Will Tankard (Academic Portfolio Newcastle University 2018/2019) by will.tankard1

FUTURE CITY ARC3001 16034065

PORTFOLIO WILL TANKARD Stage Three Academic Portfolio 2018/2019 Newcastle University

6 STUDIO INTRODUCTION 8 CRITICAL REFLECTIVE ANALYSIS 12 CHARRETTE 16 PRIMER 38 FIELD TRIP 45 FIELD TRIP CASE STUDY 60 STAGING 90 REALISATION & REFINEMENT 156 THINKING THROUGH MAKING WEEK 160 CULTURAL BIBLIOGRAPHY 162 APPENDIX 170 BIBLIOGRAPHY 174 IMAGE LIST

FUTURE CITY 6

STUDIO INTRODUCTION The aim of Future City is to take a critical stance towards contemporary neoliberal urban regeneration, which all too often produces generic architecture for the benefit of private investors. The word exchange is key throughout our studio, we will be investigating how spaces for exchange can be constructed architecturally in regards to form, scale, materiality, use and experience and also explore how architecture can be used as a political and social endeavour as much as it is an artistic, aesthetic and technical pursuit.

CRITICAL REFLECTIVE REPORT 8

Challenging contemporary neoliberal regeneration and taking a stance towards dominant socio-economic agendas was the main theme of the Future City Studio. The outcome was to produce an architectural response towards the ideas of ‘exchange’ in the city, exploring how space can be used to drive both social and political change. Starting third year my outlook on the architectural discipline was flat, seeing buildings as objects with only visual attributes. However, viewing the profession from an alternative perspective through the themes of the studio, I was able to grasp the power of the built environment as a political and social tool. This year I have been particularly engaged with the notions of food and the city, analysing the social and physical relationships between the urban landscape and food. Through my dissertation, I explored the social benefits of reintroducing the production of food into our urban habitats. After gaining knowledge about the social implications of vertical, community and urban farming I was able to set the grounding for my graduation project. Close readings of journals and books highlighted how political systems, such as Universal Credit are having detrimental impacts of peoples relationships with food, forcing some people to refer to food banks. The aim of my project was to bring attention to the issue of food banks and highlight that is successfully marginalising sections of society. My projects social and political motive to instigate change was informed by Module ARC3015 (Theory Into Practice). I researched the work of Doina Petrescu of Atelier D’Architecture Autogeree, highlighting how she intersects community inclusion and the built environment through targeted, community led interventions. She plays with social frameworks using innovative mapping techniques to show how different parts of the community engage with specific design decisions. Constructing the essay gave me insight into community orientated design and new representational techniques. The type of community orientated work carried out by Petrescu has been of interest throughout my time as an architecture student, for example my ARC2024 Essay, where I researched the community led Better Block movement in America.

From massing to detailing, every design decision was informed by the projects overall agenda. The key elements of the design were transparency and social inclusion. To portray this successfully the technological and design aspects of my project had to run in unison. My intention was to have a building that embodied two personas. During the day, it reflects the surrounding context and highlights that it is a part of its community and during the night it becomes transparent, highlighting its internal processes and skeletal framework. To achieve this the choice of structural system and façade system was integral. ARC3013 (Integrated Construction) highlighted the importance of integrating design and technology, they are interwoven elements that strictly inform one another. I understood this through the façade design. Achieving the intended concept meant careful consideration of façade systems, ensuring that they not only met my visual requirements, but also met the environmental needs of the building. In previous years I have viewed architectural technology as an afterthought, applying structure to an already established design. However, working on a project in much more depth highlighted that structural strategy is a vital process and should be considered at the outset of any design.

It was important that the design was thought about not just as a theoretical project but also as a real world intervention. ARC3014 (Professional Practice and Management) allowed me to explore the project as though it was a genuine build. This gave insight into the formalities of contracts and planning legislation. Having to consider aspects such as those raised in the module informed certain aspects of the design, for instance, ensuring there was sufficient separation between public and private realm to guarantee public safety. Even though theoretical, I feel as though my project touches on important points for both the industry and the role architecture plays in the socio-economic shifts within our cities. The project and the studio have shown me that architecture is a political and social venture as much as it is an artistic, aesthetic and technical pursuit. I have highlighted that architecture can be used to readjust social disparities through the collective engagement of communities. It can allow cultural norms to develop by welcoming public and civic partnerships and allowing communities become less dependant on the welfare system for provision. Producing buildings with dominant agendas generates connectiveness, political awareness and civic responsibility.

It is important to move away from current social models and political economies that favour those who have financial motives. These models are segregating communities and leading to generic cities. Projects with social agendas allow society to change their ingrained views of the built environment as well as the roles architects have in shaping spaces. (Walters, 2011) States that â&#x20AC;&#x153;developer-clients have tended to repress architectsâ&#x20AC;&#x2122; motivation to relate design to social objectives, at least beyond the particular building type they are dealing with.â&#x20AC;? I feel as though my perception of the Architectural discipline has changed throughout my time in Third Year. I have developed a deeper understanding of the roles spaces can have on communities and have been able to approach design decisions with a greater sense of criticality. I am now able to looking beyond the visual aspects of a project and identifying with the social frameworks it supports. As architects we have the ability to communicate our values and influence spaces, using it as a tool to critique larger ideas that go beyond the immediate context. With a project formulated around the notion of challenging social agendas, I would find it interesting to continue onto my placement in a practice that works with proactive topics. Identifying how practices that promote specific agendas work within political and bureaucratic climates.

CHARRETTE 12

Charrette Week occurs in the first week of each academic year. It has become a tradition of Newcastle Universities Architecture Planning and Landscape department. The intensive week gives students the opportunity to work alongside peers from every stage. Creativity and experimentation is the driving force, offering students the chance to

the history of terrazzo, highlighting how it has been used within the architectural discipline for centuries. We then observed a demonstration of how to produce a tile from start to finish. This involved the crafting of the wooden mould, the mixing of the cement with the aggregate, the sanding of the tile and finally the waxing process. After the demonstration

learn skills from a series of visiting professionals. This years charrette was centred around three main words â&#x20AC;&#x153;Spectacular, Failure, Helpâ&#x20AC;?. I participated in the Spectacular Terrazzo studio. With the help of external specialists we learnt how to design and create our own terrazzo tiles. The week started with a brief introduction into

we were allowed to experiment with our own designs and get hands on with the making process. I have documented this through photographs on the following pages. The experience gave me an insight into the casting process. As well as showing the physical nature of concrete and the importance of quality in regards to material finishes.

The photographs below document the journey of the terrazzo tile. Starting with the creation of the wooden moulds, then creating our terrazzo patterns, followed by mixing and adding dyes to concrete. Once mixed we had to apply Vaseline to the moulds to ensure the concrete could be removed. After being poured and set the moulds were removed and the tiles were sanded down. Water was essential in the sanding process to gain a smooth finish. Once sanded I applied layers of wax ensure a smooth, high quality surface.

The processes involved in charrette have enabled me to expand my skill set. These skills infused into my design work later on in the year. Learning how to work with concrete and understanding its physical properties and processes informed my design decisions in my graduation project.

Another major benefit of the charrette process is the opportunity to work alongside students from all years. Working as a collective is not only beneficial to the schools community, it also allows individuals to learn from one another.

Below are photographs of the studios output. The intensive week lead to succesful outcomes. A variety of terazzo style were explored and produced to a high level.

PRIMER 16

Primer was intended to ‘prime’ the studio with useful critical and theoretical knowledge prior to developing our building proposals. Working in small groups, we undertook close readings of exemplar ‘Exchange’ buildings selected on their architectural merit, historical significance, and critical context. During the primer, we understood and represented the urban, spatial, material and theoretical themes that embodied the essence of our ‘exchange exemplar’. With the information gathered through the close readings of the exemplar, we produced an

The image below was taken from the Primer Symposium. The symposiums was an opportunity for the third year studios to display their work to the rest of the year. The

day consisted of a seires of talks from studio representatives who introduced the studio themes, it was then folowed by an open exhibition of work

analogous drawing that summarised and emphasised the urban, spatial, material and theoretical themes intended by the architect. The brief required us to work on a single collaborative piece that could be in any medium we desired. To further what we had learnt from our exemplar buildings we proposed a speculative and experimental proposition that critically assumes and modifies the main aspects of our case studies. We imagined an experimental alternative future for the site on the corner of Pilgrim Street and New Bridge Street currently occupied by Stack. Our propositions were provocative

and declared a collective critical stance toward contemporary urban regeneration.

MICHAEL MALTZANâ&#x20AC;&#x2122;S STAR APARTMENTS

The images to the left depict the nature of the context in which Michael Maltzan situates his work. There is a rich diversity of cultures and demographics that have all fallen victim to austerity. Figure 1

Phase One - Case Study Analysis The goal of dividing the studio into subgroups was to spark a discussion about the alternative ways architecture can be proactive, and reach people far beyond its exterior walls. All of the case studies highlighted different, yet poignant issues

In our subgroup we were given the task of investigating the work of Michael Maltzan. A Los Angeles based architect. He his know for his progressive work and his ability to challenge social issues through provocative architecture. Downtown Los Angeles is a community of dualities; it is home to the highest number of unsheltered people in America, Skid Row is optimises this. Michael Maltzanâ&#x20AC;&#x2122;s Star Apartments aims to facilitate the recovery and rehabilitation of many of Skid Rows formerly homeless residents, in an economic manner by adopting a modular construction method. The innovative building acts as a new hope for many disadvantaged citizens of Los Angeles.

Figure 2

Client - Skid Row Housing Trust “Skid Row Housing Trust – a local developer and property manager that provides housing for people suffering from homelessness, extreme poverty, illness, disabilities and addiction. This is the fourth residential project that LA-based Michael Maltzan Architecture has designed for the organisation.” - Jenna McKnight (Dezeen)

Michael Maltzan Architecture has designed three new buildings for Skid Row Housing Trust over the last seven years. All of his evocative designs are aimed at social stabilisation and urban regeneration. The provocative forms of the building act as an icon, separating the building from its surrounding context. They exemplify the rich social intention the Skid Row Housing Trust are trying to convey acting as beacons of hope within a community that is continually facing hardship. Lots of Maltzans work involves strong form making and sculptural typologies, this intentional move brings light to issues that may be overlooked within existing communities such as Skid Row.

In ‘The Plan’ Magazine, Raymund Ryan states that “It seems that society or the political process has allowed many American citizens to be expelled or to drift away from institutions offering basic care and Accommodation. At both of Maltzans initial projects for the Skid Row Housing Trust, the Rainbow Apartments

Figure 3

and the New Carver Apartments, rooms are organised about a centripetal patio - they are essentially introverted typologies. The third Maltzan project opens up the protected communal space to light and air and views.”

Figure 4

Pre-Fabricated Form 20

The evocative, prefabricated form of Star Apartments, encapsulates Maltzans avant-garde approach to social exchange. Being so distinctive against the surrounding context symbolises the buildings societal relevance. The unique program of the design invokes community living and re-socialization. Maltzan is able to strike an even balance between public and private throughout the building, as well as the wider surroundings. The building has the ability to benefit its surroundings at a variety of scales. This unique quality set the foundations for our graphical study. Figure 5

EXPLORING SOCIAL EXCHANGE.

We have explored the relationship between Star Apartments and the broader urban context, specifically focusing on the intimacies of social exchange. Our pieces allows the viewer to view these relationships at a series of scales. Moving from the metropolitan to the individual. Our work allows the building to

be experienced in a manner that explains social interaction in variety of contexts. To graphically illustrate the relationship between the scales my group decided to create a long tapestry, this was to try and convey the essence of a story. Depicting the deeper connections Star Apartments has with its community.

This piece was drawn by me, it highlights the buildings relation to the rest of Los Angeles.

This piece was created by Shalini Devi, the flat perspective aims to highlight the building in its immediate context and its relation to the surrounding community.

This illustration was drawn by me and shows the buildings form.

This piece was drawn by me and shows that throughout the scheme, Maltzan has tried to keep the buildings users in touch with wider community, as shown through this view of the city.

Finally we looked into the habitation of the building, this allowed us to understand how the building tries to facilitate and engage with the people its is trying to help.

Phase Two - Conceptual Design Taking what we had learnt from our study of scales in Star Apartments the group were given the task of developing a conceptual design that embodied some of Maltzan’s architectural philosophies.

“STACK IS A CREATIVE SOCIAL HUB FOR ENTERTAINMENT, CULTURE, WORK AND PLAY. A DESTINATION CONCEPT IN THE HEART OF NEWCASTLE CITY CENTRE.”

Neighbourhood regeneration and social exchange is a prominent issue in many developed urban environments. Taking inspiration from Maltzan’s success, we have designed a conceptual residential scheme with the notions of community at its core. Our concept is based on the site of ‘Stack’ a generic, non-inclusive, pop up, shipping container market. The design is intended to reflect on both the sites past and the works of Maltzan, whilst respecting both public and private realms. It tries to challenge conventional, lack-lustre urban regeneration schemes. Our design Intertwines modular systems with programmatic designs, aimed at inclusion and community well-being.

Figure 6

We informed our design by linking to the social aspects that Maltzan feeds into his residential designs, through aspects such as internalised, circular social spaces which provide safety to residents as well as the important sense of community. We also wanted to comment on the existing typology of the Stack site, showing the monotony that â&#x20AC;&#x2DC;shipping containerâ&#x20AC;&#x2122; projects hold.

The Every City Needs Image below was illustrated by Hermine Leung.

every city needs

1 Public Space - Social and Community Space 2 Semi Public Space - Garden Area 3 Private Space - Residential Area 4 Semi Private Space - Children Playground

As a studio we analysed the intimacies of social exchange at different scales and contexts throughout the urban environment. We wanted all aspects of this analysis to be inherited into our design, whilst adhering to Maltzanâ&#x20AC;&#x2122;s social agendas.

CONCEPTUAL DESIGN We wanted the design to include both public and private realms that were distinct from one another. There community program of the building is focused towards the exterior of the structure and the residential, private areas of the design are focused towards the centre of the design.

We have embedded the prefabricated structures clear in Maltzanâ&#x20AC;&#x2122;s Star Apartments as well as the modular systems used in the Stack complex. To pair with our axonometric image we have used a worms eye view to depict our concept and give more of an insight into the flow of the

building. This abstract view illustrated how we have tried to arrange our design spatially. To complete our interpretations of our design we the group created an abstract model. We created it in a utopian manner to show the possibilities prefabricated modular units have as

well as emphasizing the evocative structures that can be used to embody and draw attention to the themes of exchange.

The images above and below were both created by me.

To portray the building in an alternative way we used a worms eye view. This abstract representation allows the building to be perceived from an unnatural angle. Through this method you are able to interpret the footprint of the building. It highlights the building as an object rather than a structure, emphasizing form. I feel as though this piece has been successful. It

conveys the stacked, box like structure and also shows the central, community core. The illustration was produced by Shalini Devi.

As a group we wanted to portray the utopian nature of the design and highlight its scale and form. To do this we used a series of foam blocks and stacked them in an instinctive way.

REFLECTIONS ON PRIMER Primer enabled me to take a more critical stance on both architectural design and wider urban contexts. Maltzans approach towards Star Apartments show his refreshed ideas towards urbanism; he has been able to produce a form of architecture with rich sense of community. The project, through its distinct design and its focus on health and inclusion, sets itself as a benchmark for the importance of affordable community housing in central Los Angeles. The development fully adheres to both the social and physical context of the neighbourhood. Its programmatic design integrates extensive recreational and community spaces with individual apartments and social services. Maltzan is able to create a social oasis that brings the community together whilst still being provocative against the surrounding landscape. Many of the issues facing communities such as Skid Row are results of underinvestment and lack of support, Star Apartments bold and provoking form acts as a statement piece and as a voice for a community that is, too often, ignored. Bringing light to the issue through architectural mediums can allow urban regeneration to move away from the pressures imposed by financial institutions who believe that the free market will provide housing for all. We should be developing architecture that reduces segregation and brings community to the forefront. Star apartments is an excellent example of architecture that promotes social inclusion whilst making a critique on social and political agendas. Evidence that both the community and the individual lis clearly considered at every scale is clear throughout the design, whether that be programmatically, spatially, or aesthetically. Through readings and my own interpretations of the scales I am now able to gage how importance of exchange within architecture, whether that be the personal exchange between an individual and their dwelling or the exchange between the architectural form and the surrounding landscape. Neighbourhood re-generation and social exchange is a prominent issue in many developed urban environments, especially in the United Kingdom. Taking inspiration from Maltzanâ&#x20AC;&#x2122;s success, we have designed a conceptual residential scheme with the notions of community at its core. Within our proposed alternative future for the Stack site, we attempted to make comment on current agendas within urban regeneration by taking the overworked â&#x20AC;&#x2DC;Shipping Containerâ&#x20AC;&#x2122; developments and exploding the idea, by reproducing a jigsaw like, dystopian, prefabricated residential tower whilst still infusing the notions of community embodied in Maltzans work. Moving on from primer, I wanted to work with an architectural style that was provocative. A style that allowed me to produce a show-piece building with the ability to make a statement on current political, social or liberal agendas. Inspired by the work Maltzan has produced for the Skid Row communities, I intend to work with a programme that allows for community integration and social inclusion.

Above shows the tapestry style drawing that my group produced for the symposium, the final length of the piece was 8m. We felt the drawing was successful and complemented the studioâ&#x20AC;&#x2122;s themes.

PRIMER SYMPOSIUM

The photographs shown on this page show Future Cities final Primer output. As a group we worked hard to ensure our exhibition displayed our work as a collective.

FIELD TRIP 38

Primer engaged the studio with the overall themes of the year. We were able to investigate and explore case studies that invoked exchange. The Field trip allowed us to experience some of these first hand. We were given access to a variety buildings, that all engaged with the

studios concepts. During the trip we visited Manchester, Turin and Milan. Manchester introduced us to our site, enlightening us to the heavy development and regeneration the city is going through. Turin allowed us to explore civic structures of the

past such as expo centres. Our final stop in Milan gave us insight into how new architecture is housing spaces for exchange. The trip offered rich experiences, showing powerful architecture and insights into other cultures.

MANCHESTER TURIN MILAN 39

MANCHESTER - MONDAY 26TH NOVEMBER Manchester Walking Tour

On the first day in Manchester we took a walking tour through the Canal Street Area. This is the proposed site for our graduation projects. The tour gave an insight into the areas character and history. Canal Street is synonymous with Manchesterâ&#x20AC;&#x2122;s LGBTQ+ community. The visit showed how new developments are encroaching into its boarders and oppressing the areas sense of identity. Walking around allowed us to conduct early investigative work to determine our sites.

MANCHESTER - MONDAY 26TH NOVEMBER Guided Tour of HOME by Mecanoo

As a studio we were given a guided tour of HOME. HOME is a centre for international contemporary art, theatre and film. The programme includes five cinema screens, two performance venues, a gallery for contemporary art, a cafe and a bar.

MANCHESTER - MONDAY 26TH NOVEMBER Manchester School of Architecture Whilst in Manchester we visited the Manchester School of Architecture. Here we met Eamonn Canniffe, a principle lecturer who leads the MA Architecture + Urbanism at MSA. We were able to have a discussion about Manchester’s recent surges in development and gain insight into his views towards Manchester’s proposed ‘Skyscraper Alley’. He also mentioned his views towards the lost of identity in the city, explaining how large financially lead developers are effectively stripping the city of its heritage.

MANCHESTER - TUESDAY 27TH NOVEMBER Exploration of the Canal Street Site

On the second day in Manchester the studio explored the canal street area. This was to give us initial thoughts on which site we would choose for our final project.

TURIN - THURSDAY 29TH NOVEMBER Fiat Lingotto Factory The Lingotto Factory is one of the most iconic buildings in Turin. The buildings is famous for its elegant use of concrete and its innovative programme.

TURIN - THURSDAY 29TH NOVEMBER Palazzo del Lavoro Palazzo del Lavoro formerly held trade fairs. The innovative structural system allows for large open spaces, perfect for constructing exchange.

TURIN - THURSDAY 29TH NOVEMBER Turin Exhibition Hall The Turin Exhibition Hall also uses innovative structures to span large spaces. These large structures are examples of how architecture can provide spaces for exchange.

TURIN - THURSDAY 29TH NOVEMBER Church of Santo Volto

The Church of Santo Volto is one of the most modern churches in Northern Italy. The church was designed by architect Mario Botta. The church was constructed as part of a larger scheme to develop the former site of the Bogaro Steel Mills. Visiting the development highlighted how exchange can be constructed through the redevelopment and refurbishment of the most unlikley places.

MILAN - FRIDAY 30TH NOVEMBER Church of Santo Volto The Prada Foundation is an institute dedicated to contemporary and fashion. The project by OMA highlights how the past and present can coexist. It combines old industrial buildings with ultra modern towers. The juxtaposition of materials highlights how exchange can be constructed in a contemporary way.

FIELD TRIP

CASE STUDY

Realisation: 1961 Italian Centenary of the republic 26,000m2 Structure: Reinforced Concrete, Cast Steel, Curtain Wall Form: 16 Independant Modular ‘Mushrooms’, Glass Skin Function: Exhibition Hall Team Members: Harry Groom Will Tankard Philomena Chen Sophie Lyons Rafael Mocellin

ARCHITECT/ DESIGNER Nervi’s place within the field of design is globally recognised. His work has a uniqueness that stands out within the traditions of Italian design. His elegant approaches to structure

have informed some of the greatest aesthetic advances of our age. He is able to play with the notions of enclosed space, using stringent design parameters to innovate structural forms. Structural logic informs the majority of his designs, the grace of his patterns stem from the need to span large distances. Ponti saw architecture as the place where multiple aspects of the creative disciplines come together and style as a recurrent, recognisable element in the community. He sought a meeting point between expressiveness and uniformity, allowing structures with an internal freedom that permits exchange.

Figure 7 46

Nervi Originally started out as a Civil Engineer. His designs have always been influenced by the relationships between structure and shape. His large portfolio of work has a wealth of reinforced concrete. Nervi was one of the pioneers of the material, allowing others to discover its true potential as an way of design. His work is closely linked to the concrete system employed in the helicoidal ramps designed for the Lingotto Factory in Turin. The braced, elegant structural systems are clearly inspiration for his future works.

TYPOLOGY T YPOLOGY

T YPOLOGY T YPOLOGY

es er Rohe van der Rohe

Millenium Millenium Dome byDome Richard by Richard Rogers Rogers

Torino Esposizioni Torino Esposizioni by Pier Luigi by Pier Nervi Luigi Nervi

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series ing the goal to create a large open universal space without intersion cables which hold the canopy of PTFE fabric. (Wilhide, E. 199 goalMies to create a large openwith a suspended series of tension cables which holdin a way 1967) to the how16 Palazzo uption. the Here, created a space roof, withrelates to similar the way main del columns support the s universal space withoutit interruption. the canopy of PTFE prefabricated elements out interior columns, allowing to be easily adapted to multi uses. fabric.in(Wilhide, Palazzo DelLavroro Lavoro. has Again, this space was designed to be very o Here, Mies created a space with E. 1999) This relates in a way toÁH[LELOLW\ the and worksD with KDYH WR KROG ZLGH concrete. UDQJH RI This DQG H[KLELWRQ DQG IHVWLYDO a suspended roof, without interior way the 16 main columns support building was also designed to have columns, allowing it to be easily the structure in Palazzo Del Lavoro. large spans. adapted to multi uses. Again, this space was designed to be very open and have flexibility to hold a wide range of exhibitions and festival events.

015)

Programme PROGRAMME

Programme

Started in 1960s when it first constructed Palazzo del Lavoro has been through a lot of ‘transformation’. From Italia’61 in 1961, it draws itself a lot of attention, After the exhibition they tried to transform this building into a professional centre by drew the BIT and UN agency on to the site. They also tried to install some public sport facilities such as swimming Started in 1960s when it first constructed Palapool, sport fields and athletic track. In 2011 a group of Dutch del Lavoro has been through a lot of ‘transprivate investor s proposed to transform the Palazzo del zzo formation’. From Italia’61 in 1961, it draws itself Lavoro into a shopping centre. All of the above are perfect a lot of attention, After the exhibition they tried to transform this building into a professional interpretation of the flexibility of this building. centre by drew the BIT and UN agency on to the

site. They also tried to install some public sport

such as swimming pool, sport fields and Expo 61 also knownfacilities as athletic track. In 2011 a group of Dutch private Italia ‘61(Chiorino, 2015) investor s proposed to transform the Palazzo del Lavoro into a shopping centre. All of the above are perfect interpretation of the flexibility of this building.

Started in 1960s when it first constructed Palazzo del Lavoro has been through a lot of ‘transformation’. From Italia’61 in 1961, it draws itself a lot of attention, After the exhibition they tried Fig.1 Expo 61 also this known asinto Italia ‘61(Chiorino, to transform building a professional centre by drew the BIT and UN agency on to the site. also tried to install some public sport Fig.1 Expo 61 They also known as Italia ‘61(Chiorino, 2015) facilities such as swimming pool, sport fields and athletic track. In 2011 a group of Dutch private investor s proposed to transform the Palazzo del Lavoro into a shopping centre. All of the above are perfect interpretation of the flexibility of this building.

Fig.2 Install public sport facilities (Isono, 1995)

2015)

Fig.2 Install public sport facilities (Isono, 1995)

Fig.3 Shopping centre proposal by architect Alberto Rolla (Spazioto

Install public sport facilities (Isono, 1995)

Fig.2 Install public sport facilities (Isono, 1995)

Fig.3 Shopping centre proposal by architect Alberto Rolla (Spaziotorino.it, 2018)

Shopping centre proposal by architect Alberto Rolla (Spaziotorino.it, 2018)

Fig.3 Shopping centre proposal by architect Alberto Rolla (Spaziotorino.it, 2018)

Fig.3

ith floor w , on del iorie up, ce

PROGRAMME

However any transformation project has to deal with the problem of heating, The floors that above first floor would be able to cover the facade in order to allow them to isolate themselves (Fig.4, Fig.5). However, on ground floor this would be impossible as Palazzo del Lavoro covers an area of 25,000 square meters. Chiorino (2015) suggested instead of try to heat the space up, building independent volumes in between the space might be a more realistic way. The office view in 2006 (Monorail, 2006)

Fig.4 The office view in 2006 (Monorail, 2006)

BIT(Bureau International du Travail) offices inside Palazzo del Lavoro

Fig.5 BIT(Bureau International du Travail) offices inside Palazzo del Lavoro

Programme

ProgrammePROGRAMME

CONCEPT AND DESIGN DEVELOPMENT On a site of 150m x 150m, the original idea was to have a space free of columns, for the organisation of small pavilions inside the building. However, Nervi opted for an independent structure of 16 “mushrooms”, made by prefabricated formworks, due to the little time they had to build (18 months). At first he thought about having a first floor all over the plan, with the exception of the square made by the four columns in the centre, but after he chose to place the floors behind the columns, turning it into glazing facade might cause a the lot of energy loss, and one in Circulation is relevantly simple, Since the prefabricated concrete cola perimeter galleryTheofsingle two floors, being second added such largefacade scale venuemight without compartment between, it might umns are arranged in a sequence, the Since space the diversion of the space The single glazing cause ainlot simple, The single glazing facade might cause a lotof of energy loss, and in Circulation is relevantly Circulation is relevantly simple,the Sinceprefabricated the prefabricated concrete collater. The shape ofnotthe columns is without veryvenue typical of Nervi, starbe an efficient design (Fig.6). are very simple and clear, this allows users move freely in the space, such large scale venuescale compartment in between, it mightconcrete which umns are arranged in a sequence, the space the diversion of the space energy loss, and in such large without columns are arranged in a sequence, once again caters to the diversity of the building (Fig.7). the not be an efficient design (Fig.6). are very simple and clear, this allows users move freely in the space, ting as compartment a cross andinfinishing as a circular section. As for the between, it might not be an efficient space the diversion of the space are very simple and which once again caters to the diversity of the building (Fig.7). exterior,design. the building is filled by brise-soleil on the southern, clear, this allows users move freely in the space, which eastern and western façades, while the walls are curtain walls. once again caters to the diversity of the building.

Concept and Design Development

On a site of 150m x 150m, the original idea was to have a space free of columns, for the organisation of small pavilions inside the building. However, Nervi opted for an independent structure of 16 “mushrooms”, made by prefabricated formworks, due to the little time they had to build (18 months). At first he thought about having a first floor all over the plan, with the exception of the square

e a spans inside structure , due to thought xception but after ng it into e added rvi, stars for the outhern, in walls.

made by the four columns in the centre, but after he chose to place the floors behind the columns, turning it into a perimeter gallery of two floors, being the second one added later. The shape of the columns is very typical of Nervi, starting as a cross and finishing as a circular section. As for the exterior, the building is filled by brise-soleil on the southern, eastern and western façades, while the walls are curtain walls.

CONCEPT AND DESIGN DEVELOPMENT

The columns became the symbol of the Expo, due to the massive size said to be “as huge as to host the Basilica of Saint Peter.” The columns became the symbol of the Expo, due to th The internal height of the huge as to host the Basilica of Saint Peter.” The internal h space is 26 meters.

The columns became the symbol of the Expo, due to the massi huge as to host the Basilica of Saint Peter.” The internal height of th

The columns became the symbol of the Expo, due to the massive size said to be “as huge as to host the Basilica of Saint Peter.” The internal height of the space is 26 meters. The columns became the symbol of the Expo, due to the massive size said to be “as huge as to host the Basilica of Saint Peter.” The internal height of the space is 26 meters.

ATMOSPHERE

The contraction between the scale of human and Palazzo del Lavoro is shown on the image at the right. Once you enter the space the first thing that caught your eye was the sixteen twentymeter-high pillars (Sorace and Terenzi, 2011). The crossbar on the window frame not only prevent direct sunlight in to the space but also prone the natural light to create a different feeling.

STUDIO RELEVANCE

Concerning its relevance to our Studio. The Pallazzo Del Lavoro is a large open Mies-space that purely expresses its utilitarian solutions to structural and architectural constraints. Our studio brief asks us to consider how we define the experience of our spaces of exchange, and how we construct them, technically and atmospherically. The Turin exposition hall uses

innovative construction techniques that are elegant and expressive in their utilitarian structural logic, and do not attempt to hide the solutions by which these large-scale spaces are enclosed. For in this aesthetic functionalism it expresses its atmospheric, civic and social qualities. Future Cities explores ideas of ‘exchange’ and how spaces for ‘exchange’

can be constructed architecturally, regarding, form, scale, materiality, use and experience, Nervi’s Pallazzo Del Lavoro represents a generous and innovative response to a civic competition brief that had extreme constraints in terms of time and spatial requirements. Future Cities explores the creation of these large-scale free enclosures, as well as spacial programmes that are open to re-use and re-invention, what is interesting is the life and use of the exhibition hall. It was the failure to include more intimate spaces or a second floor as per the design requirements that led to its neglect post-centenary,. We must learn from the mistakes of ignoring the programme.

Nervi’s obsession with structural realisation and purity overtook and limited the spatial programming and flexibility of the internal hall. It is these conflicts that we must consider as a studio.

STRUCTURAL STRATEGY The roof structure of each mushroom consists of radial steel capital. 20 cast steel radial ribs are welded to this pilaster. The radial steel beams allows the connection of four outer beams to form a square to attach the roof plate. Between each roof plate is a glass strip or skylight, with a moveable joint to allow for movement.

All 16 independent columns are identical reinforced concrete structures, moving in cross section from an axial base to radial top. Constructed using a specialist steel framework denoted ‘the machine’. To successfully construct the columns, which were axial to radial in cross section (to allow the connection to the steel capital). The framework consisted of six individual elements fixed together, two parts could be poured at once using this method. Each element is of unique and specific geometry, to allow construction of a continuous surface. The nature of this modular construction allowed a quick erection, by re-using the same steel framework.

Due to the poor subsoil conditions near the river, each Individual ‘Mushroom’ rests on piles.

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STRUCTURE STRATEGY

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Nervi employs steel reinforcement and material only along the points of strain bending.

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STRUCTURAL STRATEGY

On 20 October 1959 the panel concluded the examination of all the entries declaring that the only ‘fully satisfying’ project was Nervi’s. Foundations were excavated on 1 February 1960. The final building was to be a square of 167 m per side with an internal required, the cantilevered joist rib structure due to outer gallery heightThe of 25 m. In July 1960, the machine for the construction of the columns started structure consists of a element is constructed the different arrangement to work. The ofsixNervi pieces tall ferrocement column was made, wereHere marked of columns. Nerviby a 2 cm multitude floor in which fromthe Nervi’s employs a less impressive by using between supported timberpanels, groove to avoidbypossible construction, irregular separation two consecutive pours. The method reinforcing poured columns, thinone wirecolumn mesh, plasticizer complete cycle for thetheerection of was achieved in tenofdays. When a column and concrete to create the slabs aesthetically, first floor is constructed was finished, the whole steel form was dismantled and its internal timber skin, formed by of isostatic slabs, where an efficient flexible but a similar method of 12 cmsteel widereinforcement timber strips, out, polished and re-installed the machine, construction,within employing is was taken construction. The ferrocement creates for all columns, reinforcement along the finishing alongcycle. each This process, ready employed for another repeated allowed the lines of strain in the individual slabs lines of the smooth and elegant work to start where the structure was already complete. It is important to note that concrete. strain, this was an efficient surface due to its internally thetocolumns permit the passage of the rain solution construction resistance to cracking and ducts and a manhole is provided for their inspection and high maintenance. strength to weightOn the 30 October 1959, after only bothstructural economically and ratio. second floor is structurally by using four months, the construction of the The sixteen mushroom-shaped columns was completed. material where most

constructed of a beam and

The steel framework ‘machine’ used to construct the modular components, two could be poured at once and bolted together.

Figure 9: The Palace of Labour, in construction.

[MAXXI]

The roof of each ‘umbrella’ dips into the centre to allow rainwater to be directed to the drainage system which runs down through the centre of each column. The water is collected and drains out to the Po River, just east of the building.

ENVIRONMENTAL STRATEGY

heating of the space. The roof of each ‘umbrella’ dips into the centre to allow rainwater to be directed to the drainage system which runs down through the centre of each column. The water is collected and drains out to the Po River, just east of the building.

The external walls are clad almost entirely in glass, which inevitably introduces issues of overheating within the internal exhibition space. To combat this, 21 metre high vertical louvres, along with horizontal shading between them, were incorporated around the entire perimeter of the building. (Sharp, D. 1991) Façades facing areas more exposed to the sun, had more shading than the north facing elevation to help control

Materiality MATERIALITY Each independent structure is divided in three parts. The structure – the columns – isinmade concrete Eachprimary independent structure is divided three ofparts. The by a prefabricated form work. The secondary one, by primary structure – the columns – is made of concrete which is theformwork. mushrooms the columns, is made a prefabricated Theabove secondary one, which is theof prefabricated the tertiary is aofglass skylight mushrooms abovesteel the and, columns, is made prefabricated based on moveable joints. All the columns are open in steel and, the tertiary is a glass skylight based on moveable the centre to permit access downstairs and upstairs for joints. All the columns are open in the centre to permit access maintenance, and there are pipes for and the collection downstairs and upstairs for maintenance, there are of piwater, directing them to the Po River. pes for the collection of water, directing them to the Po River.

TERTIARY

SECONDARY PRIMARY

THRESHOLD Scale is an overriding element of the Palazzo del Lavoro. However, this isnâ&#x20AC;&#x2122;t immediately apparent upon arrival, before being greeted by the vast expanse of the exhibition space you must first move across a series of thresholds, moving from the street to the hall. Nervi has attempted to enhance the experiential qualities

of the structure through particular atmospheres within these thresholds. Wrapping the perimeter is a low concrete ceiling with limited access to natural light; entering through this space is intended to heighten the contrast when moving within the building. The stature of the concrete columns is a powerful feature that overwhelms the view from the perimeter, it gives the expanse grandeur and emphasises the Palazzo del Lavoro colossal scale. Thresholds are what allow this building to have the experiential and atmospheric qualities Nervi desired.

Access Diagrams The main access point of the Palazzo del Lavoro is on the western face. The internal perimeter is wrapped with a gallery space that acts as a buffer space for the exhibition hall

There are many thresholds throughout the building, these bridge both internal and external spaces as well as defining buffers between internal environments.

STAGING 60

STUDIO READINGS To engage with the studio themes we were given a series of texts. They informed us about key movements in architecture, showing us alternative stances towards the discipline.

Notopia is less a warning than a prophecy of doom - The Architectural Review This text explains how the character within cities is being lost and compromised by the short sightedness of developers and city elites. It talks about future cities becoming indistinguishable, comprising of shiny, towering office blocks with no ties to their surroundings. It states that will be as a result of capitalism. There is a mantra that the free market will provide housing for all. However, in modern cities, investment can only be driven with the hope of financial reward/business growth. The development of the city is centred around commercialism and focuses on the needs of financiers. The text explains how places of exchange are being lost in cities, stating that cities should be load and chaotic, with no such thing as segregated and gated communities. This piece culminates with a call to adopt new methods of modern planning. Figure 8

The Generic City - Rem Koolhaas Generic City follows in a similar vein to the previous text. It emphasises how cities are losing their character. It talks about the identity of iconic metropolises, stating that ‘identity’ is derived from physical importance and historical context. The stronger a cities identity the more it resists expansion, interpretation, renewal and contradiction. Koolhaas uses Paris as an example, saying it is now becoming a “polished caracture” of its Parisian character. Identity has to be centralised, the more a city expands the harder it is to determine a central, focal point. City dwellers are falling victim to this, people are being exiled from their habitats. Koolhaas says that we are now “second class citizens in our own civilisation.” The Generic city has risen out of the cyber space, they are without history, big enough for everyone, have little need for maintenance and have a high mallubility. If they are too small it can expand and if it becomes to old it can renew. The text highlights how the urban fabric has developed to only accommodate necessary movements. Koolhaas likens genric cities to airports, stating that they are hermetic systems with limited means of escape, designed and founded on the assumption that people are always on the move. He goes back to the theme of identity saying that in Generic Cities the streets are dead, with a surplus meaningless art that is trying to re-situate people. “Tourism is now independent of destination” as all cities are adopting similar characteristics. “Hotels are becoming the generic accommodation of generic cities.” The text sums up the argument with a critique of the architectural discipline, degrading architects for designing uninspiring buildings at such a rapid pace. Koolhaas states that Post-modernism is the only new form of architecture being practices and the new generic city refuses to recognise iconography. Figure 9 61

Flooded at the Farnsworth House Strange Details by Michael Cadwell Architect Edward A Duckett recalls his time at the Farnsworth House with Mies Van der Rohe. The text documents the house, explaining how the intertwining of drawing, building and nature is pronounced. Cadwell talks of Mies Background and highlights how he was an advocate of glass and steel, as well as championing large scale, immersive views. The Farnsworth House was an unusual project for Mies, the texts describes how he was unfamiliar and unsure on how to build in a rural setting. The project was designed in a way that framed nature, using steel frames to draw on perspectives and the horizon line. He talks of how building on lower ground manipulates the horizon line. Rather than sky meeting land you are met by layers of vegetation, immersing you within the landscape. Within Farnsworth House, Mies plays on the tensions between the frame and the landscape, creating architecture that houses exchange between structure and nature. Being designed to lie within the surrounding flood plains is a poignant example of this. It sits five meters above ground and invites flood waters beneath the house. From every view you are brought into the landscape. This text highlights the more intimate forms of exchange architecture can invoke.

Figure 10

Figure 11

of signage. It also talks about the pastiche architecture that covers Las Vegas, stating that it seems to be the only place in the world that truly takes inspiration from past architectures. This text highlights how exchange between destination and place can be constructed, as well as exchange between the past and the present.

Learning From Las Vegas - Robert Venturi, Denise Scott Brown and Steven Izenour The chapter assigned highlighted how architects want to change their existing surroundings rather than enhance what is already there. It states that in order to go forward we must look back, learning from what has come before us. It criticises modern architecture for being devoid of historic reference and only focusing on structure and form. The text outlines the discipline as communication over space, using the Las Vegas strip as a case study. It highlights the commercial strip as chaos with no order. There is a conflict of interests between the ordering of the street layout and the disordered, competitive nature

INTRODUCTION TO FOOD BANKS

The phrase food poverty is defined by ‘an individual or household that isn’t able to obtain healthy, nutritious food, or can’t access the food they would like to eat’. The United Kingdom has seen a national rises in the amount of food banks being established. This worrying statistic is having distressing effects on community’s nationwide. The government is failing to address these issues, they have continually dismissed the links between food banks and the latest welfare reforms. Northern cities such as Manchester are seeing a rapid increase in the number of people experiencing food poverty. The charitable organisation, End Child Poverty, has reported that over half of the districts in Greater Manchester have child poverty rates of above 25 percent. As austerity grows, so do social misconceptions. Societal and moral judgements, fuelled by government bodies, are painting misconstrued imagery of those having to refer to food bank services. Words such as ‘scroungers’ and ‘freeloaders’ are rife in the media, these derogatory remarks are leading to an increased stigma surrounding those who use banks. This movement is causing people to be viewed as the ‘no-good poor’, using free food from food banks in an effort to spend more money on luxury items. There are a wealth of examples on social media that retain the fact that government officials are aiding propaganda. For instance Wrekin MP Mark Pritchard tweeted ““Food banks serving a need – but how many folks can still find funds to pay for alcohol and cigarettes but not food?”, Guto Bebb, Conservative MP for Aberconwy, has said: “There are some who appear to use food banks while being able to smoke and pay for a Sky TV package”, and Conservative councillor Julia Lepoidevin said that food bank users “make a conscious decision not to pay their rent, their utilities or to provide food for their children because they choose alcohol, drugs and their own selfish needs”. Fuelled by theses social commentaries people are facing fear, shame and embarrassment when having to use these facilities. The fear people face does not manifest from how they are treated in the food bank, but rather how the public will deem them. Many of the aspects of the food banks services do not allow the stigma to be tackled. They are often in community centres or religious organisations, hidden away from the public. This all due to lack of investment from governing bodies, not providing suitable funding for facilities. At present the entire process is dehumanising, with food banks being set up on short term notions.

FOOD POVERTY - Is the inability

to afford, or to have access to, food to make up a healthy diet. It is about the quality of food as well as quantity. It is not just about hunger, but also about being appropriately nourished to attain and maintain health.

FOOD BANK - A place where stocks of food, typically basic provisions and non-perishable items, are supplied free of charge to people in need. EXCHANGE - An act of giving one

STIGMA - A mark of disgrace

SURPLUS - An amount of something

associated with a particular circumstance, quality, or person.

left over when requirements have been met; an excess of production or supply.

COMMUNITY - A group of people living in the same place or having a particular characteristic in common/ the condition of sharing or having certain attitudes and interests in common. WASTE - An act or instance of using or expending something carelessly, extravagantly, or to no purpose.

thing and receiving another (especially of the same kind) in return.

MANCHESTER FOOD DISPARITIES

communities are facing with the rising concern around food wastage, there is clearly the potential to marry the two together issues together. One community is at risk from lack of food, whilst one has the burden of too much food. To visualise the feasibility of the idea I have mapped all of the locations of Manchesterâ&#x20AC;&#x2122;s food banks with the locations of all the major supermarkets. Looking at the map it is clear that the food waste from the supermarkets is within a close enough proximity to donate unused food to the food banks.

The Greater Manchester Food Poverty Alliance have mapped over 170 food bank providers across the city. Manchester has a large discourse between inner city, commercial developments and the number of emergency food relief providers being established. In recent years Manchester has seen vast amount of economic growth from international investments, this has led to a resurgence in development across the city. One exemplar scheme is the cities new â&#x20AC;&#x2DC;Skyscraper Alleyâ&#x20AC;&#x2122;. This intense city regeneration is attracting commercial interest, especially in the food industry. Food retailers and restaurants are being built rapidly. This is all happening within a city where more than half the districts have child poverty rates of over 25 percent. There are clearly large disparities in the local governments funding. If your pair the hardships many disadvantaged

Â£20 BILLION WORTH OF FOOD IS WASTED IN THE UK EACH YEAR

FOOD WASTE WITHIN A MILE OF MANCHESTER CITY CENTRE. Using statistics provided by UK supermarkets, I have estimated the total amount of daily food wastage from shops within one mile of Manchester City Centre.

TESCO 33.6KG SAINSBURYS 32.6KG ALDI 34.2KG CO-OP 32.6KG MORRISONS 32.0KG PRET A MANGER 33.8KG SPAR 32.0KG TOTAL 78.2KG

RECONNECTING WITH FOOD Breaking down stigmas and removing the taboo surrounding food banks and food wastage is important. We need to recognise the fact that there are people within the United Kingdom that are facing hunger whilst all of our largest supermarkets are throwing away perfectly good food. By allowing for a building that doesnâ&#x20AC;&#x2122;t shy away from these issues, society may be able to reverse its engrained social conceptions. A building that celebrates community and inclusion is essential in tackling the stigma, providing a space where people are not under scrutiny from social pressures. It will also house the process of exchange between supermarkets and food banks, setting a benchmark for how the process of industry scale, waste food donation

can be efficient and streamlined. My aim is to produce a project that acts as a benchmark for the industry, a celebration piece that highlights new approached to tackling hunger and food waste. It is important that we reconnect communities to food.

To promote the ideas of healthy relationships between communities and food, I produced a series of collages. The purpose of these is to re-engage people with important social benefits that food can have. They also bring light to the issue of food banks.

SITE APPRAISAL The area marked in red shows the wider boundary of where we could choose our site. This also marks the Canal Street Area, Manchesterâ&#x20AC;&#x2122;s Gay Village. This is an iconic area known for its LGBTQ+ community. The green outline below shows my chosen site.

INITIAL RESPONSE TO SITE

The Canal Street Area, (Gay Village) of Manchester is under heavy threat from gentrification. It is synonymous with Manchester’s LGBTQ+ community. However, pressures from financially driven developments are driving residents out and minimising the areas significance and iconography. Upon visiting it became clear that canal street was somewhat under the shadows of large scale, inner

city developments. Canal street is very central, being adjacent to Piccadilly Trainstaion and Piccadily Gardens. However, planning and new developments render the ‘Gay Village’ invisible from either of these locations. You would not be able to locate it from the main pedestrian/ vehicle routes surrounding the site. I identified that this was as a result of a small stretch of uninviting land currently occupied by a car park

on Aytoun Street. Creating a more inviting, community led space within this small stretch could allow the canal street area to flourish.

SITE PHOTOGRAPHS

â&#x20AC;&#x153;the Gay District feels unconnectedâ&#x20AC;?

The site lays on the strip that isolates the rest of the Canal Street area. Looking at the site from alternative views it is clear why the Gay District feels so unconnected. The site looks uninviting due to lighting and poor pedestrian access. Redefining the space so to be more in keeping with the surroundings may allow the district to flourish.

INFLUENTIAL QUALITIES

The site is adjacent to large-scale developments with influential qualities. Including the Barclays Manchester Office, Manchester Crown Court and the Transport for Greater Manchester Office. This gives the potential to be provocative as it is in the centre of significant, civic structures. The surrounding architecture portrays the prominence of the area.

SITE ANALYSIS AYTOUN STREET - The site is located in central Manchester on the boundary of the Gay District and Piccadilly. The 4,500m2 site is currently occupied by a car park.

CIRCULATION - The site is well connected to Piccadilly Station, Piccadilly Gardens and The Gay District.

NOISE - An adjacent tram line and the surrounding pedestrian/ traffic routes will cause noise at peak hours.

EXISTING BUILDINGS - Adjacent to the site is Manchester Crown Court. As a Grade II* listed building significant design considerations have been made to respect the building, hence my decision to position towards the west of the site.

FUTURE DEVELOPMENT Opening up the ground floor site to public space will allow new urban circulation routes to emerge. These new routes will bring higher footfalls into The Gay District, allowing economic growth and future development in the area.

CONSTRUCTION RESTRICTIONS - The major tram line to the north has high voltage cables and cannot be interrupted. Police access routes for the courts are positioned to the East of the site and need to be kept secure and inuse due to the nature of the buildings programme.

Piccadilly Gardens

SURROUNDING ECOLOGY - The surrounding area is very limited in terms of its green spaces. The only large scale green areas are in Piccadilly Gardens and Sackville Gardens. A prominent feature in the surrounding area is the Rochdale Canal. The Canal runs along Canal Street and acts as an icon for the Gay District. Within the sites immediate surrounds are a series of Sycamore trees that run around its perimeter. Intervention on only half the site allows for a portion of the trees to remain on site.

Sackville Gardens

EXISTING INFRASTRUCTURE - The site lays in close proximity to Manchester Piccadilly Train Station and the Manchester Metro Link Tram Line. Aytoun Street is also connected to London Road and Portland Street, which are two of the main thoroughfares in Manchester City Centre.

URBAN CONTEXT - The site lays in close proximity to many of Manchesterâ&#x20AC;&#x2122;s famous landmarks, including Manchester Central Library, Manchester City Council, Piccadilly Gardens and Piccadilly Train Station. The buildings location gives the opportunity for the building to be provocative.

PROJECT MANIFESTO

I am proposing a provocative building that is trying to instigate both cultural and political change. Current infrastructure and the political economy is having detrimental effects on the relationships between communities and food. There is a record high in the number of people having to refer to food banks, whilst at the same time, large food retailers are having issues with the amount of food they are forced to waste. My project tries to house an infrastructure that merges the two issues into a food bank distribution centre for the Greater Manchester region, taking unused, edible food from surrounding supermarkets and dispersing it to people in need. The whole programme has been developed to adhere to a collective mentality; whereby members of the community can come together to share skills and resources through a series of activities, such as community cooking workshops, culinary start-up spaces and places for debate. Through engagement with this type of programme it is hoped that Manchesterâ&#x20AC;&#x2122;s resilience will be strengthened and there will be enhanced engagement with issues within the wider political and economic context. The spaces within the proposal should be self-managed by engaged actors within the community, initiating a social framework for a collective practice and helping to re-engage the public with local authorities, public organisations and civic stakeholders.

PROGRAMME FOOD BANK DISTRIBUTION CENTRE PAY AS YOU FEEL RESTAURANT FOOD MARKET FOR LOCAL BUSINESSES PAY AS YOU FEEL SHOP BAR & EVENTS SPACE AUDITORIUM

DAILY ROUTINE MAP To understand more about the programme and the functionality of the building I mapped the routines that may be in a standard day. Using information about food banks, I was able to determine what processes happen when.

URBAN NETWORKS

Food Banks/Supermarket Network Within 1.5 mile radius Supermarkets with pre-established network of giving waste food to charity Food Banks

Similar to the primer investigation, I wanted to see how the programme influenced different scales. To do this I looked at my buildings interactions with the rest of the city. Above I have mapped local shops which already have a process of giving waste food to charity (shown in red) and food banks who are willing to take donations (shown in green).

SOCIAL FRAMEWORK

THEORY INTO PRACTICE The Representational Techniques of Atelier d’Architecture Autogérée (AAA) Extracts taken from Theory Into Practice Essay.

Architectural practices and community-based initiatives can stimulate social resilience and allow citywide cultures to evolve. Community engaged design can allow for new social models as shown by Lefebvre, who states that space and architecture, shape society and are also shaped by it. He also notes that, space and architecture are reproductive and citizens of any society have the right to shape that society, in and through its spaces. R-Urban Case Study

Figure 12

One of AAA’s most recognised projects is R-Urban. R-Urban looked into the ideas of urban resilience, exploring the economic, social and environmental elements of a local community in Colombes, Paris. The R-Urban strategy was based on a framework of interconnected “civic hubs” (Petrescu, Petcou, 2018) that house a range of community driven initiatives, including urban agriculture, recycling, residential units and a domestic farm. The project was a strategy that allowed for dense, localised urban communities to have civic functions and enhance their resilience within the wider political context. R-Urban gives an insight into localised sustainability and community resilience through architectural interventions, it also enquired into how architecture can instigate societal, political and cultural change. As shown in the diagrams on the right. Through projects such as R-Urban, Doina Petrescu is able to encourage networks and interactions between social, economic and cultural agencies. The project also highlights how architects can act as more than just building designers and become enablers and initiators for processes within spaces and communities;

strengthening pre-existing and developing social networks (Awan, Petcou, Petrescu, 2010), in turn allowing forums for cultural and political evolution. The project also portrays a new type of architecture and planning that needs to be adopted. Embedding the profession within the politics of place and introducing participatory tactics will allow the industry to move away from “service-led” or “client orientated” systems. (Petrescu, 2012) This approach to the profession changes the architect’s r ole within the design process as we are no longer acting on behalf of others, instead we are working with others.

SOCIAL OUTCOMES The spaces within the proposal should be self-managed by engaged actors within the community, initiating a social framework for a collective practice and helping to reengage the public with local authorities, public organisations and civic stakeholders. I hope to achieve a similar outcome to that experience in R-Urban in the hope that â&#x20AC;&#x153;urban activities will contaminate each other and articulate new cultural, social and professional configurations.â&#x20AC;? (Petrescu, 2012)

REALISATION & REFINEMENT 90

MASSING STUDY ONE

The design was low rise with a large surface area, accommodating the industrial, aspects of the programme. Upon reflection, the form of this massing did not sit well in the surrounding, high rise, context. Warehouse Restaurant Foyer Shop Administrative Meeting Rooms

MASSING STUDY TWO

The second massing study was designed to instigate future development. The ground floor has been split in half, with half being built upon and half being allocated for public space. This will create a new urban circulation route and bring people into the Canal Street area. This massing also responds more towards the surrounding high rise context. Maintaining the low, long span features for the distribution was essential for its programme. However, elevating the civic aspect of the building makes it sit better within its context and defines a hierachy within the programme. The area in red shows an bridge element that ties all aspects of the project together.

MASSING STUDY THREE

the restaurant would be able to view every aspect of the buildings process To improve upon the previous massing I increased the surface area of each floor. I also cut into the overall form work of the tower, breaking up the facade. This allowed more sunlight to enter certain floors and created a series of balconies.

The civic aspect remained vertical and the industrial element remained horizontal. On the previous massing there was a restaurant element that bridged the entire structure. This decision was successful as it tied into the theme of transparency between the building and its processes. People using

The site has the potential to be influential. Positioning and organisation on the site is key to creating new routes of circulation in the local context.

Horizontal form is essential for the distribution centre. The distribution centre has been moved to the edge of the site, this means it runs along side the pavement. This intentionally disrupts external circulation, bringing attention to the schemes agenda.

To respond to the surrounding context the civic element was designed to be vertical. This also determined a hierarchy between the two elements. Having these two contrasting forms helps to differentiate public and private realms.

To tie the civic and industrial elements of the building together their needed to be a common element that bridged them. The restaurant was a prime choice for this. As a space with vested interests in all aspects of the building the restaurant works well here.

Presenting the three main elements as different materials was a major decision in my design. Using contrasting materials would allow people to separate the programme of the building visually.

In this massing study I wanted to play into sites sun path. Orientating floors so that they maximised the amount of daylight entering a space informed the angular facade. The angular form helps to create further contrast between the other elements.

DEVELOPING FLOOR PLANS

Distribution Centre

A full list of floor plans can be found in the appendix

Shop

From the massing I began to develop a series of floor plans. These outlined the overall layout of the distribution centre and the civic aspect of the building. I began by compartmentalising the distribution centre into a series of stages. Sorting One, Sorting Two, Packing, Storage, Recycling and In-house Distribution. This allowed for an efficient circular process in the warehouse, as shown by the red arrow. The layout of the distribution centre started to inform the spatial organisation of the civic aspect of the building. Having internal views that look onto the processes of the distribution centre was key, this is shown in blue. Another important feature of this design was ease of access from multiple directions.

Lobby

Plant

1:500 Ground Floor

Dining Area

Lobby

Kitchen Lecture Space

B B

1:500 First Floor

1:500 Ground Floor

1:500 Second Floor

1:500 Third Floor

B B B

1:500 Seventh Floor

1:500 Sixth Floor

B B

1:500 Fifth Floor

1:500 Fourth Floor

FURTHER FLOOR PLAN DEVELOPMENT

The development of the floor plans allowed me to define the circulation cores and create a more structured and effective layout in regards to programme. After talking with tutors it was clear that there was still a lot of room for improvement. I needed to further develop the layout of the distribution centre, paying more attention to the processes that occur inside. As well as defining a clear programmatic agenda in the tower. There needed to be more definition throughout the project.

1:500 Eighth Floor

PRECEDENT ANALYSIS Strasbourg School of Architecture - Marc Mimram

Figure 13

To further my design development I looked at precedents. This allowed me to investigate alternative facade and structural systems. When conducting research I looked at the work of Marc Mimram, an Architectural Engineer from Paris. Specifically design of the Strasbourg School of Architecture. Mimramâ&#x20AC;&#x2122;s 4,500m2 building is made up of

a series of stacked and rotated metal boxes. The boxes sit on thin steel columns that allow the ground floor to be free and transparent. The steel frames contain diagonal trusses that are positioned to focus certain views. The hard angles of the structural boxes are softened by a wrinkled aluminium mesh. The mesh sits in-front of large floor to ceiling glazed

panels that give the building a translucent appearance, this is enhanced when the building is lit at night. During the day the panels are intended to mimic fabric as it appears to move as the sun changes. Exposed structures, such as at the Pompidou Centre, have become common place in experimental architecture. Mimramâ&#x20AC;&#x2122;s design plays

on this, however, the structure is kept internal. This allows the building to expose its structural skeleton whilst maintaining its thermal energy.

Figure 13 98

PRECEDENT ANALYSIS â&#x20AC;&#x2DC;Re-Veilâ&#x20AC;&#x2122; Factory Regeneration by Superimpose Architecture

Superimpose have been able able to produce a contemporary project using whilst preserving the buildings heritage. Being able to link to a traditional, industrial vernacular and still have a high quality, modern appearance is something I would like to carry over into my own work. I believe that linking to the heritage of the Canal Street Area through both appearance and form is important. The large, floor to ceiling windows are one of the projects main features, allowing a large amount of natural light to enter the space. Superimpose have used an elegant material pallet. Combining traditional red brick with gold reflective panelling to create an experiential atmosphere in the buildings outer atrium. The structural systems are, again, exposed. Large concrete columns and roof trusses line the interior of the warehouse. The more subtle structural elements are concealed within the window frames. Steel frames add further support to the tall brick walls, as seen in the adjacent diagram.

Figure 14 99

PRECENDENT ANALYSIS OUTCOMES FACADE SYSTEM

STRUCTURAL SYSTEM

MATERIAL QUALITIES

Adopting a facade system similar to the one used in the precedent fits well with portraying the buildings agenda. During the day the aluminium sheeting subtly reflects its surroundings, this emphasizes the projects themes of community, highlighting it is a building that serves the people of Manchester. Then during the night the building takes on a new persona, the facade exposes the buildings skeleton and the activities that occur inside. This is especially poignant at night as the buildings programme is still active.

The structural system used in Mimramâ&#x20AC;&#x2122;s design allows for large span open spaces. Housing the structural elements in the buildings outer planes removes the need for internal columns. This will work well in civic tower as it contains community oriented spaces that shouldnâ&#x20AC;&#x2122;t be constricted by internal structures.

The Strasbourg School of Architecture makes a point of exposing the raw materials that support the buildings. This method puts those using the spaces in touch with the structure creating unique relationships between the building and its occupants.

Twin facade system, using corrugated, perforated aluminium sheeting.

Central stair case with a simple metallic colour pallet.

Studio space with exposed structure and servicing

Figure 14 100

MATERIAL DECLARATION Before moving forward with the project I wanted to declare a material pallet. This pallet aided me in design decision in the next stage of design development.

Corrugated Aluminium The civic tower will be wrapped in a corrugated, perforated aluminium facade. This is the same facade system used Marc Mimrams Strasbourg School of Architecture. This will create a dual appearance between day and night. Figure 15

Reflective Aluminium The restaurant element of the building pierces through the civic and private sections of the building, to make the restaurant read as a separate component I made the decision to wrap it in high reflective aluminium panelling. Figure 16

Brick - Manchester Blend Brick Brick will be one of the main features of the Distribution Centre. This is to link back to industrial heritage of Canal Street and the red brick vernacular of Manchester.

Figure 17

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FINAL MASSING STUDY

102

The footprint of the site remained the same as in previous massing.

The horizontal form of the distribution centre also remained the same. The low rise horizontal form proved to be the most efficient design for the logistical aspects of the scheme.

In this stage I began to consider structural elements. This was informed by precedent analysis. Two structural cores house vertical circulation and provide lateral stability to the tower.

The drastic change to the massing was the towers form. Taking inspiration from the work of Marc Mimram I took the decison to vertically stack the different programmatic elements. Orientating them in different directions gives the impression of movement.

The restaurant element was still as prominent in this massing. It, again, acted as a bridge between the public and private. Giving the two sections a common element.

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FINAL PLANS SITE PLAN

Ground Floor Context 1:500 0 1m 2m

1 2 3 4 5 6

10m

Public Square Main Public Entrance Distribution Centre Delivery Drop Off Point Delivery Pick Up Point Manchester Crown Court Security Access

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GROUND FLOOR EXTERNAL VIEW

Ground Floor External Perspective (Public Square)

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Distribution Centre Vehicle Access

There is a circular flow to the distribution centre. Vans drop produce off at the south of the warehouse (shown in red). It is then processed (shown in orange) and any food that gets redistributed is picked up towards the north of the site (shown in yellow).

Public Space

As only half of the ground floor covers the site there is a large public space to the east.

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B 7 9

14 13

12 18

Ground Floor 1:200 A 0 1m 2m

10m

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GROUND FLOOR

Ground Floor Perspective (Shop)

7 Distribution Centre 8 Private Stair Case 9 Shop 10 Main Entrance 11 Lobby 12 Plant Room 13 Staff Male Changing Room 14 Staff Female Changing Room 15 Male Toilets 16 Female Toilets 17 Public Staircase 18 Delivery Drop Off Point 19 Delivery Pick Up Point

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3 8 2

Warehouse Layout

Segregating the warehouse into different functions is essential for it to run smoothly.

Public/Private Realm Red = Private Green = Public

1 Unloading Bay 2 Sorting Area 1 - Determines what is waste and what can be used 3 Sorting Area 2 - Determines what is used in house or redistributed to food banks. 4 Packaging Area 5 Loading Bay 6 Storage 7 Biomass Waste 8 Shop Conveyor

Shop Design (See Apendix) The design approach for the shop has been inspired by Munich La Roca, a small shoe shop in Barcelona that uses conveyor belts to display and sell its shoes. Having a multi level conveyor belt gives the shop an innovative element and ties into the short life-cycle of the process.

Figure 18 110

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First Floor 1:200 A 0 1m 2m

10m

112

FIRST FLOOR

21 22 23 24

First Floor Perspective (Restaurant)

Restaurant Lobby Restaurant Kitchen Restaurant Seating Administration Office

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Restaurant Views

Circulation

The restaurant is its own element that pierces through the rest of the building. These diagrams highlight the different views onto different parts of the building

Public and private circulation has been separated. Red = Private Green = Public

Three Main Elements The building consists of three independent structural elements.

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115

Second Floor 1:200 A 0 1m 2m

10m

116

SECOND FLOOR

Second Floor Views (Auditorium)

25 26 27

External Growing Space Growing Store Auditorium Seating

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Third Floor 1:200 0 1m 2m

A 10m

118

THIRD FLOOR

Second Floor Perspective (Auditorium)

28 29

Auditorium Seating Auditorium Store Room

119

Circulation

Growing Space

Public and private circulation has been separated. Red = Private Green = Public

Towards the south of the auditorium is an external growing space. This is serviced by a growing store in the centre of the floor.

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121

Fourth Floor 1:200 0 1m 2m

A 10m

122

FOURTH FLOOR

Fourth Floor Perspective (Indoor Market)

30 31

Indoor Market Food Stalls Indoor Growing Space

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Fifth Floor 1:200 0 1m 2m

A 10m

124

FIFTH FLOOR

Fifth Floor Perspective (Indoor Market)

32 Indoor Market Food Stalls 33 Seating

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External Space (Fourth Floor)

The orientation of the floors in the tower allows the market to have an external balcony (shown in yellow)

Public/Private Realm (Fifth Floor) The indoor market consists of a central row of food vendors with circulation placed on the outside.

Internal Growing Space (Fourth Floor)

The lower market floor contains an internal growing space, this has been positioned so that it lays in the solar path.

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127

Sixth Floor 1:200 A 0 1m 2m

10m

128

SIXTH FLOOR

Sixth Floor Perspective (Bar/Events Space)

34 Bar 35 Bar Seating 36 Bar Store

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Public/Private Realm

The bar/events space is a flexible and open plan room, with the majority of the space being dedicated to the public.

Views

Sitting on the top floor, the bar offers views of the city in every direction. The corrugated, facade panels offer protection from glare and allow the space to be more habitable.

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Section BB 1:200 0 1m 2m

10m

132

Section AA 1:200 0 1m 2m

133

10m

Perspective Section BB 1:200 134

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North East Elevation 1:200 0 1m 2m

10m

136

South East Elevation 1:200 0 1m 2m

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10m

North West Elevation 1:200 0 1m 2m

10m

138

South West Elevation1:200 0 1m 2m

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10m

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CREATING SOCIAL EXCHANGE. URBAN EXCHANGE My original intention was to create a building that influenced exchange at a variety of scales. Opening up the site to the public realm offered a new route for urban circulation. The public space has flexibility, it can be used for public events, pop up markets, rallies etc. Having this new avenue could allow the Canal Street to flourish. On the following page I have mapped the potential routes that may emerge from my proposal.

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GROWING SPACES The growing spaces have been positioned so that they are in line with the sites sun path on the second and fourth floor. They are also placed in locations which are visible from the main points of entry. Giving people visiting an immediate sense of the buildings agenda. The growing spaces will use seeds from waste food brought into the building, these seeds will be used to grow produce which will then be served within the restaurant.

Second Floor

Fourth Floor

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STRUCTURAL SYSTEM

The building consists of three structural elements. The brick based distribution center, the steel framed civic tower and the modular restaurant. The tower is composed of a steel frame. This frame is laterally supported by two structural concrete cores. These cores contain both public and private circulation routes. The restaurant is consists of its own structure, it sits on a series of steel and concrete columns throughout the ground floor. The majority of the steel frame used in the building is trussed.

This image shows the primary structural elements of the building. On the following pages I have documented the Primary, Secondary and Tertiary components.

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PRIMARY STRUCTURE

Bar/Events Space Steel truss framework

Indoor Market Space Steel truss framework

Auditorium Steel truss framework

Restaurant Steel truss framework

Ground Floor/Distribution Centre/Structural Cores The primary structural elements for the distribution centre are large 0.5m x 0.6m concrete columns, these columns hold large concrete beams that provide load bearing capabilities for the restaurants structure above. In the vertical element a series of steel columns provide support for the steel frames above. The two concrete cores offer the entire structure lateral stability to the steelwork above.

146

SECONDARY STRUCTURE

Bar/Events Space Concrete floor system

Indoor Market Space Concrete floor system

Auditorium Concrete floor system with an external balcony space for growing. Steel system to support auditorium seating.

Distribution Centre Roof The secondary roofing elements consist of concrete roof trusses and wooden batons. This is to coincide with the other, structural, concrete elements in the distribution centre.

Restaurant Concrete floor system

Restaurant Lobby Area Concrete floor system

Distribution Centre Tradition brickwork system. This is given lateral support from the primary concrete columns.

147

TERTIARY STRUCTURE

Bar/Events Space Glazing with full corrugated aluminium facade panelling.

Indoor Market Space Glazing with partial corrugated aluminium facade panelling.

Auditorium Glazing with partial corrugated aluminium facade panelling.

First Floor Corrugated aluminium facade panelling.

Restaurant Glazing with reflective aluminium facade panelling.

Distribution Centre Roof Slate tiled roof system.

Ground Floor Glazed curtain wall system and partial corrugated aluminium facade panelling.

Distribution Centre Large glazed curtain wall

Distribution Centre Steel framed window system.

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1 2

8 11

149 1 Single-ply non-bitumas membrane, 30mm Kingspan Thermaroof TR26 LPC/FM, 140mm (Kingspan, 2019) Fasteners Vapour control layer Metal deck, 60mm Steel beam with centrally placed circular hole for services, 300mm 250 mm, Aluminium-louvre suspended soffit for services 2 Folded, expanded aluminium mesh panels 140mm Cavity Vapour Control Layer Chipboard, 20mm Chipboard, 20mm Kingspan Thermaroof TR26 LPC/FM, 140mm (Kingspan, 2019) Damp proof membrane Single-ply non-bitumas membrane, 30mm 3 Folded, expanded aluminium mesh panels Facade tie Insulated window head, made from rolled Aluminium with thermal insulation inside Square Hollow Section 200mm x 300mm Steel beam with centrally placed circular hole, 300mm 4 Folded, expanded aluminium mesh panels Toughened glass, 30mm Steel truss, 200mm x 300mm 5 Anodised Aluminium Cladding (Nessolutions.co.uk, 2019) Facade tie Kingspan Thermafloor TF70, 200mm

(Kingspan, 2017) (sloped for drainage) 6 Screed layer, 70mm Steel Deck, 60mm Kingspan Thermafloor TF70, 200mm (Kingspan, 2017) Steel beam with centrally placed circular hole for services, 300mm Damp proof membrane Kingspan Thermaroof TR26 LPC/FM, 120mm (Kingspan, 2019) Facade tie 180mm cavity Anodised Aluminium Cladding (Nessolutions.co.uk, 2019) 7 Screed layer, 70mm Steel Deck, 60mm Kingspan Thermafloor TF70, 200mm (Kingspan, 2017) Steel beam with centrally placed circular hole for services, 300mm Ventilation system 500 mm, Aluminium-louvre suspended soffit 8 Insulated window joint separating double heigh space, made from rolled Aluminium with thermal insulation inside Square Hollow Section 200mm x 300mm 9 Screed layer, 70mm Steel Deck, 60mm Kingspan Thermafloor TF70, 120mm (Kingspan, 2017) 160mm Service void Steel beam with centrally placed circular hole for services, 300mm

620 mm, Acoustic panel, suspended soffit with services enclosed Lighting 10 Screed layer, 110mm Service Void Kingspan Thermafloor TF70, 80mm (Kingspan, 2017) Damp Proof Membrane Steel beam with centrally placed circular hole for services, 300mm 620 mm, Acoustic panel, suspended soffit with services enclosed Lighting 11 Vegetation Layer Growing Substrate Drainage Layer Protection Mat Root Barrier Waterproofing membrane Damp Proof Membrane Steel beam with centrally placed circular hole, 300mm Damp Proof Membrane Kingspan Thermaroof TR26 LPC/FM, 120mm (Kingspan, 2019) Facade tie Anodised Aluminium Cladding (Nessolutions.co.uk, 2019) 12 Folded, expanded aluminium mesh panels Facade tie Insulated window joint separating double heigh space, made from rolled Aluminium with thermal insulation inside Square Hollow Section 200mm x 300mm

13 Screed layer, 70mm Steel Deck, 60mm Kingspan Thermafloor TF70, 220mm (Kingspan, 2019) Shallow Metal Deck, 30mm Steel beam with centrally placed circular hole for services, 300mm 240mm, Aluminium-louvre suspended soffit with services enclosed 14 Anodised Aluminium Cladding (Nessolutions.co.uk, 2019) Kingspan Thermafloor TF70 sloped, 220mm (Kingspan, 2019) Damp proof membrane Shallow Metal Deck, 30mm Steel beam with centrally placed circular hole for services, 300mm 240mm, Aluminium-louvre suspended soffit with services enclosed 15 Steel truss, 200mm x 300mm Aluminium mullion Toughened glass, 30mm 16 Screed layer, 70mm Steel Deck, 60mm Chipboard, 20mm Steel beam with centrally placed circular hole for services, 300mm 240mm, Aluminium-louvre suspended soffit with services enclosed Square Hollow Section 200mm x 300mm Curtain wall glazing head 17 Toughened glass, 30mm Aluminium mullion 18 Screed layer, 150mm Kingspan Thermafloor TF70, 200mm (Kingspan, 2019) Damp proof membrane Concrete slab, 500mm Hardcore, 200mm 19 Screed layer, 70mm Damp proof membrane Concrete block, 400mm x 200mm Concrete slab, 500mm Pile cap, 400mm Reinforced pile foundation

1:20 AT A1

TECHNICAL DETAIL

20 External paving block, 200mm x 30mm Concrete Screed, 30mm Hardcore, 350mm

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FACADE SYSTEM For full facade study see ARC3013 (Integrated Technology) Coursework

TRANSPARENCY

One of the main themes of the project is transparency. Because of this large glazed elements are essential. However, one of the major design intentions was to have a building with dual persona’s. To achieve this a facade was required that had the ability to change

and adapt to different environments. Marc Mimram’s innovate facade system was ideal for my design. It offered a building with the abilty to manipulate its appearance depending on light levels.

DAY During the day occupants within the building are still able to see out. However, from the outside looking in, you are unable to see through, instead you see the soft reflections of the surrounding buildings. As the sun moves across the sky the reflections and changing lights change the colour pallette of the building. There are certain windows that don’t have the outer facade panel on, these are in places which require maximum sunlight, such as the internal growing space.

NIGHT During the night the facade allows the building to take on a whole new appearance. Interior lights transform the perforated facade panel, exposing the interior structures. This shows the buildings steel skeleton and all of the activities occuring on the inside. The next two pages highlight the effects of the facade as day turns to night.

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THINKING THROUGH MAKING 156

UPCYCLED TERRAZZO

In Thinking Through Making Week we were given the task of making a physical item that embodied an aspect of our project. Taking what I had learnt from my Charrette, I experimented with my own form of terrazzo. I linked this to my projects theme of recycling and redistribution, using waste plastics taken from the Architecture Schoolâ&#x20AC;&#x2122;s studioâ&#x20AC;&#x2122;s. The intensive week was an opportunity to explore materials physically and appropriate our projects with tangible elements.

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INTRODUCTION TO STONEMASONRY

In this craft workshop Russ Coleman introduced us to the art of stone masonry. We worked with limestone, experimenting with carving techniques. Russ explained his work and gave insight into the profession before demonstrating the basics of stone masony. Then, using a hammer and chisel, we attempted to carve our own peices, as shown on the right.

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WORKING IN VIRTUAL REALITY In this skills workshop David Boyd gave us a short introduction into the world of virtual reality. He showed us a selection of his PhD work, which included a virtual Mount Everest Base Camp. Using the virtual reality equipment we were able to immerse ourselves in the digital world. We were then able to load our own models onto the specialist virtual reality software and experience what they looked like first hand.

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Link to Newcastle IGEM Web Page

CULTURAL BIBLIOGRAPHY 160

INTERNATIONAL GENETICALLY ENGINEERED MACHINE CONFERENCE From the start of June 2018 to the end of October I was a part of the Newcastle University IGEM team. This is an international competition run but Massachusetts Intitiuste of Technology (MIT). Universities from across the globe use Synthetic Biology to produce new systems and products that try to solve world issues. Our team was flown out to Boston where we won a gold medal.

Our teams project developed a new form of genetically engineered bacteria that challenged the way synthetic plant fertilisers are made. My roles within the team included Human Practiceâ&#x20AC;&#x2122;s coordinator/presenter and Outreach co-ordinator Being a part of the Human Practices team involved the real world implementation of our idea, analysing how existing infrastructures can be adapted to use genetically engineered microbes. As the individual in charge of outreach, one of my main tasks was co-ordinating and communicating with external stakeholders. This involved setting up and attending meetings with private investors and potential sponsors. I was the teams contact to the outside world. Another main role was presenting at the competition in Boston. This was one of the most character building elements of the entire process as I had to talk to a room of 250 experts about a discipline I had only entered at the start of June. Our team successfully achieved a gold award and we were nominated for a special commendation.

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APPENDIX 162

ADDITIONAL FIELD TRIP PHOTOGRAPHS

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PROCESS WORK

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SHOP PRECEDENT One of the main features of the buildings Pay As You Feel shop is the large conveyor belt. This idea was inspired by Munich La Roca, a small shoe shop in Barcelona. They use a large conveyor belt system to sell shoes. The large multi leveled conveyor winds

around the store and allows customers to walk beneath it. Innovative systems such as this give a greater sense of experience. Below I have attached images of the store.

Figure 18 166

Figure 18 167

READINGS Shifting Discourse and Practice on Food Banks: Insights from a community - University Partnership Warren Dodd & Erin Nelson Abstract - “In the context of an entrenched food bank system, there is broad recognition of the need to move beyond charity-based models of emergency food provision. Drawing on our experiences from a multi-year comunity university partnership in the city of Guelph and Wellington County, Canada, we describe the process whereby discourse and practice surrounding emergency food provision shifted over time. We detail the results of two interconnected research projects (one with service providers and one with service users) that contributed to these shifts. In addition, we detail the collaborative process following the completion of the projects, which culminated in the creation of a new organization with a mandate to address some of the challenges highlighted through the research projects. We demonstrate how a community university partnership can contribute to shifts within dis-course and practice surrounding emergency food provision with the intention of enhancing community food security.”

The Role of Grassroots Food Banks in Building Political Solidarity with Vulnerable People María Gómez Garrido, M. Antònia Carbonero Gamundí & Anahí Viladrich Abstract - “In the context of economic crisis and welfare retrenchment in Spain, food banks have been an

emergency solution for those at risk of social exclusion. Food banks have been criticised for playing a significant role in perpetuating dependency and, therefore, exacerbating inequality between those who donate and receive help. However, in Madrid, in the years after the 15M movement grassroots food banks initiatives resignified an old mode of assistance by creating solidarity forms. In this paper, we analyse these grassroots food banks with a particular emphasis on the case of Tetuán. We show how political and interpersonal solidarity is built among grassroots foodbanks’ members. We argue that these banks’ political motto leads to inter-recognition among their participants. Furthermore, through a shared –and permanently reinforced – discourse, food recipients identify the root causes of their excruciating living conditions. Thus, a ‘we-ness’ (defined here as a sense of cohesion and fellowship) is created, which challenges the inequality and stigma reinforced by traditional, and charitable, forms of assistance. In sum, grassroots food banks promote social inclusion as they not only provide aid, but also endorse new venues for solidarity building that challenges the hierarchical relationships, ingrained in traditional forms of charity giving, typical of formal food banks.”

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BIBLIOGRAPHY 170

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ArchDaily. (2019). ‘Re-Veil’ Factory Regeneration / Superimpose Architecture. [online] Available at: https://www. archdaily.com/893144/re-veil-factory-regeneration-superimpose-architecture [Accessed 23 May 2019]. ArchDaily. (2019). Strasbourg School of Architecture / Marc Mimram. [online] Available at: https://www.archdaily. com/496751/strasbourg-school-of-architecture-marc-mimram [Accessed 23 May 2019]. Awan, N., Petcou, C. & Petrescu, D. (2010) TransLocal-Act. Cultural practices within and across. Doina Petrescu, Constantin Petcou, & Nishat Awan (eds.). Paris: aaa/peprav. p.61 Bann, I. (2015). Apartments in Los Angeles. Detail, (9), pp.842 - 844. BLDGBLOG (2009). Palace of Water and Light. [image] Available at: http://www.bldgblog.com/2015/03/palace-of-waterand-light/ [Accessed 11 Dec. 2018].

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bmiaa (2015). Centre national des industries et des techniques, La Défense. [image] Available at: https://www.bmiaa. com/bernard-zehrfuss-architecte-de-la-spirale-du-temps-gallo-roman-museum-lyon/ [Accessed 11 Dec. 2018].

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Figure 1 Daily Mail (2019). Life on the dark side of Tinseltown: Skid Row is revealed in all its decrepit horror as drugs and homelessness take their toll. [image] Available at: https://www.dailymail.co.uk/news/article-3824528/Skid-Row-revealed-strikingphotographs.html [Accessed 23 May 2019]. Figure 2 Ibid Figure 3 Ryan, R. (2016). Star Apartments Social Housing Complex. The Plan, (82). Figure 4 Bann, I. (2015). Apartments in Los Angeles. Detail, (9), pp.842 - 844. Figure 5 Ibid Figure 6 AMV (2019). Stack Newcastle. [image] Available at: https://amvlivemusic.com/images/our-venues/stack-int.jpg [Accessed 23 May 2019]. Figure 7 PIER LUIGI NERVI PROJECT (2018). [image] Available at: http://pierluiginervi.org/pier-luigi-nervi-architecture-aschallenge/the-12-architectural-icons-presented-in-the-travelling-exhibition [Accessed 11 Dec. 2018]. Figure 8 Notopia is less a warning than a prophecy of doom. (2017). Architectural Review. Figure 9 Koolhaas, R. (n.d.). Generic city. 2nd ed. New York: Monaceili Press. Figure 10 CADWELL, M. (2019). Flooded at the Farnsworth House. THE ART OF ARCHITECTURE/THE SCIENCE OF ARCHITECTURE. Figure 11 Venturi, R., Scott Brown, D. and Izenour, S. (n.d.). Learning from Las Vegas. Figure 12 Digital Design Journal (2019). R-Urban Community Diagrams. [image] Available at: http://localcode.org/2017/06/ reclaiming-the-urban-commons-an-ecological-solution-nk/ [Accessed 20 Feb. 2019]. p.6 Figure 13 ArchDaily. (2019). Strasbourg School of Architecture / Marc Mimram. [online] Available at: https://www.archdaily. com/496751/strasbourg-school-of-architecture-marc-mimram [Accessed 23 May 2019]. Figure 14 ArchDaily. (2019). ‘Re-Veil’ Factory Regeneration / Superimpose Architecture. [online] Available at: https://www. archdaily.com/893144/re-veil-factory-regeneration-superimpose-architecture [Accessed 23 May 2019]. Figure 15 Corrugated Alluminium. (n.d.). [image] Available at: https://www.istockphoto.com/gb/photos/corrugated-metal-texture ?assettype=image&sort=mostpopular&mediatype=photography&phrase=corrugated%20metal%20texture [Accessed 23 May 2019]. Figure 16 textures4photoshop. (n.d.). [image] Available at: http://www.textures4photoshop.com/tex/metal/reflective-chrome-metalfoil-free-texture.aspx [Accessed 23 May 2019]. Figure 17 The Belden Brick company (2019). Manchester Blend Brick. [image] Available at: http://www.beldenbrick.com/ onlinecatalog/brick-colors/tan-bricks/10/manchester-blend [Accessed 23 May 2019]. Figure 18 Etherington, R. (2010). Munich La Roca by Bailo+Rull ADD Arquitectura | Dezeen. [online] Dezeen. Available at: https:// www.dezeen.com/2010/12/01/munich-la-roca-by-bailorull-add-arquitectura/ [Accessed 23 May 2019].

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