the process of investigation, key findings that influence the healing process include: symbolism, lighting, views, access to outdoor space, privacy, quiet space and community engagement in a homely environment. These phenomenological hypothesis were classified into three main categories; Domesticity, Spatial Qualities and Sensory Experience. From this, a gap was recognised in the lack of respite care facilities for the youth in the UK. Queen’s Medical Centre in collaboration with University of Nottingham set out to advance and adapt this research to create a respite centre for children and young adults to support those suffering with cancer. To highlight the prominence of cancer, the selected site places the scheme at the heart of No. 1 Science Park, providing numerous views out to the urban and rural setting. This scheme places cancer at the heart of a secure busy space whilst allowing for peace and quiet to heal.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

RACHEL MARSHALL rpm2@hotmail.co.uk

A MICROCOSM OF THE CITY If the housing crisis and ever-increasing demand for social housing is to be addressed, a return to the ambitious scale of building in the post-war era is required. My thesis proposal learns from the projects of the ‘golden age’ of social housing explored in my thesis research, adopting the key principles of continuity with the historic grain, a multiplicity of function, layering of the facade and urban and domestic scale public - private thresholds. The proposal revitalises the periphery of St George’s Cultural Quarter, Leicester. A series of courtyards and squares present varying degrees of public - private space. Around the courtyards a series of social walkways and winter gardens offer greater opportunity for socialisation and expand the home. While the community spaces at ground level foster relationships between new and existing communities. The interior expression of the tectonic celebrates a new identity for the area and highlights the low-carbon materials.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

RUMBI MUKUNDU RMukundu1@gmail.com, @rmstudi0

BURROWS COURT GARDENS In the context of a housing crisis in which housing demand exceeds current supply and availability, my thesis project advocates for the retention and refurbishment of post-WW2 housing estates in place of the current trend towards demolition and new-build. This project transforms Burrows Court, a derelict, post-WW2 tower block in Nottingham, into a vibrant, mixed-use housing scheme with a public square, community centre, a sports hall and modern facilities. Burrows Court Gardens is a focal node within its urban fabric, encouraging a dynamic, integrated community. Influenced by Lacaton & Vassal’s design approach to ‘never demolish, always add, reuse and transform’, this proposal takes a modest, surgical approach to refurbishment, through a carefully considered evaluation of the existing elements in order to decide what to be added, reused and transformed.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

CONOR VALE @conor_vale_architecture

TOWARDS A NEW MODERNISM: THE HOUSE OF THE CITY This Thesis postulates the significance of Modernist space conception and its continued applicability. The design thesis thus harnesses the underlying performative content of Modernism, discovered via Le Corbusier’s ‘Dom-Ino’ and ‘5 Points of a New Architecture’. In this regard, the design seeks to distance itself from the pastiche of yesteryear’s ‘machine aesthetic’ and derive an architecture from the agency of type and typological revision. A new civic assembly in the heart of Leicester is proposed, accompanied by a sequence of morphological interventions in reactivation of a civic square. Through utilisation of phenomenal transparency, spatial layering and the inherent flexibility of the free plan, the design thesis advocates and demonstrates the synthesis of cogent urbanistic thinking, civic participation and a typological approach to architecture in response to the city condition. From the Modern house to the contemporary city; Towards a New Modernism.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

FRANK WOOD @frvnk_wood

ELEVATED LANDSCAPES My thesis investigates the potential for ‘streets in the air’ or elevated landscapes to persist as a functional urban elements that may create better connected communities. My thesis research looked at how elevated landscapes could better integrate communities into the city. Modern buildings in London today and their communities live in isolation of each other, with their very private internal corridors and limited interaction spaces above the ground plane. This spatial investigation explores how we may bring communities together, rather than isolate them in order to unify the city and its inhabitants into a holistic body.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION

LUCY WREN lucywren@sky.com @lwrendesign lucywren@sky.com, @lwrendesign

NOTTINGHAM CITY ZOO The Urban Picturesque Informing a Sanctuary in the City Picturesque principles and ideas of sanctuary create a space of separation and delight in the city that breaks the monotony of the quotidian experience, taking the form of a zoo in the centre of Nottingham. This project interprets the picturesque as the formation and curation of objects in space in a harmonious assemblage, and frames compositions such that they both celebrate existing monuments, and inspire movement. Processing through insulate spatial arrangements allows the guests to transition from the known city to the ‘otherness’ of the site. The focus is on a new build visitor centre, the renovation of an existing warehouse into and elephant house and the masterplanning and landscaping of the site.

YEAR 6 STUDIO 4 - TERRITORIES OF TRANSFORMATION