Academic Portfolio William Weber

william Weber academic Portfolio The University of Edinburgh ma hons Architectural Design

2008-2012

Contents

Year 1 2008-2009 Architectural Design 1 Technology + Environment 1 Architectural History 1

Year 2 2009-2010 Architectural Design 2 Technology + Environment 2 Architectural History 2

Year 3 Junior Honours 2010-2011 Architectural Design Option 1 Technology + Environment 3 Architectural Design Theory 1 Architectural Design Placement: Working Learning

Year 4 Senior Honours 2011-2012 Architectural Design Option 2 Placement Report Architectural Design Dissertation

Year 1 Place in the City AD1

Head in the Window AD1

Parthenon AH1

Montage of a Setting AD1

Universal Access T+E1

Precedent Study AD1

Structures T+E1

Retreat AD1

Brasilia AH1

Robert Adam AH1

Home + Work Place T+E1

Thermal Environment T+E1

Architectural Design 1

Technology + Environment 1

Architectural History 1

•An ability to visualise architectural space, and an understanding of architectural drawing conventions.

•An awareness of rigorous and disciplined processes of the evolution of an architectural idea, from intention to proposition.

•An ability to explore an architectural idea from intention to proposition.

•A basic ability to communicate effectively, both verbally and visually.

•A basic understanding of design principles and theories.

•An appreciation of the relationship of buildings to their physical and cultural context.

•An ability to respond to a given brief.

•An ability to draw and to model as both investigative and presentational devices.

•A basic understanding of the technologies, environmental design and methods of construction inherent in the design and construction of buildings with specific focus on construction/building processes.

•An ability to work and contribute as part of a group.

•An understanding of the value and importance of the review/ critique process in architectural education with the development of listening and critical appraisal skills, and participation in this process

•General awareness of architectural technology and its application to architecture •Knowledge of the fundamental principles of building construction •Knowledge of the constructional systems used in small-scale buildings •Knowledge of the principle materials used in building construction •Awareness of the problems of fire safety in building •Awareness of the relationship between buildings and acoustics •Awareness of human well-being, welfare and natural world •Awareness of regulatory requirements •Use of written communication

•A knowledge of the history of western architecture from antiquity to the present day.

•An awareness of the relationship between architecture and other aspects of western culture, in particular visual culture.

•An awareness of the wider social, political and economic context in which architecture is created •A knowledge and understanding of the built environment of the present day and how it developed in order that intelligent and informed contributions can be made to the current debates on architecture •A knowledge of the specialist language of architecture Some ability in the critical and comparative analysis of buildings Familiarity with the methodology and vocabulary of scholarship and criticism in the field of architecture

Head in a Window

Architectural Design 1 September 2008

Design Brief For this abstract exercise we took three self images before designing and constructing a stylized, three-dimensional portrait bust, interacting with some form of basic architectural element, such as a window. This took the form of an imaginative, metaphorical assemblage. The personality traits are expressed metaphorically in three dimensions, making use of some of the discoveries made about experiential and pictorial space by the early 20th-century avant-gardes, particularly the Cubists, Futurists and Constructivists.

Design Summary Reflect on self expression. The maquette is used as a staircase to evoke salient personality traits. The upward movement of the staircase represents inenvitable growth however there are moments where the direction of the stairs fluctuate. I positioned various aspects of my face along the staircase to show how they interect with emotion. I thus interact with and have been framed by, a rudimentary architectural enclosure. This pyramid framing device has resulted in a balanced portrait bust in an architectural dimension.

Learning Outcomes •Develop an understanding of modern, experiential spatiality which was developed by the early 20th- century avant-gardes •Practice modelling skills while exploring the narrative possibilities of collage and assemblage.

•To explore the physical, imaginative and iconographic qualities of different materials and their conjunctions •To think about the role of metaphor in the artifacts we make References Motycka Weston, Dagmar. ‘The Window: Some Reflections on its Meaning’, Scroope, 1991 (copy in Course Folder).

Gottlieb, Carla. The Window in Art: From the Window of God, to the Vanity of Man; a Survey of Window Symbolism in Western Painting. New York: Abaris Books, c1981.

Conceptual Nature of the Pyramid

Emotion vs Structure - Representation Through Architectural Elements

Final Model

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Place in the City National Musem Study Brief This project was aimed at developing the ability to recognize good places or architectural settings, and to observe, record and represent them in accurate architectural drawings. We also focused on the less tangible, experiential characteristics of each place – its spatial, light and material qualities, its life, its atmosphere – and explored ways in which these too can be conveyed. This project was also designed to understand the richness of an urban setting. We also discovered and become familiar with the city of Edinburgh. My group was assigned the modern bays of the National Musuem of Scotland, which are small, interesting spaces cantilevering out from the main building. We studied the interior and exterior settings, around the old and new building. We had to measure, photograph and draw up these spaces and to think about innovative ways through which to represent its experiential qualities. The range of representations included sketches, accurate orthogonal hand drawings and model making. In addition, we were asked for a less conventional, qualitative representation, such as a collage, assemblage or video. During the crit we showed a video representing the journey through the spaces. This project was preceded by a DMW lecture on architectural drawing as a tool for recording and imagining architecture, by a simple individual drawing exercise, and by an explanation of using the Digimap database.

It also included an outdoor sketching workshop led by Georgina Allison, and a lecture on drawing and modelling by Fiona Macdonald.

Architectural Design 1 October 2008

3 Bays

Study Summary The modern bays of the National Musuem of Scotland were to be recorded and observed to test our architectural representation abilities. These bays are unique to this building. They appear as stark and awkward fins that jut out from the solid continuous standstone wall. From the indside however, they are experienced in the opposite mannor. One does not realize they are in these geometric cantilevers from the inside. Their internal “coziness” contrasts the larger open spaces of the musuem. These bays have been represented through sketching, modeling, painting and video.

Location Plan

Model

Free Hand Sketches

Bays from the inside

Water Colour External View

Learning Outcomes •Learn to recognize good architectural places and reflect on what makes them ‘good’ •Develop basic drawing and modelling skills •Practice observing, recording and measuring up settings •From this to produce a range of architectural representations, ranging from free-hand sketches to accurate drawings and models •Learn how to operate effectively as a member of a team References Francis Ching, Architectural Graphics, New York: Wiley, 2003.

Project Partners - Kate Menshikova, Xiao Wang + Ben Wylie

Plans, Sections, Elevations, Details

Model

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History Study The Parthenon

Architectural History 1 October 2008

Presentation Question Why is the Parthenon considered the most representative building of Greek architecture? + Do I agree?

Presentation Summary The Parthenon has long been one of the most famous and recognizable buildings in the world. It is the best representation of Classical Greek architecture.

After war with Persia, Athens unified with multiple Ionian cities to form the Delian League. The most expensive and controversial project that was undertaken by the Delian League was the redevelopment of the 4 main structures at the Acropolis, which was virtually destroyed during the recent wars. Why did they rebuild it? Since Mycenaean times the Acropolis had been a symbol of the military, politics and religion. Thus, Kimon (Athens General) wanted to rebuild the Parthenon to pay respect to Athena Goddess of Warfare for watched over the city during the wars with Persia.

When Pericles took political power after Kimon’s death he stopped work and wanted to Parthenon to be redesigned at a more impressive scale.

Architecture Kallikrates was the original architect until he was replaced by Iktinos under Pericles rule. It was build in dedication of Athena the patron goddess of Athens. The Parthenon was constructed on the footprint of the “Old Parthenon” which was destroyed in the war and recycled some of the structure such as column drums, which were still intact. Many different features of ancient Greek architecture were put together in the design of the Parthenon, which added to its overall grandness. There had been many temples built before and after the Parthenon in Greece, but none measured up to its use of the Doric order and meticulous decorative sculptures. The Parthenon is a Doric peripheral temple and famous for being one of the best examples of the development of the Doric order. It is 8 columns wide and 17 columns long. The distances between the peripheral columns are not the same. The corners are closer and thicker than all the others. Although the columns are mostly Doric they do incorporate. The Ionic feature of being slightly thinner. At rear of temple the roof is supported by four Ionic featured columns.

The frieze on the outside of the cella wall depicts the citizens of the city giving gifts and thanking Athena for victory in the war against the Persian Empire. The base or “stylobate” is actually convex.

The middle rises so that from a distance it doesn’t appear to sink.

This adjustment to the base, as well as other such as the corner columns, was done to avoid geometric perfection and enhance visual perception. The approx forty foot statue of Athena in the cella is the main reason why the Parthenon was built. The original statue is no longer intact but there is enough evidence to show that it was probably one of the most majestic statues of its time draped with gold and ivory. The Parthenon itself was positioned so when it was Athena’s birthday the sun would gleam through the columns and reflect off her body. The metopes which formed the Doric frieze surrounding the exterior of the Parthenon were relief sculptures

Parthenon 2008 of past wars between the Greeks and multiple enemies such as the Trojans. Others show battles such as those between the Gods and giants. Although there is an diverse set of battles they all represent the power of the Greek civilization. The Parthenon has two pediments. On the East the figures represent Athena’s birth and on the West they represent the struggle over the rule of Athens between Athena and Poseidon.

Interpretation Why is the Parthenon considered the most representative building of Greek architecture? It encompasses a multitude of architectural forms which together create the perfect symbol of the ancient Greek structural form. Everything from the Doric order to the metopes representing the power of the Greek Empire add to its grandeur and importance. It is the see the Parthenon as the most representative building of Greek architecture because not only does it incorporate all of the principal components of Greek architecture on an unprecedented scale, but it represents the military, religion and the sheer wealth of the Greek Empire. The Parthenon is up there with the Egyptian Pyramids at Giza and the Great Wall of China as one of the most important structures in the world.

References Carpenter, Rhys. The Architects of the Parthenon. Harmondsworth: Penguin Books, 1970.

Cunningham, Colin. The Acropolis. Milton Keyes: The Open UP, 1979.

16-24.

Fazio, Michael, Marian Moffett, and Lawrence Wodehouse. “The Greek World.” A World History of Architecture. Second ed. London: Lawrence King, 2008. 35-62.

Jenkins, Ian. Parthenon Frieze. New York: British Museum P, 1994.

Ionic Cornice

Constructed on the footprint of the “Old Parthenon”

Frieze Cella Wall

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Montage of a Setting “The primary vehicles of architectural design are the deep structures of space. [These] belong to the essence of typical human situations such as dwelling, work, listening to music, reading, etc. In typical situations we can find not only the full richness of possible content, but also the ultimate source of order’ because situations represent the most complete way of understanding the conditions of our experience of the surrounding world and the human qualities of the world. They also endow experience with durability in relation to which other experiences can acquire meaning. For a better understanding of situations, one can look not only to architectural precedents, but also to painting, theatre, film, literature and other areas of culture. All these areas contribute to the order and richness of our practical life”.1 Design Brief This project built directly on earlier explorations and provided an opportunity at making an ideal setting for private study. This was done by first collecting images of real architectural elements – corners, windows and window seats, entrances, types of lighting, views and so forth – around Edinburgh. These were then photomontaged together to create an imaginative new setting. The reason for this approach is to practice thinking about architectural places in terms of their spatiality and experiential qualities, instead of as aesthetic, abstract or formal entities. It was more important to structure meaningful relationships and material qualities than to produce a glossy, seductive object or image. The setting is not a complete building, but instead perhaps a corner of a room. We used the technique of photomontage which is key to modern sensibility and very useful for conjuring up the deep qualities of a place. It enabled borrowing fragments from existing places to construct a new, imaginary whole. This also encouraged critical thinking, with the eyes of an architect. The first part of the project is a photomontage which is then supplemented by more conventional drawings. This was a complete study of a specific place.

Design Summary The photomontage was at first instance made by hand. The project then utilized Photoshop, to provide additional useful working tools.

The final product is an assemblage of these features such as added light and shadow, relief, transparency, colour and texture.

Architectural Design 1 October 2008

House, Connecticut

Tower, National Museum

Photoshop Exercise

Learning Outcomes •To practice looking at and interpreting existing architectural settings and the elements which make them up •To think imaginatively about places as settings for particular, concrete situations and progress toward their design •To practice the techniques of photomontage and collage as means of visualization in architectural design, and to further develop the skills needed to represent the imagined place in terms of architectural drawings.

References Dawn Ades, Photomontage. London : Thames & Hudson, c1976.

Sketch Plan

Final Montage

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Precedent Study Arab Courthouse Study Brief The purpose of this study was to become familiar with a variety of houses, both historic and modern, and to learn something of their cultural context, spatial and material characteristics, and their thematic content. We explored themes such as the relationship between public and private, between the house and garden, and between the sacred and profane within a house. We reflected on the symbolism of dwelling, of light and water, and so forth. It should enable an understanding of how architecture has been used to provide settings for certain archetypal situations. We got to know this house (and its garden or setting) intimately and thoroughly, and communicating its history and cultural context, its physical characteristics and thematic content clearly and imaginatively, both visually and verbally.

Architectural Design 1 + Architectural History 1 November 2008

Location Plan

Site Plan

Sketches - Gender Segegation, Ventilation + Sleep Patterns

Study Summary The Arab house differs greatly from the typical western home.

The different themes that we explored included public vs private, seclusion, gender, segregation, treatment of light, ventilation, purpose and meaning of ornamentation and expression of nomadic tendencies in fixed spaces. We explained the building’s history, cultural context and important themes through diagrams and sketches. A complete set of drawings of the house, includes plans, sections and elevations, site plan and details. There is a1:50 presentation model of the house exploring its spatial and material qualities in its urban Baghdad context. This large scale enabled an understanding of details such as mouldings, ornament, and materials. It also required a consideration of the way light works within the spaces, how it enters, and where shadows are cast. An understanding of the way of life these dwellers lived has been meet through this urban study.

Learning Outcomes •Learn about a variety of paradigmatic houses, to help you to begin to build up a knowledge of precedents for your own future designs.

•Learn to read buildings and to convert such an understanding into accurate and imaginative drawings and models.

•Develop your visual and verbal communication skills. Through drawings and models, and through an audio-visual presentation, you will be asked to communicate the salient aspects of your houses to your colleagues, so that they too can learn about them.

•Develop your research skills, making use of library resources, such as books, articles and slides.

References Michell, G., Architecture of the Islamic World (Thames and Hudson, London, 1978).

Upham Pope, A. (ed.), A Survey of Persian Art, vol. III (SOPA, Ashija, 1981), pp. 1219-25.

Warren, J. and Fethi, I., Traditional Houses in Baghdad (Coach, Horsham, 1982), pp. 49-9.

Project Partners - Vsevolod Kondratiev-Popov, Wynne McLeish, OonKah Low

Plans

Rendered Section

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Precedent Study Arab Courthouse

Architectural Design 1 + Architectural History 1 November 2008

Heat Index

Sunlight Index

Neighbouring Context

Ventilation Shaft

Model Photos

Model Photos

Model

Universal Access Odeon Lothian Rd.

Technology + Environment 1 November 2008

Study Brief The purpose of this study was to understand the implications of “Universal Access” to and around buildings. In this case my partner and I were assigned the Odeon Cinema on Lothian Road.

Study Summary Entrance The Odeon on Lothian road fits the criteria of a flush accessible entrance. Not only does the interior floor match the sidewalk level perfectly but all the doors are automated opening inward. The lobby is quite spacious and makes it possible for someone to navigate through smoothly. With modern and innovative pedestrian crossing features everyone can access the building efficiently. There is a lack of handicap parking right at the front of the building and parking areas are quite far from the entrance.

Movement Spread out over two floors vertical circulation has been eased via a central staircase and a central elevator. Steps are marked to prevent incident. All central spaces are wide to harbour easy movement

Context, Lothian Road

Facilities Accessible toilets are positioned conveniently next to the cinemas and feature large spaces to accommodate users.

Main Lobby

Central Staircase

Signage Everything is visible and readable to all. Signs for the cinema’s audio loop system, toilets and exits are clearly advertised across the property.

Architectural Design Edinburgh architect Stewart Kaye designed the building in the late nineteen thirties for Regal Cinemas, which occupied the space until late 2000. Outdated and tired, the entire structure was revamped for the twenty-first century. The façade of the building was designated as a Grade B Listing, so it the only part of the original structure that remains today. Universal access was at the forefront of the design for the new cinema.

Throughout the Odeon there are many design features, which help and hurt universal access. In the foyer there is a grand contrast in colour between the columns and the wooden floor so that spotting the obstruction will not be a problem. The major problem in the lobby is the height of the bar, the tables and chairs. They are all too high only function for non-disabled people.

Accessible seating is available in the cinema adjacent to the exit to ease circulation. Lights that illuminate the stairs make it easy to navigate whilst a film is on. In the event of an emergency everyone can easy escape to the exit doors at the same level as the disabled seating.

Learning Outcomes •To introduce students to the practical and intellectual challenges of providing Universal Access in Architecture.

•To become aware of the varying needs of people with disabilities •To develop an ability to work as part of a team.

Automatic Doors

Handicap Seating in Cinema

Handicap Elevator

Emergency Exit Signs

Handicap Toilet

Loop Audio System

Loop Audio System

References Michell, G., Architecture of the Islamic World (Thames and Hudson, London, 1978).

Upham Pope, A. (ed.), A Survey of Persian Art, vol. III (SOPA, Ashija, 1981), pp. 1219-25.

Warren, J. and Fethi, I., Traditional Houses in Baghdad (Coach, Horsham, 1982), pp. 49-9.

Project Partner - Lazar Vukadin

Bar Counter Stools

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Construction + Materials My House

Technology + Environment 1 November 2008

Study Brief The purpose of this coursework was to provide an opportunity to undertake a piece of practical work bearing directly upon the construction and materials series of lectures. This study was expected to help strengthen the understanding of constructionrelated aspects of architectural design and the use of materials in building. This study was focused on the design and construction of my house. An advantage of this study was a more detailed survey of the building fabric than is normally possible with other buildings.

The study considered both the inside and exterior construction and materials of the house.

South Elevation

Gable Roof Construction

Study Summary This was a technical study of the house I grew up in Greenwich, Connecticut. Construction methods and materials feature timber as the main structural material.

Foundation + Steel Support Structure Mixed concrete was poured into moulds to create the exterior walls while a cylinder block wall was constructed on the inside.

There is also about one meter of gravel underneath the poured concrete slab to help move water downwards and away from the floor. The concrete basement walls rise up about one meter above grade so that the ground floor timber structure is clear from ground water. The garage is supported by a concrete slab over posts, which go down about two meters. Steel beams were installed where the old exterior wall in the kitchen was located so that the ceiling and room could be pushed back fifteen feet seamlessly while still supporting the remaining exterior wall on the first floor.

North Elevation Detail - Gable Roof

Timber Structure The walls were all built on site piece by piece. A typical wall consists of studs aligned parallel with a one-foot gap between them. Insulation, piping and electrical works were then placed inside accordingly, before the whole wall was covered with large plywood panels. A damp proof membrane called Tyvek was fixed onto the plywood before the siding went up. Plaster board, was fixed onto the plywood to finish off the walls internally. The sleeper concrete block wall built on the inside of the actual concrete basement wall is the primary support of the suspended ground floor joists that span the entirety of the basement’s width. There are approximately five concrete and steel columns in the basement, which support the floor joists above. Load bearing partitions span the space between the multiple support columns and there are a couple trimmer joists used around the area where the stairs come down. Various plumbing, electrical and ductwork utilities fill the pockets between the floors joists. Then the appropriate floor covering such as tiling or hardwood floors is installed.

West Elevation Detail - Foundation

Portico The Portico at the front of the house utilizes Tuscan style columns with colonial trim and has its own supporting concrete footings. This structure relies not only on its own concrete base, but its timber frame interlocks into the exterior wall frame behind it.

Site Plan

East Elevation

Section - Foundation Walls

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Construction + Materials My Home

Technology + Environment 1 November 2008

Chimney The house has two chimneys, which are the only structural forms of the house, apart from the basement, that are built of concrete and masonry. The base of the chimney is similar to that of the portico. It is not connected to the basement walls. Instead it has its own slab with concrete footing supports.

Windows The colonial style windows the most common design used in the United States. They are double-glazed and are extremely energy efficient. Above the kitchen there is a skylight which rises up about one meter from the flat roofline.

Roof There are seven traditional gables that complete the entire roof.

Rafters rise up in a symmetrical fashion meeting the ridge board at the top. This roof doesn’t have collar ties thought, because the attic space needed extra headroom for storage and utilities. Insulation has been stuffed between the timber and then plywood has simply been laid down across the joists to act as a floor. At the rear of the house, there is a flat roof over the kitchen and sunroom Timber Elements Colonial style homes either have shingle or clabbered siding, which consist of thin cuts of wood. This house has timber shingle siding, each row of which is spaced about ten centimetres above the last.

At the corners of the bottom of the first floor, the shingles have been built up sp that they curve out slightly at the bottom.

Timber is also used through the house in terms of trim, cabinetry and flooring. Metal elements such as aluminium and copper have been utilized for these purposes.

Stone There are many different types of tile and stone inside and outside.

Tile is used in all the bathrooms for the floors, countertops and in the showers. In the kitchen there are granite countertops with white tile on the wall. Stone is also used for the patio and surrounding walls.

Detail - Wall Construction

Detail - Chimney

First Floor Plans

References http://www.cs.bham.ac.uk/~pxc/refs/index.html Damp Proof Membrane System

Ground Floor Plans

Sheetrock Sketch

The Retreat Arthur’s Seat

Architectural Design 1 January 2009

Design Brief Find a site. Create a narrative. Consider occupying that site, and defining the occupation. Begin by exploring the relationship between person and the surrounding landscape. Map out the movement to a site and then the program, which takes place there.

How does the journey influence action and materiality. Develop and explore / express the retreat in spaces, materials and images. The development process of the narrative is evident through images, spaces, drawings, and models.

Design Summary The structure had to be a reflection of a ritual practiced at the site.

The narrative of the retreat could be seen as the movement to the site of which the space develops. The journey to the location is part of an escape from the city itself to a quieter place. Informed by the movements of the ritual the structure itself is meant to be a place to go for this activity and its design should come from the actions and feelings of the act itself. The structure sits at the top of the crags overlooking the city. Its form has been influenced by the geology of the site itself.

Learning Outcomes •An ability to explore an architectural idea from intention to proposition.

•An appreciation of the relationship of buildings to their physical and cultural context.

•An introduction to the dialectic of outside – inside.

•An understanding through investigation of human dimensions, and an ability to apply measures of size, scale, proportion and dimension.

•An ability to further investigate materiality, tectonics and form through a simple design.

•A basic understanding of the methods of construction inherent in the design and construction of buildings with specific focus on construction/building processes.

•Consideration of how temporality, light and materiality can effect a design.

•An ability to explore the fundamental issues of why, where and how to build.

References Ballard Bell, Victoria and Rand, Patrick, Materials for Architectural Design, Lawrence King publishing, London, 2006.

Zumthor, Peter, Atmospheres, Birkhaeuser.

Richardson, Phyliss, XS: Big Ideas, Small Buildings, Thames and Hudson, London, 2001

Structure Sketch

Site Sketch

Location Sketch

South Elevation

South Elevation

Crags Sketch

Crags Sketch

Machette

Model

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Essay Regents Park vs New Town Essay Brief Compare John Nash’s urban planning in London with contemporary developments in Edinburgh.

Essay Summary The Eighteenth & Nineteenth centuries saw great change in Britain’s two most important cities. London and Edinburgh were redeveloped and renewed to meet the modern times. These capitals took on massive urban planning revitalization because they lacked the grace and beauty that they needed. In Edinburgh the young Architect, James Craig designed the New Town, the biggest most coherent Georgian project ever built. While in London, a few years later, Architect John Nash revitalized the centre of the city from a dirty metropolitan sprawl to a picturesque centre of power and importance. Although both projects redeveloped the cities in different ways, I think they enhanced both cities to compete as two of the important in the world.

Central London needed to be gentrified in the 1700’s to convey power and grandeur. Architect John Nash planned to redevelop Marylebone and Regents Park to reflect the growing affluence of London. The Marylebone area to be redeveloped to ensure the future of London’s crown estates. The design of Regent Street was for a majestic parade of lavish buildings mostly residential on the north side and mostly commercial on the south side. The construction of Regents Street was extremely difficult because many buildings had to be demolished to make way for the road and the new buildings, thus private property disputed and arguments arose.

Architectural History 1 February 2009

fixed. Robert Adam to enhance Craig’s basic design for Charlotte Square. The exteriors of the buildings reflected those of classic and conservative palaces. In the years following the completion of the original New Town, new phases of construction started on the North side.

John Nash’s urban plans for London and those by James Craig for Edinburgh are different in that London redeveloped a depressed area while Edinburgh built a new city on an undeveloped site.

However, the two urban designs are similar in that they were both catered to the upper class. Both projects brought the cities into modern times and helped reflect the power and wealth of the cities.

References Davis, Terence. “London Transformed.” John Nash: The Prince Regent’s Architect. Trowbridge, Wiltshire: Country Life Limited, 1973.

63-82.

Davis, Terance, and Sir J Summerson. “Palaces Town Houses and Metropolitan Developments.” Architecture of John Nash. London, 1940. 99-146.

Summerson, John. “Metropolitan Improvements.” John Nash: Architect to King George IV. 2nd ed. London: George Allen & Unwin Limited, 1949. 170-81.

Hay, George. Architecture of Scotland. 2nd ed. Stocksfield [Eng.]: Oriel P, 1977.

Summerson, John. Architecture in Britain, 1530 to 1830. New Haven: Yale UP, 1993.

Old Town + New Town

The idea for Regents Park was to use the existing geography to create a feeling of the English Landscape in the city. The natural state of the park was one of the most important aspects of the revitalization in his picturesque design. Park Crescent was the focal point of architecture in Nash’s plan for London because of its symmetric and formal design.

The Age of Enlightenment and it brought many changes to Edinburgh. New money, power and an explosion of intellect brought great change to Edinburgh itself with the construction and expansion of the city. The Old Town didn’t quite suite the modern people. . In 1766 the city held a competition for the design of a “New Town” to consist of mostly residential buildings for the elite and upper class. Young Scottish architect James Craig won the competition with his simple axial layout of a mostly residential suburb. The New Town was completely new with little existing context, thus Craig was able to design this perfect layout without ignoring existing urban design issues that needed to be Regents Park London

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Presentation Brasilia Presentation Brief Describe the planning and development of Brasilia, Brazil, focusing on its strong and weak points.

Presentation Summary The idea of relocating Brazil’s capital from Rio de Janeiro to the territorial centre of the country had been brought up many times by multiple leaders over a few hundred years. Finally, however, when Juscelino Kubitschek became president in 1955 he made the brave promise to take action and build Brazil an entirely new capital in a short amount of time. During the first year of his presidency he commissioned various planners to scout the interior of the country for a new location. In October of that year he travelled to a high prairie in the central region of Brazil where he made this promise to the Brazilian people: “From this central highland, from this lonely place which very soon will be the head office of the main national decisions, I see the future of my country and I can foresee, faithfully, a new dawn for my homeland relying on its destiny” This project was a monumental campaign to build an entire city in the rural middle of the nation, hundreds of miles from any civilization. With this project the President wanted to stimulate the national industrial economy while connecting, for the first time, the interior regions together via new highways and transport systems. He also saw the chance to bring progress to these inland areas where farming and ranching had previously been the primary focus.

Architects After the location had been chosen the President commissioned well-respected architect Oscar Niemeyer to arrange a competition for the design of Brasilia. The winner was Niemeyer’s old master Brazilian architect Lucio Costa. Costa went on to design the layout of the city while Niemeyer designed many of the key buildings.

Design In the architect’s minds, the basic idea of Modernism was that random development led to disorder while centralized city design could make an ideal society. In the case of Brasilia’s plan, function was primarily aesthetic and symbolic, but not practical. Costa’s design became known as “The Pilot Plan” which was made to conform to Corbusier’s letters of Athens, which embodied the ideal qualities of a city. The intent was for Brasilia to be a park city where everything would be separated by vast green spaces and parks.

The cities monumental scale was intended to provide Brasilia with the dignity of a capital city of the modern times. The layout strongly reflected special sectors of the city, for example, the entertainment, commerce and retail sectors. It was important that the residences were separated from the workplaces and the industries be excluded from the city center. The two wings of the plane design of the city held the residential sectors primarily consisting of apartment super blocks. These buildings were grouped in an orderly manner and were supposed to serve as miniature neighborhoods.

Although wide-open green space should have been included among these building to truly mirror Corbusier’s ideals for a city, these areas did not. However each group for four superblocks did share

Architectural History 1 March 2009

a church, high school, film house, youth club, children’s play areas and ample parking. Multiple commercial buildings were also inserted between various residential blocks. While Costa designed these residential areas and the overall layout, Niemeyer designed a large number of buildings including the National Congress, the Cathedral of Brasilia, various residential buildings and the Presidents house.

If viewed from above, the city is seen to have multiple elements that repeat themselves in every building giving the layout a formal harmony. Thus, the design of Brasilia was built in striking form.

Successes Although Brasilia is mostly seen as a failure, there are certain aspects of the new capital, which have been good. Not only did the construction of Brasilia help to unify the country but it also provided a source of pride and hope. The city not only connected the rest of the country together with its central location and immense highway network, but it provided a development center for Brazil to expand westward.

Brasilia Marketing Concept

The ‘Pilot Plan’ Masterplan

Failures President Kubitschek managed to pull off his promise of a new capital in just four years. However when the city was inaugurated there were no inhabitants and no completed roads leading to the city. A permanent living population trickled in over a period of a few years. As for the city itself, the design had a socialist ideology.

In Brasilia all apartments were owned by the government and leased to its employees, who made up most of the cities population.

There were no upper class districts or wealthy suburbs, just identical apartments shared by both common laborers and top ministers. The superblocks of apartments were also meant to be small communities but over time none of them held the ideologies that the architects did when it was designed. The homes had no individuality to them and were virtually unchangeable. Brasilia as a whole was a city built for the car, not the pedestrian, so there are few opportunities for people to walk anywhere. Almost every street is virtually a superhighway and finding an address is difficult because most of the buildings look the same.

The airport was built first as there were not highways to the site

Residential Sector Divided by Highways

Conclusion In conclusion, over all I think that Brasilia was a sort of failure because this planned city was not designed to change over time.

It was simply the material realization of a utopitarian design and in reality it did not work. As a result, numerous new towns and suburbs have been developed around the city itself to accommodate people in more typical urban environment.

National Congress of Brazil

References Almandoz, Arturo, ed. Planning Latin America’s Capital Cities.

London: Routledge, 2002.

Holston. The Modernist City: Architecture, Politics and Society in Brasilia. 2nd ed. Chicago, Illinois: Chicago University P, 1989.

Andreoli, Elizabetta, ed. Brazil’s Modern Architecture. Vienna: Phaidon P, 2007.

Lucio Costa1902-1998 Designer of Brasilia layout

Oscar Niemeyer 1907- present Designer of key Brasilia buildings

Cathedral of Brasilia

D T+E CC C MP+L

Thermal Environment Royal Obsevatory Assignment Brief Design a simple home on the property of the royal observatory and detail its construction and materials. Then research the thermal properties of the construction systems you have selected and also calculate some areas and sizes of key building elements. Following this, you will calculate (with the aid of our thermal performance spreadsheet) your buildings energy consumption over a year, its projected heating costs and its carbon footprint. Finally you will be asked to reflect on your design strategy and demonstrate quantitatively how to improve the thermal performance of your building.

the bathroom and kitchen. The structure of the house is a simple rectangle. I think that having four exterior walls is good because more walls would allow more energy to escape. When it came to the design of the roof I considered the house’s north south position.

I gave the structure a pitched flat roof angled so that its captures maximum northern light entering the large windows on the back of the house. Finally I would construct the house with a timber frame.

Assignment Summary

Stage 3 Predicting Performance After calculating my buildings thermal response I saw that the structure had a fair SAP rating of 79. This rating was devised by the combination of the amount of glazing on the building and the thermal systems I employed for the building based on their efficiencies. I choose to have an open gas fire, a gas boiler and no secondary fire to heat the home. The SAP rating could however be improved by changing the thermal systems and devices. Considering how I spent time thinking about how to arrange the windows so that there is was more north light I am surprised that the SAP rating wasn’t higher than it is.

Stage 1Design The cottage is one story. It is 40m2. The plan has been outlined with a bedroom, bathroom living, dining and kitchen. All internal spaces are outlines with windows.

Stage 2 Select + Specify After visiting the site and then looking extensively on Google Earth at its geography I decided on a location for the house so that it takes best advantage of the site. The house itself is situated so that the main rooms are at the back or north facing. I arranged the rooms in this way essentially based on maximising northern light.

They also have the best view of the city of Edinburgh. There are also multiple large windows on the back of the house to take full advantage of the light. On the front of the house, which is south facing, there are smaller windows which service spaces that don’t require a great deal of sunlight to make the space work such as

Building SAP rating: 86 Building CO2 emissions: 857 Dwelling Emissions Rate DER: 21

The strategy employed to reduce your buildings CO2 emissions by 10%. I was successfully able to reduce my buildings CO2 emissions well over the target of 10% from 857 to 709 KgCO2/year. This was accomplished by rethinking the heating systems. Originally I had an open gas fire, a gas boiler and no secondary fire. Now the house has electric storage heaters, condensing gas boilers and a closed

Technology + Environment 1 March 2009

gas fire. Now the SAP rating is 86, which is much better and more environmentally friendly. Furthermore, outside the heating systems we could pick for this assignment the house could also include solar panels on the roof. I actually designed the roof for this by angling it so that it is south facing. Thus solar panels could acquire a lot of carbon friendly energy for free. Because of the geographical nature of the site and its heavy wind, small turbines could also be added to the property on areas of higher elevations. I am satisfied with the improvements I was able to get after the heating system adjustments.

New Building SAP rating: 86 New Building CO2 emissions: 709 New Dwelling Emissions Rate: 18 Learning Outcomes •Understand the key concepts that underpin the thermal environment of buildings and be able to apply those concepts to design a simple building scenario.

•Acquired research and analysis skills in the selection of constructional materials and systems.

•Able to demonstrate an ability to manipulate numerical data and then reflect on its implication in relation to building design.

•Gained skills in communicating both graphic and written information simply and effectively.

Elevations

Detail - Roof

Location Plan

Sketchup Model

Plan

Detail - Wall

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Home + Work Place Old Town Brief This project was an investigation into the relationship between a place for living and a place for working, contained in one building in the Old Town of Edinburgh. It has a multi-layered programme with space for a family and a place for an artist to work. In addition, we redesigned the public garden on the site. Consider and interpret issues of public and private. This project is set within a specific and interesting urban context, which is understand and responded to in an appropriate and imaginative way. The building is for an artist and her small family. It operates both as a family home and a studio.

The artist lives with her partner and two young children, aged 8 and 12. She works full-time in the studio and employs a child minder for a part of the afternoon. Her work requires space for the making of painting and sculpture, as well as for entertaining small groups of visitors and showing work. The family accommodation and the studio are sufficiently separated to allow for the artist’s concentration, but not so much that all contact is cut off.

Architectural Design 1 March 2009

Location Plan

Site Photos

Section

Gallery Staircase Second Floor Plan

Design Summary The intended activities have informed the space, structure and materiality of the scheme. This project is provided with a narrative of how the building may be used. The spaces are situated so that the house dominates the western portion of the site while the gallery cantilevers out over the garden in the center of the site. The studio sits atop the house and is entered either from the gallery of the house. The orientation of the gallery and studio is as such to maximize light and views. The building’s and garden’s articulation has been informed by the buildings relation to its context.

Relationship of Spaces The emphasis of this project has been relationship between spaces; public/private, individual/collective, working/living. Spaces present in both categories have been identified. These spaces question ideas on boundary and movement from one place to another. This can be investigated through your use of materials, and their structural implications. Consider how you might differentiate one space from another: a solid wall, different ceiling heights, different floor levels, translucent or moveable walls, change in material, change in how the light comes in, and any number of other things you may choose or discover.

First Floor Plan

Light and Materiality Natural light has been exploited as much as possible for the gallery and studio spaces. Parts of the site do have limited sunlight, thus bedrooms and bathrooms are located around them.

Construction, Materials and Detail The traditions of materiality in the existing context have supported the stone facades of the building. The various adjacent precedents have inspired these uses of stone timber and metal.

Sections

Ground Floor Plan

D T+E CC C MP+L

Home + Work Place Old Town

Architectural Design 1 March 2009

The ‘Thick Threshold’ Architecture contains a number of essential zones of transition – between the public street and the domestic interior, between exposure to the elements and shelter, between the more public and private domains within the dwelling. These zones, essential parts of traditional architecture everywhere, mediate between disparate areas, and mark the always-significant point of entry. They make potentially abrupt transitions commodious and comfortable, and render urban life more civilized. The thick threshold is something which modern architecture, with its emphasis on utility and stripped-down form, has often done poorly. One of the objectives of this project was to think carefully about, and to design such ‘thick thresholds’ with generosity and grace. It was this thickness that we were encouraged to play with and interrogate typical understandings of ‘public’ and ‘private’.

The Garden Approximately half of the site area will become a new urban public garden. The site is a one-time Geddes garden, which is currently a nature reserve under the auspices of the Scottish Wildlife Trust.3 Our aim will be to transform it so that it can accommodate both wildlife and people in a pleasant and safe environment. The availability of sunshine is a primary consideration in the layout of the garden and the building on the site. There will also be some transitional outdoor space, mediating between the public and the private domain.

Learning Outcomes •Learn to interpret and respond to an existing urban and cultural context in architectural design.

•Design a small building and garden to a relatively high degree of resolution, including a grasp of basic structural and technical principles •Develop an ability to integrate plan and sectional design through an investigation of architectural spatiality.

•Investigate the dialectic of individual and collective, particularly through the lens of the ‘participant in the urban setting’.

•Consider the interface and definitions of the ‘public’ and ‘private’ domain.

•Develop a further understanding of the significance of public/ private, back/front, inside/outside and threshold.

•Further develop and benefit from group-working skills.

References Le Corbusier and Pierre Jeanneret, Oeuvre Complète 1910-1929.

Edited by W. Boesiger and 0. Stonorov. Zurich: Girsberger, c. 1929.

Reprint. 1964 Frampton, Kenneth. Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth-Century Architecture.

Cambridge, Mass.: MIT, 1995.

Axonometric

Models

Year 2

Chair AD2

Body Survey AD2

Pope Nicholas V AH2

Room AD2

A Well Temptered Environment T+E 2

Skills Seminar AD2

Advocates Close AD2

Paris Hotel AH2

Adapting Environments T+E2

Collectors House AD2

Dance Center AD2

Barcelona Survey AD2

Reading Seminar AD2

Glasgow vs Edinburgh AH2

Tron Gate T+E2

Run Lola Run AH2

Structure T+E1

Architectural Design 2

Technology + Environment 2

Architectural History 2

•A basic understanding of contemporary issues in architecture and urbanism •A critical understanding of issues related to the public and private domains.

•A further understanding of design principles and theories.

•An ability to develop and to communicate an architectural idea and response to site from intention through to a coherent architectural proposal.

•An understanding of the way research and development of a brief can inform an architectural proposition •An ability to consider, select and articulate material, structural and constructional aspects of an architectural proposition •An ability to research, analyse and form a considered judgement about the qualities of a design.

•An ability to communicate effectively, both verbally and visually, using appropriate media to convey and to critically appraise the particular qualities of a design.

•To acquire an understanding and knowledge of the principles of building structures, environmental design and construction methodologies.

•To apply these principles to: human comfort and well-being, a sustainable future, the natural world, material use, process of assembly and structural principles •The ability to employ such knowledge and understanding in the student’s architectural design proposals and academic portfolio.

•Further development of an understanding of integration and inter-relationship of building fabric, building fabric, environmental performance and design theory.

•Students will acquire useful historical information and critical understanding of the architecture of the cities chosen.

•Of particular importance will be their understanding of connections between architecture and prevailing social, economic and political circumstances.

•Through case studies, they will trace the evolution of the modern city, both as a continuing and evolving response to utilitarian demands and as the emblem of civilisation.

In Place Body

Architectural Design 2 September 2009

Brief Survey the body. Take a trace of your body that records the quality of a bodily gesture. Make a drawing that enjoys the quality of its medium. Use inventive media (assemblage, charcoal, casting, collage, clay, digital video, drawing, film, lighting, paint, photography, printing, projection, rubbing, sound recording, etc) to take the trace, recording the particular character of the body and pose.

Summary The approach to this movement record was based around the spine. The constantly changing pressure points on the back as one moves from one position to another were documented through various diagrams.

Project Partners - Kate Menshikova, Lazar Vukadin

Spinal Movement Survey

Spinal Movement Survey

D T+E CC C MP+L

In Place Seat

Architectural Design 2 October 2009

Brief Design a seat that supports the body for a particular activity. Design a seat that enjoys the particular character of its construction method. Use the Body Survey to inform the design of the seat.

Consider how the seat records and / or modifies the position of the body. Use the seat to support a domestic activity – dining, reading, writing, relaxation etc . Produce Layout and Assembly drawings of the designed chair at 1:1 and a 1:5 maquette. Make a composite 150 dpi 2100 x 900mm jpg image that includes trace, survey, and chair design. Select 2 components from the seat to fabricate.

Fabricate the two components and their junction at 1:1. Photograph.

Make a composite 1:1 drawing combining the two surveys and the design of the seat. Photograph the components. Make a composite 150 dpi 2100 x 900mm jpg image that includes trace, survey, chair design, and component fabrication.

Summary The design of this seat is primarily a reaction to the body survey, which documented the various pressure points on the back.

Structurally this chair, which is intended for relaxing, only supports you in the necessary pressure point locations. Comprised of seven pieces, the supporting pieces are intended to maximize comfort in the ideal relaxation position.

Project Partners -Kate Menshikova, Lazar Vukadin

Spinal Movement Informing Back Support

Conceptual Movement of Spine as a Chair

Chair in Final Form

D T+E CC C MP+L

In Place Room Brief Design a room that supports a particular activity. Design a room that enjoys the particular character of its construction method.

Draw 1:20 plans and sections of the room and make a 1:20 model of the room. Construction methods from the seat components might be employed in the model construction. Consider using a cast material, to describe the positive and negative spatial character of the room.

Architectural Design 2 October 2009

This study of different time periods has informed general rules, which inform the way main living spaces operate. We took these principles and created a space that best exemplifies this circulation.

Comprised of a kitchen living and dining space, our room grew from the geometric orientation of the triangle.

Project Partners - Kate Menshikova, Lazar Vukadin Circulation Diagrams of Historical Living Spaces

Summary Room Movement Precedents. Throughout time, different architectural styles have resulted in a diverse range of basic domestic arrangements. A study of various periods documented the differing ways that people flowed through these spaces.

Ancient Egyptian House The tripartite house is divided into three sectors, the entrance rooms, the reception rooms and the private rooms. These divisions created mall rooms, which were accessed by walking through the room before it. The private rooms were furthest from the social entrance spaces.

Classic Roman House Classic Roman houses were divided into two parts. The first part grouped around the atrium, the second around the colonnaded garden. These two areas were open to the sky to allow for air circulation and for the collection of water. All of the rooms in the house were built to only serve one purpose and were situated around the atrium

Model Sketches of Room Circulation

Georgian Cottage This symmetrically arranged house creates a rectangular motion.

Georgian townhouses on the other hand are not centred on the front door but still exhibit a symmetric and formal layout, thus the rectangular movement remains Queen Anne Style New technologies allowed for large interior spaces. Asymmetrical room layouts resulted based on individual preference. Rooms simply flowed from one to the next.

Room Rendering

Traditional Japanese House The concept of different rooms divided by walls doesn’t fully exist.

The sequence of spaces is in constant change because of the user’s ability to the move non-structural walls around. These walls also act as windows and doors. The floor is like furniture and walking is not encouraged.

Open Plan House The main living and social spaces have now been linked together in one large open space instead of being disconnected. This allows a very open and liberal flow through the space. Corridors and walls no longer solely dictate movement.

Room Rendering

Plan and Section of Room

D T+E CC C MP+L

Essay Pope Nicholas V Essay Brief Discuss Pope Nicholas V’s actions and motives in improving Rome and the Vatican during the fifteenth-century.

Essay Summary The city of Rome went through enormous changes in the fourteen hundreds. Vatican City was empty as a result of the papacy moving to Avignon a few decades earlier and the ancient classical buildings of the great Roman Empire were being neglected by a dwindling population of only seventeen thousand. After years of high tension in France, resulting from royal bureaucracy, the papacy finally moved back to Rome in the early fourteen hundreds. This moment marked the beginning of the transformation of Rome. During this time the wealth of the papacy grew from increasing income all over Europe.

This wealth was put towards supporting the Papal States in Italy, as well as financing the churches aims for improving the urban landscape of Rome. Thus, a time of peace and increasing prosperity began. The papacies from Martin V (1417-31) to Sixtus IV (1471-84) predominantly led the Renaissance revolution.

Pope Nicholas V (1447-55) came to power with a methodical humanist plan to beautify and modernize Rome. He believed in the representation and celebration of faith through monuments.

Immediately following the start of his papacy he had two palaces built in Capitoline Hill to house the senators and conservators of the communal government. After this he directed his focus towards an immense plan for Rome, which consisted of five main aims. This restoration project included, an overhaul of various infrastructures, renovating the forty station churches for Lent, redesigning the area of Borgo, enhancing Vatican Palace and revamping St Peter’s so that it became the centre of the Christian universe. Even though Nicholas V died early, resulting in some of his projects not being built, he set the leading precedent for improving Rome and the Vatican.

His projects included, basic infrastructure, city walls, bridges, water system, Castel Sant’Angelo, Ponte Sant’Angelo, Ponte Milvio, Acqua Vergine aqueduct, Trevi Fountain, Santo Stefano Rotunda, San Teodoro, the redesign of Borgo, the vision of the expansion of a grander Vatican.

After researching Pope Nicholas V, I have concluded that even though Nicholas V died early, resulting in some of his projects never being built, he set the leading precedent for improving Rome and the Vatican. In the years before Nicholas V, Pope’s Martin V and Eugenius IV laid the groundwork for a transition period in Rome.

They built city walls and allowed for redevelopments to start on dilapidated buildings. Their influence on the urban landscape was minimal. Nicholas V, however, used his position of high power to bring change to the city through his five goals. When Nicholas V died, some of his plans were scrapped and others were put on hold. The Popes who immediately succeeded Nicholas, such as Pius II and Paul II, were influenced by his mentality of adding to the built environment with a few projects outside Rome, but did not contribute to the same extent.

Architectural History 2 October 2009

It wasn’t until Pope Sixtus IV (1471-84) came to power that Nicholas V’s plans and ideals were carried out. Sixtus IV had a few goals such as conquering threatening enemies such as the Turks and truly transforming Rome into a Renaissance city. The projects he planned and executed attracted many painters, sculptors, artists and intellectuals to Rome. In doing so he repaved many streets and routes, built replacement bridges and restored churches just as Nicholas had done. He initiated a building boom of lavish palaces all around Rome when he changed laws regarding cleric property inheritance. Before, when a person died their home was sold, but after changing the law the property was kept in the family. Thus, it became a smart investment to build family palaces. His biggest accomplishment was the addition of the Sistine Chapel with frescos by Michelangelo in Vatican City. Sixtus IV was truly the first Renaissance Pope because of change that he brought to the city of Rome, following in the precedent of the initiator of change in the fifteenth hundred, Pope Nicholas V.

Trevi Fountain

References Patrick, James A. Renaissance And Reformation. 1st ed. Marshall Cavendish Corp., 2007 Magnuson, Torgil. “The Project of Nicholas V for Rebuilding the Borgo Leonino in Rome.” The Art Bulletin 36.2 (1954): 89-115.

Stinger, Charles L. Renaissance in Rome. Vol. 1. Bloomington, IN: Indiana UP, 1998.

Borsi, F. Leon Battisti Alberti: The Complete Works, New York: Rizzoli, 1989 Heydenreich, L. Architecture in Italy, 1400 - 1500, New Haven and London: Yale University Press, 1996 Millon, H. & V. The Renaissance from Brunelleschi to Michelangelo, London: Lampugnani, eds. Thames & Hudson, 1994

Santo Stefano Rotundaon

Construction of the Vatican Library

D T+E CC C MP+L

Skills Seminar Plan/Section/Axo/Render

Architectural Design 2 October 2009

Brief Represent the Machintosh Hill House through a plan, section, axonometric and render drawings. This series of exercises was intended to improve out skill sets in hand drawing, computer drafting, modelling and layered rendering.

Render

Axonometric

Ground Floor Plan

Sections

D T+E CC C MP+L

A Well Tempered Environment Pavilion Assignment Brief The integration of programme, structure and services is critical in the production of architecture. This project was about applying the knowledge gained to design a simple pavilion building that is fully resolved in respect of its response to microclimate and building programme. We were asked to design building skins for the proposal that is adapatable, elegant, responsive and appropriate. The building proposal will be fixed as a simple footprint. This allowed concentration on the integration of building services and skin in a specific environment. The site for the project is George Square in Edinburgh. For the purposes of the project, groups will be given different building programmes that have implications as to their resultant environmental response. To provide further diversity, we have imagines our site in Kuala Lumpur to bring very different climatic conditions to the site.

We designed a simple pavilion within George Square Gardens. It has been constructed to meet a key short-term need. The building therefore can be constructed quickly, perhaps with a significant element of prefabrication. Its been positioned with regard to a microclimatic analysis of the site, responsive to the climatic zone you’ve been allocated. We must imagine George Square in Kuala Lumpur. The surrounding buildings have stayed identical but the planted species within the square are appropriate for the climatic zone.

We were asked to research the characteristics of site, location and building programme. We had to determine a strategy to locate the building on site especially in regard to anticipated microclimate conditions. Research the building programme, the building skin and the enclosure’s environmental systems. Make proposals as a group for the design of the pavilion that responds to building programme, the design of the building skin and its environmental response Assignment Summary The city of Kuala Lumpur has a year round, equatorial tropical rainforest climate. On average March is the warmest month and February is the coldest. The typical temperatures in Malaysia never exceed 90 degrees Fahrenheit and never drop below 74 degrees Fahrenheit. In terms of rainfall there is a monsoon season in the south west between the months of September to April. There are frequent floods during this period. There are several other factors which must be considered when looking at the climate of Kuala Lumpur. Primarily the issues of pollution in the atmosphere and how they might affect the rainfall and temperatures in the city. During the winter solstice the sun will reach 63.5 degrees above the horizon. During the summer solstice the sun will reach upwards of 90 degrees above the horizon. The typical length of a single day in Kuala Lumpur is near 12 hours. A survey was carried out in 2005 and it was discovered that urbanisation taking place in 30 urban centers in Malaysia including Kuala Lumpur place quite a profound role in altering the urban air temperature pattern. In 2002 it was concluded that large green areas had a positive effect on the temperature of the city. Areas with less plants always have a higher temperature. Furthermore the central business district has the highest temperature as a result of high rise development and high densities of people and construction.

Technology + Environment 2 November 2009

The design of an administrative office building in Kuala Lumpur requires attention towards the sun and heat. The outside temperature is constantly in the high 20’s all year. The roof of our building is slightly curved in an S formation angles towards the south.

This enables maximum direct sunlight for the roof solar panels. Also the shape allows for internal stack effect ventilation. The angle of the sun during the middle of the day is never less than 76 degrees so the small roof overhang prevents direct sunlight into the office space. The entire office is raised above the groundto easily prevent flooding during monsoon season.

Roof - Prefabricated wood panels.

Wall - Wooden panels attached to steel framed structure with no internal finish wall.

Floor - Raised wooden panel floor on top of steel frame structure.

Foundation - Concrete pilasters.

This choice of material combination acts to reduce the amount of thermal mass and aid the overall cooling of the building. The building skin is also a light cloured material to reflect as much direct sun light as possible. Thus reducing passive heat gain.

Location Plans + George Square Site Plan

Ground Floor Plan

Learing Outcomes •To acquire analytical skill in the critical appraisal of programme and location in respect of the environmental response of buildings and their immediate contexts.T&E1-4, D1 •The ability to formulate effective and appropriate strategies in response to building programme, the design of the building skin and environmental services. T&E1-4 CC1 •To gain skills in the clear graphic presentation of analytical and design information. C1-3 Project Partners - Niall Patterson, Murdo McDermid + Lazar Vukadin References Building Ventilation: The State of the Art by M. Santamouris Earthscan Publications Ltd Release: 2006 Natural Ventilation in Buildings: A Design Handbook by Francis Allard James & James (Science Publishers) Release: 1998

Ventilation

Sun/Shadow Pattern

D T+E CC C MP+L

The Parisian Hotel Elevations Brief Out client, Mademoiselle La Duchesse de Bouillon lived in 1715.

Paris She was previously banished to a lonely chateau near the Swiss border, by Louis XIV, for having a lover. After Louis’ death she happily returned to Paris and decided to build a home where she could pursuit her various talents such as reading, music and writing as well as grandiosely displaying her wealth and power in French society. For this group project we had to use precedent examples of Hotels to design a new home for her in the current fashion.

Following the group work I was individually assigned to developing the elevations for the project.

Assignment Summary Eighteenth-century Paris saw a rise in upscale construction. A new elite class of financiers and speculators grew during the years of Louis XIV’s reign. This emergence of wealth started various trends that took place during the late seventeenth century such as interclass marriage, new noble titles and unprecedented spending on real estate especially in central Paris. Many of these people moved into the city and began to emulate the lifestyles of the aristocracy by building large mansions in areas that were previously crowded and non descript. New neighbourhoods such as Saint-Honore and Saint-Germain on the left and right banks were popular locations for this new development. It was this time period that gave birth to the most representative French urban dwelling, the hotel particulier or hotel-entre-cour-et-jardins.

A central theme that was popular in terms of hotel design around this specific period was that of simple orders. Architect De Cotte, pushed this concept with the façade of the Hotel du Lude (1710).

While thinking about the elevations for our hotel design I looked at precedents that were built around 1715, which also followed in similar fashion to that of Hotel du Lude. My research focused on four hotels, which included the Hotel De Soubise (1704-9), Hotel D’ Estrees (1711-3), Hotel De Torcy (1711-5) and Hotel Matignon (1725). The final elevation designs samples various architectural elements from these four precedents. The elevations of our hotel had to follow a number of underlying architectural principles so that they represented the client as best as possible. The four underlying themes that I based our facade design on were formality, grandeur, strict symmetric perfection and reflection of elite socio-economic standing.

Architectural History 2 November 2009

Front Elevation The most important façade of the hotel is the front courtyard elevation. Rising from a broad terrace to increase the overall height, the long façade is organized into three advances. By eliminating overly decorative features the design allows for seamless differences between the large main advances.

Garden Elevation The elevation seen from the garden runs the entire length of the building and is not interrupted by protruding wings. Thus, it conceals the main courtyard, servants’ quarters and stables on the opposite side.

North Elevation

Courtyard Side Elevation The architectural forms of the courtyard side elevations are similar to that of the street elevation. The walls include concave bay arches symmetrically positioned with horizontal masonry to stress horizontality and broadness. A continuous balustrade was built along the roof to support the visual horizontality and hide the gently pitched roof behind.

References Dennis, Michael. Court & Garden: From the French Hôtel to the City of Modern Architecture, Cambridge, Mass.: MIT Press, 1986 Neuman, Robert. Robert De Cotte and the Perfection of Architecture in Eighteenth-Century France. Chicago: University of Chicago, 1994. Print.

Sutcliffe, Anthony. Paris: An Architectural History. New Haven: Yale University, 1993.

South Elevation

Project Partners - Kate Menshikova + Ben Wylie

Street Elevation

Site Plan

Street Elevation The design of the street elevation is most heavy influenced by that of the Hotel de Soubise. The “curb appeal” of the hotel needs to be extremely lavish so that the public knows that behind the entrance façade sits a lavish and elite home.

Decorative Detailing

West Elevation

Garden Plan

D T+E CC C MP+L

In Place Advocates Close Survey Survey Brief Make a survey of Advocates Close in Old Town Edinburgh. Make a qualitative survey that records the phenomena of the site. Gather the quantitative information required to make proposals for a site.

Make drawings and a model that holds the quantitative information about the site, and records the extent and relation of numerous phenomena on a site. Use inventive media to record the particular character of the phenomena in question. In groups make a drawing and a model of the site that records the extent and relation of the individual phenomena selected. Site drawings, plans and sections at scale 1:100. Site model. The model should be made exclusively of MDF and like-coloured card. The model should be at scale 1:100, and on a plinth. The drawings and model should record both the quantitative information required to locate the proceeding house proposal and any qualitative information recorded in the surveys deemed to be of common importance.

Architectural Design 2 November 2009

1745

1765

1784

1821

1831

1891

2009

1745

Stone Types at Site

Location Plan

1780

Site Levels + Air Space Zones

1784

Sections through the Site

D T+E CC C MP+L

In Place Collectors House Brief Design a Collector’s House on Advocates Close. Design a building that locates a collection of chairs and a range of public and private rooms on a particular site. Design a building that enjoys responding to the communicative limits of body, habit, context and boundary.

Prepare 1:100 drawings and a model (CAD or physical) and visualisations that present your design for the Collector’s House.

The Collector’s House must house a the collection accommodating public and private functions. The previously designed seat and room may form part of the House. Prepare a 1:100 exploded axonometric drawing of the boundary wall of the Collector’s House. Prepare a 1:100 CAD or physical model study to show the construction of the boundary wall.

Architectural Design 2 December 2009

Design Summary The layout of spaces for this project was all based on the movement through the site. Connecting Advocates Close to the New Step creates entirely new frontage facing north. This new route creates an opportunity for a lower level to interact with passing pedestrians.

This space, which has the most frontage, is ideal for a tall gallery space with large windows so that the Collectors Work can be seen by all, regardless of whether or not people choose to enter the building. Structurally this space is built into the hill and has a stone facade to make it look as if it is part of the existing environment.

The roof of this space is used as an open public stepped terrace, angled perpendicular to the close so that it feels more open and less confined in a densely urban crater. The public can enjoy the open feel in a part of the city which does not have any open gardens. The view of Princes Street and the Scots’ Monument can also be enjoyed. The Collectors House itself sits next to the garden on top of the gallery below. A separate private entrance connects the house to the close. These public and private outdoor spaces are defined by various level changes. As a contrast to the dense and heavy stone gallery below the house has a lighter construction. Its primarily a glulam framed structure supporting two floors of living space. The main living spaces (ie. Kitchen, Living & Dining) are on the top floor so that they can make use of the natural roof light and views of the New Town while the bathroom and bedrooms are on the lower level.

Learning Outcomes •Design a building that responds with invention and sensitivity to a particular physical context.

•Design a building that responds with invention and sensitivity to the demands of the human body.

•Design a building that accommodates a range of specified activities.

•Design a building that articulates a public and private programme.

• Design a building that fulfils a programmatic brief.

•Work as part of a team.

•Communicate architectural proposals with intelligence and clarity in a range of specified media.

•Demonstrate an understanding of the architectural challenges and opportunities posed by a particular physical context.

•Demonstrate an awareness of relevant histories and theories of architecture, as outlined in the programme handbook.

•Demonstrate an understanding of relevant building technologies and environmental concerns, as raised by the particular project.

First Floor Plan

Gallery Plan

Ground Floor Plan

Roof Plan

South Elevation

West Elevation

Site Plan

North Elevation

East Elevation

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In Place Collectors House

North South Sections through Building

Architectural Design 2 December 2009

Building in Context

In Place Collectors House

Circulation Paths opened up

Architectural Design 2 December 2009

Concept Sketch

Axonometric

Site Model Photos

Model

Adapting Environments Assignment Brief This project responds to many of the issues raised in the design programme. It has as purpose the effective integration of the various social, technical and environmental issues within the design.

Requirements of environmental performance for the private house and the small public museum housing a collection of chairs will justify the suitability of the different materials and systems chosen within the global architectural design. Requirements for the heating and ventilation of public and private rooms, how to deal with the constrained urban site provided, how to select materials and systems (constructional and services) that are appropriate for the context, how to deal with daylight to overcome overshadowing from adjacent buildings or how to design for flexibility, change and disassembling.

Part 1. Integrative Design Environmental Strategy.

Key Building Systems Adaptability both at Macro and Micro Levels Part 2. Adaptive Environmental Strategy Shearing Levels The Constructed Environment The De-Constructed Environment The Conditioned Environment Stone Facade / Wood Frame Construction System Stone facade along the base of the building utilizes an ashlar system. Many of the stones used have been recycled from the site. This sustainable practice of micro-local material prevents the transportation and mining of new stone.

Glulam Wooden Frame Construction System The primary structure is comprised of 500 x 500 mm glulam beams. This material allows for complex shapes. It is environmentally friendly, cheap to produce, maintenance free and corrosive resistant.

Garden Construction The rooftop garden is covered in sedum album because of its cold shadow conditions. This vegetation is low maintenance and reduces the heat loading on the building. It also prevents major water run off and filters pollutants such as carbon dioxide and is a good insulator of sound.

Technology + Environment 2 December 2009

Heating + Cooling This building has a selective conditioning system. The use of forced air and under floor radiant panel heating depends on the time of year. Natural ventilation is encouraged as much as possible. Triple glazed windows prevent heat loss and enable natural sunlight.

Planning for De-Construction Elements of the construction can be adapted to fit new needs. Most large elements from the facade to the glulam beans can be salvaged, replaced, reused and recycled.

Strategies for Future Re-Use of Wood + Stone Timber is often still in good condition following the redundancy of a building. Reusing these elements can save a tremendous amount of energy used to create new elements. These strategies prevent carbon pollution and prevent widespread deforestation and manufacturing. If wood is unusable then it can be broken down into mulch or compressed into chipboard. Stone can be reused as gravel or sand.

Learning Outcomes •To acquire analytical skills in the critical appraisal of the building constructional and environmental principles and their impact on building adaptation. T&E1-5 •Form integrative design strategies of architectural merit that have regard for and exploit environmental and ecological issues. T&E1-5 D1 •The ability to make relevant and comparative linkages between environmental design theory and an architectural proposition. T&E15 CC1 •To gain skills in the clear graphic presentation of analytical information. C1-3 References Kwok, A.G. and Grondzik, W.T. (2007) The Green Studio Handbook: Environmental Strategies for Schematic Design. Oxford: Architectural Press.

CIRIA (2004) Principles of design for deconstruction to facilitate re-use and recycling.

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Any Place Barcelona Survey

Architectural Design 2 January 2010

Survey Brief As part of a class trip to Barcelona, we had to record (minute / photograph) the architectural office KAW and visit a building site. As a group we made a qualitative survey of the phenomena related to the site. In this project the site was located in an area of Barcelona called Poble Nou. We had to make a quantitative survey of the site as a group to inform an architectural ambition. This quantitative information required us to make site drawings and a large scale model. When recording the phenomena of the site we had to consider the twin themes of movement and construction.

Our group prepared an A3 Index Booklet that collated the qualitative surveys produced in pairs. We then prepared a package of group site drawings: A0 Plan and Section drawings at scale 1:100, and a site location drawing at scale 1:500. A site brief recorded all specific constraints identified relevant to the site. The site model was made exclusively of MDF and like-coloured card at scale 1:100, and on a plinth that raises the site to +1000mm.

Survey Summary The site for the proposed dance centre is located on the Passage del Caminals, within the Poblenou district. In the second half of the nineteenth century an urban centre, essentially of an industrial nature, was established there, constituting a new district of Barcelona to the east of the old city. Until the 1992 Olympic Games, Poblenou remained cut off from the city centre by significant physical barriers. The area was established in the 1850’s, taking advantage of abundant underground water sources, and the easy access to the port. Poblenou was dominated by heavy industries, such as textile, metal and food mills. The brick chimneys of the old steam engines still remain, as do various pieces of industrial buildings.

Currently Poblenou is the scene of a major refurbishment scheme, called 22@ Barcelona. This masterplan establishes the criteria and terms for the conversion of the old areas into a new sector suited to the new forms of productive activity, based on information and knowledge technology. There is a vision for a new balance of urban, residential, productive and service functions, in which all are integrated into a hybrid fabric, constructed around the historical morphology of the sector.

Redundant Party Walls

Site Location within its City Block

Learning Outcomes •To become familiar with the city of Barcelona in order to make a building proposal situated in the city fabric.

•To become familiar with the contemporary architectural practice in Barcelona, through office and building visits, in order to make a building proposal that responds to the contemporary architectural questions and potentials.

•To document a site.

Project Partners - David Clark, Sally Collinson, Marietta Galazka, Kushboo Gupta, Sophia Humphries, Alexandra Kuklinski, Ross McArthur, Kate Menshikovia, Sionhan O’Boyle, Zoe Rigg, Bronagh Sweeney, Millie Tennant, Lazar Vukadin, Heidi Wakefield, Xiao Wang

Old street and alley grain beneath imposed grid

Original Grain

Street Intersection ‘Rooms’

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Any Place Barcelona Survey

Architectural Design 2 January 2010

Adjacent Elevations

Locating derelict pockets of space which are penetrable from the perimeter of the site

Sketchup Model of Site

Facade Fulfillment along the Grid

Any Place Dance Center Brief Design a Dance Centre on a site in Barcelona. Design a building that accommodates the practice and informal performance of dance, and establishes a new public space in the city. Design a building that enjoys the communicative limits of Movement and Construction, and responds to the specific constraints of a particular site.

Arrangement The new structure is composed of a series of parallel glu lam components. Overall, this internal skeleton system is completely separate from external structural system. Three programmatic volumes are internally defined. These are the dance studios, services (ie. toilets & changing rooms) and large open communal spaces.

Design - Retained Vacancy Derelict Existing Shell Redundant Facade Vacancy to be filled with new Dance Center Primary Glulam Structure System Dominating Internal Volumes (Dance Studios) Organization of Spaces Inform use of Existing Windows The building responds to dance by utilizing it to create a large social gathering space, which the neighbourhood lacks. Keeping the entire ground floor open continues the retained vacancy of the existing walls. The secondary studio sits at the back and can be closed off from the main area by an opening wall system. This space is also defined vertically by the structure that continues to the glass roof system above. The use of this ground floor will change constantly since the furniture for the café, reception and sitting areas is mobile.

New construction all takes place above the ground floor. The first floor includes the changing rooms and the primary studio as well as an outdoor space for seasonal dance sessions. The layout of these new spaces has informed the use of the existing window openings.

In the main studio opaque window screens cover multiple existing windows so that light can be made use of without the concern of onlookers below. The two dance studios have different relationships

Architectural Design 2 March 2010

with the sun. Thus separate roof systems have been used. The double height ground floor studio has a glass roof system and the studio on the first floor has a flat roof and a system of windows wrapping around the entire space on the second level. Throughout the rest of the building large window unites have been attached behind the existing window gaps instead of new windows simply being placed inside them. The only part of the existing façade that has been removed is near the chimney in the chamfered corner. It has been replaced with a curtain glass wall system so that the flow from the inside to the outside is clear and encouraged. This vague boundary can be opened to make use of and connect the inside to the public room. During the summer this area will become an informal dance space and can be easily enjoyed by the public. The new dance centre’s design is informed by the derelict and vacant nature of the existing building and is respectful to its industrial architectural past.

Learning Outcomes •Design a building that responds with invention particular physical context.

•Design a building that responds with invention demands of the human body.

•Design a building that accomodates a range of specified activities.

•Design a building that fulfils a programmatic brief.

•Design that displays an elemental understanding of its construction technology and a detailed understanding of a particular construction component •Work as part of a team.

•Communicate architectural proposals with intelligence and clarity in a range of specified media.

•Demonstrate an understanding of the architectural challenges and opportunities posed by a particular physical context.

•Demonstrate an awareness of relevant histories and theories of architecture, as outlined in the programme handbook.

•Demonstrate an understanding of relevant building technologies and environmental concerns, as raised by the particular project.

Development

Massing

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Any Place Dance Center

Architectural Design 2 March 2010

New Structure Slotted into Existing

First Floor Plan

North, West + East Elevations

Ground Floor Plan

Any Place Dance Center

Architectural Design 2 March 2010

Structural Section A

Structural Section B

Structural Section C

Birds Eye Render

Street Render

Internal Views

Any Place Dance Center

Architectural Design 2 March 2010

Component Brief Design the Principal Studio. Elaborate the tectonic and spatial qualities of the principal studio. Further develop and present the qualities of light, material, construction and space of the Dance Centre. Design a room that enjoys the part it plays in a larger construction, and the particular character of its own construction method.

Summary The existing shell of the building supports the glulam structural elements. A zinc roof sits on top. Between the top of the exisiting shell and the roof sits a rose of insulated glass panels flanked by frosted glass. These frosted panels sit in front of the old window openings so that pedestrians cannot see directly into the studio.

Main Dance Studio

Exploded Axonometric - Structural Components

Rendered Section - Structural Components

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Essay Glasgow vs Edinburgh Essay Brief Discuss the changing priorities of city planning in Glasgow and Edinburgh, from the time of James Barry and James Craig to that of Charles Wilson.

Essay Summary Glasgow and Edinburgh, Scotland’s two largest cities, are only forty miles apart but their urban fabrics have evolved completely differently. The current contrast in appearance between the two is the result of dissimilar architectural mindsets, which have been predominantly influenced by geography, economics and culture. In 1707, The Act of Union with England allowed Edinburgh to enter an enlightenment period of intellect and politics, while Glasgow experienced a boom of wealth, as it became Britain’s hub for transatlantic trade. These differing priorities influenced architects and planners such as James Barry, James Craig and Charles Wilson who began to drastically change the two cities. The new cultural environments of the seventeen and eighteen hundreds spawned distinct urban transformations in Glasgow and Edinburgh.

Charles WIlson Wilson’s buildings and designs were well in sync with the attitudes and ideals of the booming economic times. His attitude towards style was set in the classical and picturesque architectural language with close attention always being paid to the detailed skyline. These classical ideals created some of Glasgow’s most beautiful buildings such as the Neilson Institute’s dome, the Royal Bank building, the Royal Faculty of Procurators and Glasgow Academy. Charles Wilson’s most famous project was Park Circus. It was one of the most picturesque suburban neighborhoods in Glasgow. Not only did Park Circus inspire other architects, such as James Thomson Doune, but Wilson captured the architectural and sociological culture of one of Glasgow’s wealthiest and most sophisticated eras.

Architectural History 2 March 2010

of the reason why much of Edinburgh’s existing fabric remains is because the economic boom did not necessitate industrialized central quarters of the city to be created. The changing priorities of the seventeen and eighteen hundreds spawned distinct urban transformations in Glasgow and Edinburgh, which are evident today.

References Brogden, William A. The Neo-Classical Town: Scottish Contributions to Urban Design since 1750. Edinburgh: Rutland Press, 1996 McKean, Charles. Central Glasgow An Illustrated Architectural Guide. Edinburgh: Mainstream, Royal Incorporation of Architects in Scotland, 1989. Print.

Reed, P. Glasgow: the Forming of a City. Edinburgh University Press, 1993.

Sinclair, Fiona. Charles Wilson Architect, 1810-1863: a Question of Style. Glasgow: Park Circus Promotions, 1995.

Summerson, John. Architecture in Britain, 1530 to 1830. New Haven: Yale UP, 1993.

Walker, Frank A. The Glasgow Grid. Order in Space and Society: Architectural Form and its Context in the Scottish Enlightenment.

Edinburgh: Mainstream Publishing Company Ltd, 1982.

Edinburgh New Town Plan by Planner James Craig in 1776

James Craig James Craig won the 1776 planning competition with his New Town design for the new upper and elite class. The residential and commercial buildings were designed in a Neo-Classical order to reflect elegance and wealth not seen before in Edinburgh. Craig’s simple axial plan included two large squares with George Street running along the middle. The urban grain in the medieval centre and the Georgian axial plan in the New Town have been preserved.

Glasgow and Edinburgh are two examples of how cities adapt to these new priorities, one more radically than the other. Glasgow’s economic power began with trade and progressed towards industrialization. The new business class, which emerged during this time, reinvested their new wealth into the urban landscape.

Medieval Glasgow transformed into a great modern city with grand suburbs before again changing into one of Europe’s most important industrial centres. Glasgow continued to change well into the twentieth century, when social housing issues took priority. Edinburgh’s change was routed in political, intellectual and sentimental cultural attitudes. New money in the seventeen hundreds led to James Craig’s New Town being built next to the existing city instead of being superimposed over the old grain. Part Park Circus, Glasgow by Charles Wilson

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Reading Seminar Storefront for Art + Architecture

Architectural Design 2 March 2010

Essay Brief Discuss the boundary principals of New York’s Storefront for Art & Architecture by Steven Holl & Vito Acconci.

Essay Summary “From its founding, Storefront has been the most innovative, progressive and fearless gallery devoted to architecture in the United States.” - Michael Sorkin, Architecture Critic. In the traditional form the façade is the dominating physical characteristic of the buildings expression to the public. This design concept is ubiquitous and is rarely questioned. However, one of the bestbuilt examples contradicting this rarely challenged philosophy is a unique gallery space called the Storefront for Art and Architecture in New York City. Architects Steven Holl and Vito Acconci were hired to collaboratively design a new façade for the long narrow triangulated interior so that the space was more interactive with pedestrians. Because of the relatively small square footage the architects attempted to blur the boundary between the inside and outside and to increase usable space. They designed a new wall out of concrete and mixed recycled fibres, which was punctuated by twelve geometric panels. These panels differ in shape, size, orientation and either rotate vertically or horizontally. When fully closed they together act as part of the whole façade, however when rotated open they not only break up the façade and reveal the internal space, but they become exhibition walls themselves.

The flow from the sidewalk into the space becomes seamless because people are naturally encouraged to literally step through the openings and enter the building. The various exhibitions and showcases, lectures, film screenings and meetings that take place here are intended to create a dialogue not only among designers, but also the everyday people who experience the space while walking past the building. Designers are encouraged to take advantage of the rare conditions of the gallery space such as its triangular floor plan and its unique relationship to the street.

Since its completion almost twenty years ago the Storefront for Art and Architecture has become just as famous as some of the artists and architects who exhibit their work there because of its groundbreaking design approach. It is not just a simple place to hang paintings or display sculptures, but a versatile podium where exhibiting artists and architects interact with its form and blurred boundary.

Photos of the Storefront for Art + Architecture

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Architecture in Film Run Lola Run Presentation Brief Berlin plays a prominent and critical role in Run Lola Run. Consider what this role is. Examine the film with special attention to the cityscape delineated by the film, the urban spaces portrayed, and images of architectural landscape and landmarks. Consider what is being shown, when, and to what effect. Consider individual landmarks within the cityscape – map the film’s trajectory across the physical city Run Lola Run follows three alternate narratives - three different runs across Berlin following a similar route, each a different attempt

by Lola to get the money to Manni before one or both of them die.

Each run has a different outcome and each contains flash forward sequences showing the development of the lives of the people Lola encounters, and in each run how they are affected in different ways.

Landmarks The film does not include monuments familiar to Berlin Albrechtstraße, Die Oberbaumbrücke, Friedrichstrasse, Mauerstraße, Der Babelplatz, Gedarmenmarkt, The intersection between the Buchholzer Straße and Greifenhagener Straße, Schöneberg Rathaus, Intersection between Hussitenstraße and MaxUlrich-Straße, Intersection between the Osnabrücker Straße and Tauroggener Straße

Architectural History 2 March 2010

techniques throughout the duration of the film, each to great effect, in portraying the urban environment of Berlin in a specific manner pertinent to the situation which is unfolding. There are a number of common techniques used during each of the three alternate narratives; however, crucially there are subtle differences to filming angle, pace of movement, soundtrack used and even the reality in which the film exists. An important technique that Tykwer uses when filming Lola during her intense traversing of the cityscape is the camera angle and position selected. Tykwer chose to film this action predominantly in profile and eye height of Lola, thus, allowing the user to truly experience the urban backdrop against which the film is set.

Lola’s three runs

References Kosta, Barbara, “Tom Tykwer’s Run Lola Run and the Usual Suspects: the Avant-Garde, Popular Culture and History” in German Pop Culture: How Ameri- can is it? Ed. Agnes C. Mueller (University of Michigan, 2004) Lauer, Robert, “Run Lola Run at the dawn of postmodernity”, in: Studies in Media & Information Literacy Education 3:1 (2003) Whalen, Tom, “Review: Run Lola Run” in Film Quarterly, Vol. 53, No. 3 (Spring, 2000)http://www.tomtykwer.com Project Partners - Niall Patterson, Andrew Gillespie

Depiction of Berlin and its Cityspace in Film Videogame, cyberspace environment, deserted streets, artificial appearance, gridded pavement acts as a symbol of modernity, representing the structure of the metropolis. The speed and mobility achieved by Lola is made possible by the grid network of the city and linear dynamism of urban spaces. Utopia of speed is explored by portraying Berlin as an idealised core of urban mobility and communication, a network of fast connections and uninterrupted movement. The routes Lola follows are fictional because it would be impossible to pass all the places within 20 minutes. In this way, Tykwer presents to the viewer a montage of Berlin.

The Role of the Social and Architectural History of Berlin With each alternate 20 minute narrative, Lola hurtles from east to west Berlin, her entire actions are geared forward, towards her goal. The distinctly progressive motion of the film alludes to a new social desire, to renew and re-invent the contemporary city.

She passes a number of locations pertinent to Berlin’s history and particularly the east west divide, some of the references in the east are the Garnison Cemetery which is passed briefly at the start of each segment. She traverses the Gendarmenmarkt, a large square built in the late 17th century to house a market, it is surrounded by stunning neo-classical buildings which are dismissed by the camera as it frames Lola from above. Her race against time forces her to pass two significant border crossings thus creating a visual link between past and present.

Director’s Technique and Subsequent Effect Tykwer uses a number of carefully chosen cinematographic

Plan of Berlin showing the locations features during Lola’s runs

Screenshots from Lola’s three runs depicting Berlin

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Timber Structures Tron Kirk

Technology + Environment 2 March 2010

Assignment Brief The project assigned to us intends to add a new circulation platform (made out of standard solid section timber) which will improve the visiting experience, while being sympathetic to the character of the monument. We had to design a suitable structure in exposed timber construction that can carry loads from pedestrians and possible exhibitions of historic material or sensitive artefacts. This platform is a major insertion into the building and it must be constructed with care for its finished appearance and use. As the interior of Tron Kirk are ruins the platform needs to have a small impact on the surface and it must not compromise the appreciation of the existing archaeological remains.

Location When you first walk into Tron Kirk you stand in amazement at the stunning site before you. This initial reaction has informed our design by having a symmetric viewing platform at the entrance.

This will allow people to stand here and appreciate the building, the herringbone roof and the ruins below without distraction of an immediate imposing platform obstructing the view. The new platform initially goes off to the left and up. This area of the building has no ancient features and allows us the space for a staircase.

Once at the desired height of two and a half metres the platform continues parallel to the east wall until it turns and eventually leads to the back wall. The layout of the platform is designed to maximise the views of the ruins below. The structure has a minimal impact because the design allows for few columns resting on the ground.

Once the platform reaches the back wall there is a staircase down to the ground. We make use of the existing road from the original urban fabric of the site by allowing visitors to walk along it. This will give people a more engaging experience because rather than walking along a twenty first century tourist structure they can touch and feel the ruins of Tron Kirk. At the end the visitors exit the space through a different door than they enter. This will prevent awkward confusion of people exiting and entering the same door in a space that is meant to be enjoyed.

Timber Platform Render

Plan

View across entire space

Exploded Elements

Joints The joints used in our design were chosen so that their appearance is minimal on the structure. We utilize a wide varied of connection types. Mortice and tension joints were used where the struts meet the primary beam. Steel hanging brackets connect the secondary and primary beams. Steel plates are used to connect the railing columns to the primary structure. Synthetic resin glues the floorboards, which slot into each other to the beams below. Finally, screws and bolts finish the various connections.

Materiality We choose to build the structure of our platform out of spruce because it is strong enough for our spans and load and light in colour to contrast the darkness of Tron Kirks interior. This material allows for one column instead of four because its can hold larger loads. This makes the structure overall appear as being lighter. Sprice is also cheap and local. We have also used Douglas fir for the decking and railing to contrast the colour of the structure.

Railing Column Footing, Slot-In, Bolted, Metal Hoist Hanger, Metal Joist Hanger, Struit, Primary Beam Connection

Structural Details

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Structural Test + Competition Bridge Assignment Brief The objective of this project was to design, build and test a structure, made from timber, steel and various other materials.

It should be as light as possible and designed with strong lateral stability. The design process involved creating various test maquettes and studying them to establish the most efficient design. Beams and trusses were arranged based on the material strengths of tension and compression. The structure was then weighted and tested for its strength in the workshop. A hydraulic ram applied multiple pressure loads in equal increments until the structure ultimately failed. Theoretical reflections on the design and construction of the structure followed.

•Relative clearance of at least 150 mm above level of reactions at mid-span.

•Overall height of no more than 600 mm.

•Maximum overall width of no more than 200 mm.

•Means to accept load from load spreader applied at two point 155 mm apart.

Project Constraints •6 lengths - timber 24 mm square (1.0m long) •4 lengths - steel 244 mm wide (1m long) •String •Selection of nails, nuts and bolts •Wood glue •The structure was to be designed so it could carry a double point load over a span of 1500mm.

Technology + Environment 2 March 2010

Test Requirements •The structure should provide relative clearance of 150 mm above the level of the reactions at mid-span.

•The structure should not be wider than 200 mm at any point.

•The structure must fit inside the test rig in the Structures workshop.

•The overall height of the structure, from the bearing point to the load point should not be more than 600 mm.

•Load is applied at two points 150 mm apart and the structure must be designed to accept the load in this way. Load spreader available for inspection in the workshop.

Diagram showing members in tension and compression; arrows indicate internal forces

Design A simple truss triangular structure. Compression forces to the top create tension. The shape supports this stress. A span of 1500 mm is enabled with a series of diagonal spans. Bolted connections are used as effective load carriers.

Failure The primary reason for the structure’s failure was that one of the four main timber beams was warped, twisting slightly. As a result of this, the lateral stability of the overall structure was not even. When tested the compressive and tension elements did not interact homogenously. The existing weak state failed as a result when large forces were transferred through it. The beam failed at two points, thus the steel no longer held in tension. Thus the rest of the weight transferred to the other beam, which could not support it, resulting in an overall structural failure as the imposed load increased.

Bending Moment Diagram

Test Results As the pressure is applied there are cracking noises possibly from screws connecting tensile steel strips. Screws at the foot connection where tension and compression elements are being pulled into the timber by tensile forces on steel. Visiable bowing on main left compression elements. Sinking on both sides. Steel tension under lot of strain. Screws at base have disappeared at base of timber. Clear bow on right beams with steel plated joints beginning to seperate. As more pressure is applied, far left beam fails at two points. Steel is no longer held in tension as a result. All load on the left side is now transferred onto the remaining left beam, which has already begun to crack and also fails once an attempt is made at increasing the load on the structure.

Structure weight 27 N Strength to weight ratio 433 Span 1500 mm Test load max 290 kg

Detail of the central joint that uses screws to connect overlapping steel elements with the timber members and bolts to join the timber to each other.

Detail of screws connection between tension steel elements at the base of the structure

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Year 3 Junior Honours Becker Competition DO1

Softspace DO1

Concrete vs Steel T+E 3

Theory Journal AT1

Reflective Essay PL

Chandigarh AT1

SsD New York (Design Report) PL

Health + Safety PL

GreenbergFarrow New York PL

Curbed New York PL

Architectural Design Option 1

Technology + Environment 3

Architectural Theory 1

Architectural Design Placement: Working Learning

•Demonstrate coherent architectural designs that integrate knowledge of different architectural design approaches grounded in specified theoretical, cultural and physical contexts (D3) •The role of research and analysis within the development of a design brief and design approach (D1)* •Drawn and modeled (analogue and digital) strategies for site analysis, architectural design and presentation and their relationship to verbal and written modes of communication (C1 and C2)* •Processes of assembly in material form (TE5) And an ability to: •Work as part of a team (D4 and C3) •Reflect upon one’s own design work within a wider architectural design discourse (CC4)* •Critically assess design in spatial, aesthetic, technical and social terms (CC3)

•A greater understanding of the use of technology in contemporary buildings within a continually changing environment.

•To provide a knowledge base of contemporary building techniques and their application via a series of case studies.

•Understand the design and construction of the building envelope, structural frames and the use of manufacturing and prefabrication in construction.

•Students will be able to analyse and review contemporary construction methods and technology.

•Students will be able to make informed design decisions, integrating issues of building technology into their design work.

•The ability to demonstrate and analyse through careful argument how architecture fits within wider intellectual, social and global discourses •Knowledge of the theories of architecture and urban design, the history of ideas, and the related disciplines of art, and cultural studies, and their use in informing the design process •An understanding the ways in which architectural theory engages with different philosophies of human subjectivity, and hence with related ideas such as human well-being •Ability to engage in critical discussion and writing around the issues of architectural design theory • Verbal and written communication skills using appropriate media to clearly and effectively convey and critically appraise design ideas and proposals •General skills in critical scholarship and writing

•To gain professional experience in the workplace.

•To develop an awareness of the principles of business management and how an architectural practice operates.

•To develop an awareness of professionalism and the role of the Architects Registration Board.

•To gain knowledge of how buildings are designed and built in the context of architectural and professional practice and the framework of the construction industry within which it operates.

•The regulatory requirements, including the needs of the disabled, health and safety legislation and building regulations and development control, that guide building construction and occupation of buildings.

•The effect of analysis, research, context, budget and brief as they inform a design profession.

•To develop an ability to manage and appraise their own working practices, whether working independently or collaboratively

SOFT

Non-utilized boundary between Princes StreetDesign Option 1 December 2010 Architectural and Gardens identified.

OLD TOWN

FENCE

Users questioned how the non-utilized boundary effects their perception and usage of area.

We will focus during the semester on the varied and temporal spatialities of the public realm along and adjacent to Princes Street.

Shifting our attention from the hard boundaries that delimit the built environment and the physical form of objects, we will instead focus on dynamic forms of interaction that take place in space and occupy time. We ask whether ‘softspace’ – including material sensation, air quality, illumination, temperature, acoustics, scents, etc. – can be quantified, modeled, and articulated in a design proposition to create novel urban interfaces within selected sites on Princes Street.

CASTLE Princes Gardens the boundary that seprates Edinburgh Old Town and New Town.

PRINCES STREET

GARDENS

Site Analysis Non-utilized boundary between Princes Street and Gardens identified.

User survey conducted both in Gardens and along Princes Street.

How the boundary effects usage.

Users questioned how the non-utilized boundary effects their perception and usage of area.

Local. Walks through the Gardens as opposed to the Street twice a week to work because it is quieter and less crowded.

Local: “I come to the Garden as aften as I can. But people forget about it, it is underutilized”.

Tourists: “The Park is lovely, but access is to steep. There could be some developments, but it should remain as a ”Park”.

Tourist: “I am not going to the park because it does not look appealing”.

Local. Walks through the Gardens as opposed to the Street twice a week to work because it is quieter and less crowded.

Students are asked to design a small-scale ‘softspace’ architectural intervention that is open for mutation in time, while flexible enough in space to accommodate various meanings and functions associated with the interactions of different people. Taking into account public space as it is used as an available, but often unexploited resource for design innovation, we seek interventions that enter into play and dialogue with the urban field of intervention itself.

The specific aims and objectives for this survey + design •Explore different notions of space – that which is formally designed and regulated as well as that which is modified informally over time by public use •Learn from observing various uses of public space and to develop innovative means of analyzing these spatial practices as they occur and change in real time •Incorporate the course research in a coherent and precise presentation that conveys the modulated uses of public space and the performative aspects of the design proposition •Design a public intervention that is responsive to the social and cultural specificities of the site investigated and open to modification by various users •Professionally respond to a competition brief and deliver a coherent proposal within the timeframe allotted •Build on previously exercised analytical, communication, and presentation skills

NEW TOWN

VEGETATION

How the boundary effects usage.

The cave and the campfire. Where hard form (cave paradigm) can be defined predominantly in terms of frames and borders, ‘softspace’ (campfire paradigm) is marked by variable attributes that leak out of and into prescribed territorial settings. With this distinction in mind, we will pay particular attention to ways in which people appropriate urban space to meet their needs and desires.

Parts of urban space are softened, so to speak, to become less exclusive and more open to fluid interpretation or use in contrast to the world of planned routine and tight-fit function. Explore loose spatial organizations and improvised social occupancies of public space in Edinburgh, considering how an awareness of the tactical creativity of users can inform architecture design.

MATERIALITY

User survey conducted both in Gardens and along Princes Street.

TOPOGRAPHY

Location The site is situated along the axis of Castle Street continuing across Princes Street down into the western portion of Princes Street Gardens and up the mound to Edinburgh Castle.

SOFTSPACE - Adapting Program - Architecture Design Option 1

Softspace Brief ‘The street has its own uses for things’ William Gibson, Neuromancer

Site Analysis

Local: “I come to the Garden as aften as I can. But people forget about it, it is underutilized”.

Local (Student): “I don’t go to the Western Garden because it is too far away. I like to come through the Eastern part to get to where I’m going ”.

Tourists: “The Park is lovely, but access is to steep. There could be some developments, but it should remain as a ”Park”.

Tourist: “I am not going to the park because it does not look appealing”.

Local (Student): “I don’t go to the Western Garden because it is too far away. I like to come through the Eastern part to get to where I’m going ”.

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Site

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Softspace

Architectural Design Option 1 December 2010

Design Summary Utilizing Conjunction Castle Street is extended over Princes Street Gardens while the garden comes up to meet the street, thus breaking the barrier or connectivity. The project features a series of Ipe Plywood components. Each piece is comprised of either a 90° or 45° angle.

The two lengths on either side range from 500 mm to 2000 mm.

There are 24 resulting individual components.

Program The premise of this design is that it can be applied to any location, in any context, anywhere in the world. Programs can be designed for internal and external environments in both urban and rural situations. The simple angles and lengths have been chosen to best suite the human body in various positions lying, sitting and standing.

Thus, various elements from the grid of 24 different components can be selected, organized and designed to fit any desired program.

In Edinburgh’s case, the plywood creates two zones: the bus shelter and the garden area, which create countless programs that, can vary through time.

Connectivity + Movement

Learning Outcomes •To gain an understanding of issues involved in the various uses of public space – i.e., issues relating to the social, cultural, material, and architectural aspects of public space in the city center •To demonstrate the ability to conduct a coherent analysis of the selected site and an ability to incorporate the subsequent research precisely when developing the program for the design proposition •To develop innovative strategies for site analysis as well as for presentation of the investigation in both analogue and digital modes in addition to enhanced verbal and written communication skills •To learn to work efficiently and constructively in a team and individually •To critically reflect upon your own position – in spatial, material, technical, and social terms – relative to design work and to be capable of relating your propositions to a wider scope of architectural discourse *(see •To present and communicate the design project in a manner appropriate to the investigation, including drawings, diagrams, and models at various scales

Programmatic Density

Impact Diagram

Western View of Site

Softspace

Architectural Design Option 1 December 2010

SOFTSPACE - Adapting Program - Architecture Design Option 1

Suitcase ABSTRACT Model SUITCASE SITE MODEL

Axonometrics

NEW CASTLE STEPS

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Softspace

Architectural Design Option 1 December 2010

Component Scheme

Connection Detail - Axonometric

CONNECTION DETAIL - AXO

Connection Detail - Section

CONNECTION DETAIL - SECTION

New Bus Shelter

New Garden Seating

Sliding Component

SLIDING COMPONENT

COMPONENT SCHEME

New Castle Steps

7 There are three solid programs of this intervention.

The bus shelter, the adjustable garden seating and the castle steps. These three areas are connected with various elements, which can be adjusted to suite desired programs

Softspace

Street Render

Materirality Section

MATERIALITY SECTION

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Architectural Design Option 1 December 2010

Softspace

Time

TIME

Architectural Design Option 1 December 2010

Density

DENSITY

Moment

Plan

MOMENT

PLAN

Softspace

Architectural Design Option 1 December 2010

Material The plywood components are made of Ipe wood, which has a very high strength in all categories and is resistant to wood bending.

Ipe is a strong, durable, tough and resilient timber. It is extremely resistant to preservative treatment and has a very high resistance to all insect and fungal attacks. Existing materials such as precast concrete stones, which layout the sidewalk, and grass areas are utilized for the new pedestrian zones.

Position informed plywood components

45 and 90 Degree Angled Panels

Sizes of Panels

24 individual plywood components

Detail - Plywood Connection

Becker Competition 2011 Becker Formholz Competition, Germany February 7th -8th, 2011 May 24th, 2011 in Cologne, Germany May 25th -28th, 2011 10 awarded projects exhibited at Interzum product show in Cologne Germany, including 1:1 prototypes of each design proposal Frist Prise EUR 10,000 and realized 1:1 prototype Competition Brief The Becker Formholz Company in Germany is one of the world’s leading producers of formed plywood (Formholz). To celebrate their 75th anniversary, the firm is sponsoring an International Competition for young designers worldwide. The competition seeks innovative uses of formed plywood and aims to provide a platform for exhibiting the results to a global audience. The 10 winning schemes will be showcased at the international product show Interzum in Cologne, Germany May 25th – 28th, 2011. All submitted work will be documented in a published catalogue accompanying the product show. Although the Becker Company specializes in formed plywood used primarily for interior furniture, we will take this opportunity to speculate on how this material might be deployed to energize public settings in an urban context. In doing so, we hope to expand the uses of the company’s product and devise novel interventions along Princess Street in Edinburgh. Please keep in mind that while the sites investigated concern large-scale parts of the city fabric, your design project will be resolved at the small scale of architectural artifacts (i.e., urban fixtures or public equipment).

Eligibility

Architectural Design Option 1 December 2010

Audience

Market

Bus Shelter

Performace

Computing

Reading

Sleeping Eating

Subway Exercising

Sunbathing

Games

Gathering

Technical Stand

Waiting

Leaning Softspace cover

Any Context

Any Location

Anywhere in the World

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Architectural Theory Journals

Architectural Theory 1 December 2010

Journal Brief Diary entries on ten architectural theories. Provide critical discursive frameworks that inform an understanding of architecture and architectural design Demonstrate how architecture fits within wider intellectual discourses, showing what is at stake in those discourses Journal Summaries •Origin. Why did we start to build and cooperate as a society?

Golden Age, Silver Age, Purism.

•Hermeneutics and architecture. What do we mean by architecture? What does the building mean? What is it made of?

Why does it look like that?

•Vision and Representation. Classical vs modern representation.

Cartography and the truth. Representation today.

•Materiality. Being. Dasein. Time. Materiality and technology is based on a moment in time and the sense of dasein changes and become stronger as time goes on.

•Utopia. Traditionally. Humanism. Modern. A symbolic paradigm to built reality. It still plays a role today in conceptual thinking. Utopia has always had its place in human thinking but time and time again perfectibility has proved to be problematic.

•Metaphor. Giving a thing a name that belongs to something else. A small child has just seen a carrot “as big as God”. Using something to describe a building. Examples: The World, Dubai looks like Earth from above, Sydney opera house looks like sails and London Bridge Tower looks like a shard of glass. This is structure. Two views of Metaphor. Literalists + Inter-actionists.

•Production. All we know about architecture is based on big events and big building. Architecture is a story of production. Big stories about big production. Patterns of cause and effect in architecture.

Future of design thinking in terms of globalization. Globalization is the dominant story of production today. Peter Sloterdijk. 3 Books: mother and child, history of architecture & the manifesto of living in space-designed civilization. Bruno Latour. History is always focused on the BIG history moments. The world is made up of millions of little projects and people, then its full of unremarked successes of global regeneration.

•Domination. Are we dominated by the urban fabric around us?

Terry Gillian – ‘We cannot escape from reality’ Epistemology. Religion. Philosophy. Capitalism. Rationalism, Positivism. Rankfurt School. Institute for Social Research 1923 (Marxist). 1968 Higher education changed forever, powered by critical thinking/theory. Max Horkheimer and Theodore Adorno.

Is fashion dominating or liberating? I guess it’s a matter of hermeneutics.

Globalization

Utopia

Hermeneutics

The Frankfurt School

The World, Dubai

Bruno Latour

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Concrete vs Steel In Multi-Story Buildings Assignment Brief The aim of this assignment is to undertake a technology review and prepare a report on the comparison between steel and concrete in the use of frames in multi-storey buildings. It provides an informed assessment of the current technology and make reference to current products, improvements, innovations and applications. While investigcating concrete and steel, the report focuses on installation (pre-fabrication or on site construction), technical performance (what are the most important aspects of technical performance, structural performance, environmental control, weather tightness etc), speed of construction and complexity of construction (buildability), relative cost, design opportunity. How may the technology available influence design?

Case Study1: Tubular System Construction Sixty State Street, Boston - Skidmore Owings Merrill This is one of Boston’s tallest buildings. Its construction was possible because of its stiffened tubular framed exterior. The building uses different portions of the structure to respond to vertical and lateral loads. The exterior columns are designed to cantilever resisting lateral forces. The inner tube acts alone and carries gravity loads downward to the foundation levels. The exterior frame consists of closely spaces columns and deep spandrel girders. Together these elements support the entire overall weight of the building which including the curtain wall and interior fluctuating loads. The majority of internal loads are supported by the interior beam and column framing systems, which do not resist lateral loads. This system also provides the main support for the floor systems.

John Hancock Center, Chicago – Skidmore Owings Merrill This building was built using a ‘tubular system’, which consists of an exterior diagonal system and a concrete core to provide stability.

On the outside what you see are four vertical beams connected by a series of cross braces. The steel exoskeleton made construction cheaper and allowed the buildings to climb to record heights. The external cross bracing technique also allowed to open up the inside floor plan.

Technlogy + Environment 3 January 2011

Case Study 3: Structural Failure Torre Windsor, Madrid - Gabinete Alas-Casariego The Torre Windsor consisted of a reinforced concrete frame, which supported the first 16 floors. The reinforced concrete core continued in the upper levels, however the upper floors themselves were made of steel columns. To brace the entire building the 17th and 1st floor were built entirely of reinforced concrete. A fire broke out on the 21st floor and spread to upper floors through gaps made during refurbishment, thus planned compartmentation failed. During the 26 hour fire the upper half of the building, which was made of steel, warped and collapsed thus spreading the fire further. Although the building was on fire for a long period of time the overall structure remained in tact because of the reinforced concrete lower half of the building and the two technical floors.

Since the damage was so severe however it was not economically feasible to renovate, thus the entire building was disassembled.

World Trade Center, New York - Minoru Yamasaki The twin towers were built using a steel perimeter frame-tube system, which provided lateral resistance to wind. This is made up of external perimeter columns, central core columns and concrete slabs on steel bar trusses. The plane crashes caused significant structural damages. The tube-frame structures allowed for a redistribution of loads from the damaged zones to the remaining structure. Thus they did not immediately collapse. The spread of jet fuel however weakened the steel truss floors as well as all other material and debris in the area. After an hour or so, these steel elements all reached their melting points resulting in total collapse.

The strength of the perimeter columns and the composite floor truss system was reduced as the floor trusses weaken and sagged in the heat. In a multi-floor fire, it was expected the effective length of laterally unrestrained perimeter columns would increase at least twice or triple. As well as the direct thermal effects, the compressive resistance of these columns was reduced to a point, which could not sustain the loads from above.

World Trade Center, New York City

Case Study 2: Jump-Starting Construction The Shard, London – Renzo Piano Architects The Shard London will be the tallest building in Britain. It is a steel framed structure with a concrete core, which is being constructed using a new technique, which allows for cheaper, faster construction.

A novel method called ‘jump-starting’ was used to enhance the construction procedure and reduce construction risk. The concrete core and steel structure construction are built simultaneously with the basement level. This approach is very challenging on a constrained urban site and has never been used on a largescale project before. Jump-starting construction allows the core and steelwork to begin while the core is built downwards into the basement. Jump-starting also prevents the need to install a cofferdam and reduces the duration of the construction sequence by three months.

Sixty State Street, Boston

The Shard, London

Torre Windsor, Madrid

Sear Tower, Chicago

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Essay Utopia Essay Brief Using one or two specific examples, discuss some of the aims and consequences of utopian thinking in the architecture and urban planning of the twentieth century. Le Corbusier’s Modern Utopia: The Vision & Reality of Chandigarh Essay Summary Should citizens not be allowed to participate in building their own cities? Should individuality be blocked by strict uniform design regulations? Should policies with no local roots be enforced? These are a few of the ideals of the utopian city which when questioned, fundamentally weaken the concept and prove it unachievable. A small number of cities have been built during the twentieth century idealizing the utopian model, however in time they have proved to have as many flaws as successes. The reality is that design is relevant to its current age. Urban fabric cannot isolate itself from the changing needs as time progresses.

In the 1950’s, Chandigarh, India was built as a city of prestige and aesthetic ideal. Le Corbusier essentially developed it as a social utopia in modern understanding to break the static architectural state in India. Corbusier had always had a fascination with the utopian model. In years past he had made proposals, most famously the Plan Voisin pour Paris, which involved demolishing half of Haussmann’s nineteenth-century redevelopment. He redesigned the city with a series of urban sectors, all of which held different programs and monolithic skyscrapers. Although Chandigarh has a strong link to transportation in its overall layout the city is famous for the wide-open green spaces, which surround it, including Lake Sukhna. Corbusier had a strong philosophy of space, sun and quiet, which is echoed in the master plan of Chandigarh. He recognized the important role that landscape had in urban design. The inspiration for this entire concept was routed in the English Garden City movement of Ebenezer Howard.

Although Corbusier designed the master plan for his utopian dream city, he did not design all the buildings. With the exception of the High Court, the Assembly, the Secretariet, the Museum, the Art Gallery, the School of Art and the Lake Club, Corbusier left the designs for most other buildings to his colleagues. The majority of the housing, including each sectors three storey apartment blocks and the detached homes were designed by Pierre Jeanneret, Maxwell Fry, Jane Drew and nine local Indian architects.

Houses were designed with exposed bricks, sunshades and simple geometric forms.

To control unpredictable future development and to maintain the utopian realization conceived by Corbusier, strict architectural codes were enforced in 1952. Chandigarh, as a result, became the first post-colonial Indian city.

Architectural Theory 1 January 2011

Today it appears nothing like the originally intended self-sufficient neighborhood and is filled with offices, venues, shops and restaurants including the likes of McDonalds and Starbucks. These are developments that Corbusier definitely did not envision for the city. In areas like this it is clear that his urban utopian vision may have not been fully in tune with Indian culture. It becomes clearer that he took his dream of a utopian city master plan for Europe and stamped it on the Indian countryside.

Although Chandigarh has moved forward from Corbusier’s model environment that is not to say that the city has deteriorated. In fact, the city has the highest per-capita income in India, thus people are attracted by the city’s high standard of living. General incomes are high because of the abundance of highly skilled jobs. There are numerous museums and cultural landmarks as well as the very attractive large open spaces. The city inside the greenbelt is seen as a showpiece to the rest of India as an example of a clean and open garden city free from pollution, traffic and endless haphazard development. The metropolitan city as a whole is determined to adapt itself intelligently to new demands whilst maintaining the integrity of Corbusier’s city ideals. However, all urban development is regulated under a series of acts, which are based on Corbusier’s original master plan.

Chandigarh High Court designed by Le Corbusier

Is a city successful when its urban fabric is totally under control of the government? Is this utopian ideal really designed with the best intentions of its citizens’ creative spirits? After years of adapting the city of Chandigarh to meet the needs of its people and not its utopian ideals it is clear that planners should not be given the exclusive right to design future cities wholly and completely. Like all cities throughout time they are settlements based on the social and cultural needs and wishes of the people. Thus communities cannot be established through the standardization of multiple generic sectors separated by networks of transportation. The plans for future cities should be based on the successes of past developments. Designers must look at the successful cities of the world and harness those functions that work. New city planning should understand the phenomenology of the site along with the people and their roots, so that they don’t create dead spaces and dead communities. Modern city planning in Corbusier’s sense did not carry cultural References Crossette, Barbara. “Le Corbusier’s Chandigarh.” The New York Times [New York City, NY] 25 Apr. 1982. Print.

Glancey, Jonathan. “The Pearl of the Punjab.” The Guardian [London, England] 28 Jan. 2008. Print.

Scheidegger, Ernst, Maristella Casciato, and Stanislaus Von. Moos.

Chandigarh 1956: Le Corbusier, Pierre Jeanneret, Jane B. Drew, E. Maxwell Fry. Zurich: Scheidegger & Spiess, 2010. Print.

Le Corbusier with his masterplans for Chandigarh

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Reflective Essay Legislative Bodies Essay Brief This project asks the student to reflect critically on an issue relevant to contemporary professional practice. It asks for further research on listed building standards and how it effects practice. Prepare a short Reflective Essay based on Legislative Frameworks, building regulations, their purpose, and their effect on design practice.

Essay Summary Building conservation is a global and local architectural concern.

In most parts of the world, governmental organizations, work to protect buildings of historic architectural interest. These authorities exercise control over the preservation, restoration and redevelopment projects to protect these buildings character. The architectural practices, which engage in the design processes for these kinds of buildings and spaces, must understand their cultural importance. Neglect of these issues can lead to a buildings loss of character and significance. The process of designing a building or new development from scratch involves a process of specific codes to meet new criteria for building standards. These laws and regulations however are totally different when a client wants work done on a listed building. Clients and designers make listed building intervention decisions based on the strict legal codes imposed to protect their historical interest. There are three main factors which practices are faced with when dealing with a listed building; time, funding and design planning permission. Architects as a result are designing to meet legal and cultural standards, while also attempting to meet their own creative desires. This is not to say that projects are not creative and innovatively attractive to engage in, on the contrary they present practices with fascinating challenges to preserve a building by developing schemes, which minimize damage, whilst adapting its use for the modern era.

Conservation Accreditation schemes provide information for local planning authorities to identify building professionals with appropriate knowledge, experience and expertise. An architect or practice that has conservation accreditation from a recognized body must lead these restoration and redevelopment projects.

A practice will analyze the site, the building and specify the new work to be done. Once construction has taken place they must inspect and certify it when it has been completed. English Heritage and Historic Scotland are the dominant bodies in the UK that designated a buildings listed status. These national conservation agencies were created to advise the design community, promote the best in architectural practice, look after properties and allocate building grants. When a practice is in the early stages of working with a listed building these groups are the starting point not only for seeking advice on conservation matters, but also for getting building consent. Specialist advice from English Heritage and their corresponding local groups is generally given from a countrywide architectural perspective and delivered through regionally organized planning authorities. Buildings are graded based on their relative architectural interest. Grade I buildings are of exceptional interest and are not subject to modern interventions. Practices working on buildings designated at this high level, cannot change anything

Architectural Design Placement: Working Learning February 2011

and must simply restore items to ensure original structural and aesthetic integrity. 90% of listed buildings are designated Grade II. They are of interest in terms of their protection, however their owners are accountable for modern renovations. Architects working on buildings with these designations must go through the right legal processes when clients want to make changes. Practices making alterations without listed building consent can result with heavy penalties including demolishing new work at the practices own expense. On the other hand if a listed building is neglected legal action can take place to force restoration. Thus it is imperative that when a practice is working with a listed building that they very strictly oblige by the legal codes of conduct.

An example of conservation and traditionalist ideals versus modern innovative architecture firms is evident in the controversy around the Chelsea Barracks redevelopment in London. Richard Rogers proposals to developer Qatari Diar were withdrawn after criticism from many, most famously Prince Charles, who called for a classical design by Quinlan Terry. The reason why I find this project so interesting is not that some people wanted a less modern intervention, but that the buildings, which they were replacing, were not themselves listed. The Chelsea Barracks, before demolition a couple years ago, was a cluster on predominantly 20th century buildings which were of no significant architectural importance.

Richard Rogers practice as a result suffered from the pressure on the developer to be more conservative and lost the project entirely.

Unfortunately the problem here is that the site is vacant and there are no existing listed buildings to work with. I think the Quartermile in Edinburgh on the other hand was a success for Foster and Partners because their practice was able to work with existing buildings, convert them for the twenty first century and respect their past and character. Projects like these affect the nature of contemporary architectural practices because they show the design community what is possible with regards to listed buildings and preservation codes. On the other hand, if a firm does not comply with both legal and cultural demands they can not only loss projects and profits, but more importantly their reputation.

References Department of National Heritage. Planning Policy and the Historic Environment. Department of the Environment, 1994. Print.

Brereton, Christopher. The Repair of Historic Buildings: Advice on Principles and Methods. London: English Heritage, 1995. Print.

BSI. Guide to the Principles of the Conservation of Historic Buildings. London, 1998. Print.

Friedman, Donald. Historical Building Construction. ; Design, Materials, and Technology. W. W. Norton &, Incorporated, 2009. Print.

Belmont House, Shetland. Winner, RICS 2011 Scottish Building Conservation Award + Building of the Year

The Mound, Edinburgh. Renovated by Malcom Frasier Architects

Learning Outcomes •To demonstrate an awareness and use of key references on the subject. •Knowledge of how design practice is affected by its professional context. •Clarity and quality of communication.

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Health + Safety Assignment Brief This project asks to report upon some of the ways Health and Safety legislation affects architectural practice. In this case I applied this report to SsD’s office in New York where I was working. Architect practices are subject to regulation enforced by the Health and Safety at Work etc Act (1974) - which seeks to limit risks associated with the workplace – and the Construction, Design and Management Regulations (2007) – which seeks to limit risks associated with construction and the design of future workplaces. This project asks students to demonstrate understanding of the requirements of this legislation and familiarises them with some conventional professional media formats: summary reports, policy documents and risk assessments..

Complete the following required of any office by the Health and Safety Executive: Health and Safety Policy Workplace Risk Assessment A Summary Report sets out the responsibilities of the designer under the CDM regulations, with a particular regard for the construction process, the occupational use of completed buildings and the demonstration of compliance with these regulations.

Architectural Design Placement: Working Learning March 2011

the process should be planned so that danger and damage to surrounding context is prevented or minimized. During all phases of construction and steps shall be taken to prevent fires, explosions, flooding and unsafe air quality. In the event of such an emergency it is essential that workers be prepared with a plan for dealing with an accident. Sites that are indoors must be ventilated with fresh air to prevent airborne illness from construction pollutants. They must also be arranged so that the air temperature is appropriate for work conditions. Sites outdoors must protect from adverse weather.

Designers have an equal role in terms of upholding the rules, regulations of and codes of health and safety in the building process.

It is imperative for structural and site hazards to be recognized, informed to all involved in a project, prevented and removed so that there are no problems structurally.

Learning Outcomes •Demonstrate an awareness and use of key references on the subject.

•Knowledge of best practice.

•Clarity and quality of communication.

Report Summary Designers and contractors must comply with regulation requirements, which protect all people working on a construction site. An architect and/or contractor who is designated regulation duties must cooperate with all colleagues involved with construction tasks. All workers under their position must report issues regarding health and safety to them. These work areas must be kept safe to minimize any threats to an individual’s health. These include things like site cleanliness, order and perimeter bordering for protection. A person can only be given CDM duties if they have the appropriate qualifications. All people in charge of a project with these duties must work in co-ordination with all workers so that they uphold a safe work environment. These individuals must also be held responsible in preventing violations of the health and safety code while carrying out the construction work. A client and designer should take reasonable steps to ensure that construction work can be carried out so far as is reasonably practicable without risk to the health and safety of any person both in construction and occupational use. When it comes to the design of a workplace it is the legal duty of the designer to take into account the codes of the Workplace (Health, Safety and Welfare) Regulation of 1992. It is essential for designers to make their duties under the CDM regulations clear to a client so that they are working legally.

They cannot work on a project unless these initial qualifications are submitted and accepted. Before any construction work takes place, a person involved with a project must be appointed CDM duties. During pre construction processes designers must work in coordination with clients so that contractors are selected who are aware of their duties under health and safety regulations. Steps need to be taken by designers in conjunction with engineers and contractors to ensure structural stability so that construction work does not collapse. When demolition work is taking place,

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SsD Design Report Design Report Brief This project asks to report upon a building project experienced in practice. It provides opportunity to develop awareness of themes discussed in lecture series, as they apply to practical experience.

It asks to gain knowledge of how legislative requirements are embedded into the design process. It further familiarizes conventional professional media, in this case, the Design Report.

A design report is a document submitted to the local council in support of a Planning Application. It explains the concepts behind a building proposal to the planning authorities, making reference to any pertinent factors that are considered to be material considerations by the Planning Authority. This design report of a project in Sacramento, California. Through discussion with colleagues considerations informing the design have been identified and show how they have been resolved by the design. The report was illustrated with relevant drawings, diagrams and visualizations.

Report Summary 15+C ST SACRAMENTO Location: Sacramento, California Architect: SsD New York (architecture + urbanism) Scheduled Completion: Phase 1 - Early 2013, Phase 2 - Late 2015 Applicant / Developer: Skip Rosenbloom This urban regeneration project is intended to adaptively re-use industrial buildings to create a vibrant arts and music focused community on the “edge” of Downtown Sacramento.

Site and Area Appraisals The current site is composed of an assembly of warehouse and factory buildings with a series of open space ‘courtyards’ between the structures as well as a linear outdoor railway easement (rail now abandoned) that connects the buildings through the middle of the block.

Client Brief Description Anchor tenants such as a restaurant and performance venue will help target this new urban space to future visitors, shoppers and dinners. Most of the ground floor spaces have been kept porous to encourage people to pass through the site. Although the entirety of the project includes seven buildings, the three in the South East corner, which create approximately 30,000sf of space in a ‘U’ shape, will be the anchor phase of the project. A new stage in the courtyard will give life to this new outside space. The café, retail and studio spaces will enjoy a synergistic relationship with other tenants at the 15th & C Street complex. Developer Skip Rosenbloom envisions a group of locally owned businesses spread across an entire city block and over 60,000 square feet of historic building spaces. Discussions have brought up a wide range of possible tenants including retail (music, art, books, magazines, clothing, etc), educational (art spaces, artists in residence, teaching facilities, yoga studio), professionals (graphic design, architecture firms), food and beverage (beyond this proposal, micro breweries and micro wineries and small scale farming) and many more. The “Second Saturday” events (an outdoor seasonal music festival) will be packed at this location.

Architectural Design Placement: Working Learning February-June 2011

Programme Anchor cafe, performance are, design offices, music production space, yoga studios and urban farm, public square and a fresh food market.

Design Solution The layout of the new spaces is all based on the existing fabric.

Fortunately the courtyard of the old loading docks is along the main street. When the tall brick barrier walls are knocked through this urban room will be very inviting and will be an extension of pedestrian life in the area. Parking will be located at the back of the property along the rail lines. This prevents congestive vehicular traffic in foreground areas reserved for open space and makes use of the least desirable part of the property. The main building will have solar panels on the roof to help keep the buildings carbon footprint low as well. A roof garden will be constructed on the rear side of the building closest to the urban garden. Landscaping will be lush and appropriately local for the California valley climate.

Networks of vines will cover the pathways and create an intimate vegetative climate. It is a design priority to reuse as many of the existing building materials as possible, to both keep costs low and preserve the industrial feeling.

Design Principles National and State guidance calls for key concept goals to minimize harmful effects on the existing neighborhood. These buildings have many ties to local business and neighboring projects have a track record of renovating unique historic buildings. Planners and the developer say that what is missing is the right group of tenant businesses to make the 15th & C Street development and Sacramento, a destination city. Projected appropriate uses for the buildings and open spaces will be diagrammed to maximize synergy between uses while minimizing potential build-out costs in terms of materials, energy, and infrastructure. Local planning and zoning recommend development design policies for cost-effective sustainable measures. Thus, SsD is keeping the amount of demolition and new construction to a minimum.

Public Involvement Consultation with city planners and guidelines have prevented previous design wishes to keep the courtyard totally open to the street because it is not public land and legally must be enclosed.

Thus perimeter fencing in the form of a meshed barrier is being considered so that after hours the entire site can be closed off. The city is however in favour of this site being transformed into a more pedestrian and business friendly area. It will help improve the life of the area.

Learning Outcomes •Demonstrate an awareness of the ‘material considerations’ in Planning Applications. Knowledge of how design practice is informed by planning requirements.

•Clarity and quality of communication.

Existing site photos

Proposal renders done by me

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SsD Work Samples

Architectural Design Placement: Working Learning February-June 2011

SsD Architecture + Urbanism New York, NY, USA Principals: John Hong + Jinhee Park www.ssdarchitecture.com SsD is an architecture firm that approaches design as a convergent, interdisciplinary venture. Minimum form takes maximum effect with the goal to bridge the utopian and the pragmatic. Instead of separating aspects of architecture, landscape, history, social systems, and codes into their constituent disciplines, these agendas are simultaneously explored so that each discipline symbiotically gains from the other. In this way sustainability emerges as an integrated rather than additive result. Along with being published in major media such as Metropolis Magazine, Dwell Magazine, Architectural Record, The New Yorker, and PBS, SsD has received many prestigious design awards including the AIA Young Architects Award, the Young Architects Forum Award by the Architectural League of NY, an Holcim Foundation for Sustainable Construction Award, the Metropolis Next Generation Prize, and ten AIA awards. They have lectured and exhibited at many universities and conferences including venues at the Harvard GSD, Ohio State University, and Seoul National University, as well as at several national design conferences. SsD is a certified Minority and Woman owned business.

Roof details

Foundation details

Ground and first floor plans. Includes reflected ceiling lighting plan.

Elevations + sections

My office responsibilities included project design, AutoCAD drafting, Rhino 3D modeling + Photoshop rendering.

House in suburban Boston, Massachusetts

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SsD Work Samples

Architectural Design Placement: Working Learning February-June 2011

SEATTLE BOSTON

BOSTON NEW YORK

CHICAGO SAN FRANCISCO

WASHINGTON DENVER

LOS ANGELES ATLANTA

AUSTIN

MIAMI

Most of the food we eat travels over hundreds of miles to our supermarkets

LOCAL PRODUCE NATIONWIDE Central metropolitan commissary’s provide Clover’s restaurants and food trucks with fresh regional produce from no further than a 100 mile radius.

100 mile radius Clover Restaurant Clover Fast Food Truck

Clover’s restaurants and food trucks want to change the food status quo by serving only fresh local food

METROPOLITAN BOSTON

Food maps as part of Clovers campaign for local food

Cantilever House, Cape Cod, Massachusetts

Clover Commissary Plan

Boston’s Commissary provides our restaurants and food trucks with regional produce. Most of our food comes from no further than 100 mile away.

PRODUCE TRAVEL DISTANCES

Clover Commissary Elevations + Sections

Clover Restaurant Clover Fast Food Truck

Curbed Work Samples

Architectural Design Placement: Working Learning June-December 2011

Curbed New York New York, NY, USA Senior Editors: Sara Polsky + Kelsey Keith www.curbed.com Curbed New York breathes life into real estate and neighborhood news with witty and insightful coverage of the country’s most vibrant urban center. Our editors relentlessly report on sales and rental prices, new developments, neighborhood trends, and celebrity deals. Find Curbed in New York, Boston, The Hamptons, Philadelphia, DC, Atlanta, Chicago, Detroit, Los Angeles, San Francisco, and Seattle. Curbed also takes our obsession indoors, with a focus all-things design, decor, and shelter, from Malibu dream houses to Wyoming ranches to Maine cabins, and all residences in between.

My internship responsibilities included representing Curbed at real estate events. Meeting developers, realtors and media relations personnel. Reported stories, gathered news, and researched information. I was sent on assignment to photograph construction, situations, events and everything in between. I wrote and assisted with articles related to all aspects of real estate development, sales, news, controversies, costs, construction, neighborhood trends and celebrity deals. During my time at Curbed I had direct input on over 30 articles. There are six articles included in this portfolio to demonstrate my photographic, journalistic and architectural critiquing skills: •Its a Battle of the Staircases at Two Mercer St Penthouses •$14M Tribeca Penthouse Shows Off 80-Color Light Show •Inside Chelsea’s Wacky Steampunk Apartment •Partying High Atop the West Chelsea Starchitecture District •Listing Ten Pieces of Boomtime Architecture Gone Bust •The 10 Best Celebrity Renovations in New York City

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Curbed Work Samples

Architectural Design Placement: Working Learning June-December 2011

GreenbergFarrow Work Samples

Architectural Design Placement: Working Learning June-December 2011

SsD Architecture + Urbanism New York, NY, USA Principals: John Hong + Jinhee Park www.ssdarchitecture.com With over 30 years of experience and eight offices nationwide, GreenbergFarrow is a fully integrated architecture, planning, engineering and development services firm offering a comprehensive range of services to the retail and development communities. Having worked in nearly every state in thousands of cities nationwide, and having been involved in every aspect of the highly specialized practice of development services, GreenbergFarrow has gained an invaluable and unrivalled degree of knowledge and expertise.

GreenbergFarrow is a trusted partner for an impressive array of the nation’s most prestigious retailer, developer and public sector clients through its Collective Design Intelligence approach. Through this approach, GreenbergFarrow’s practice has emerged with a remarkably broad range of offerings including complex mixed-use developments, retail, multi-family residential, commercial/industrial, hospitality, interiors and sustainable design solutions.

Leasing elevation for Whole Foods Times Square, New York

Leasing plan for Whole Foods Times Square, New York

My internship responsibilities included AutoCAD drafting, Photoshop rendering, Sketchup 3D modeling, tenant leasing packages, construction documents & general office duties.

Leasing package cover for Whole Foods Ottawa, Canada

VIEW 1A

AUGUST 23, 2011

Pedestrian circuation diagram for The Hope Depot + Target, Toronto, Canada

Massing diagram for urban regeneration in Calgary, Alberta

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GreenbergFarrow Work Samples

Leasing plan for The Hope Depot + Target, Toronto, Canada

Architectural Design Placement: Working Learning June-December 2011

Elevations for The Hope Depot + Target, Toronto, Canada

Year 4 Senior Honours Culture DO2

Placement Report DO2

Nexus DO2

Space DO2

Dissertation PL

The Runway DO2

Placement Report

Architectural Design Option 2

Architectural Dissertation

Academic Portfolio

•To provide students with an opportunity to appraise, analyse and present knowledge and understanding gained through direct experience of a specific aspect of the architectural profession or related activity.

•To articulate and illustrate work experience in a coherent and professional manner.

•To research and investigate a chosen topic bearing on the practice of architecture or a related activity •To gather information — text and drawings — relating to the practice of architecture or a related activity and to assemble this into a coherent form

•Demonstrate coherent architectural designs that integrate knowledge of different architectural design approaches grounded in specified theoretical, cultural and physical contexts (D3) •The role of research and analysis within the development of a design brief and design approach (D1)* •Drawn and modelled (analogue and digital) strategies for site analysis, architectural design and presentation and their relationship to verbal and written modes of communication (C1 and C2)* •Building technology, environmental design and construction methods and their relationship to intended design principles, wider considerations of human well-being and the natural world (TE1) (TE5)* •Regulatory frameworks for architectural design and construction (D2) •Explore and experiment with different architectural design approaches (D1) •Work as part of a team (D4 and C3) •Critically assess design in spatial, aesthetic, technical and social terms (CC3)

•Demonstrate written communication methods and the use of appropriate media including digital and electronic techniques to clearly convey and critically appraise ideas and proposals.

•Demonstrate an understanding of the influences on the contemporary built environment and of past and present societies and wider global issues.

•Show an awareness of the histories and theories of architecture and urban design, the history of ideas, and the related disciplines of art, cultural studies and landscape studies.

•Demonstrate knowledge of the inter-relationships between people, buildings and the environment and an understanding of the need to relate buildings and the spaces between them to human needs and scale.

•Demonstrate ability to critically form considered judgements about the spatial, aesthetic, technical and social qualities of design within the scope of the wider environment.

•Independently define and critically appraise the ideas and work of others in the context of design.

•Review all work assessed for the MA(Hons) in Architectural Design degree Understand the inter-relationship between the diverse knowledges and skills gained over the course of the degree in relation to various output mediums – drawings, models, photographs, texts.

•Demonstrate student achievement to ARB/RIBA Part 1 level in the degree as a whole, in each year of the degree, and in all courses and units undertaken in each year.

•Curate all work already assessed and re-present it comprehensively and chronologically within a portfolio format.

•Improve work •Knowledge and understanding of how good architecture integrates knowledge of architectural design, technology & environment, cultural context, communication, and management practice and law (TE1 and TE5) •The capacities of the portfolio format to communicate architectural knowledge and information.

•Conceptualize diverse architectural representations chronologically and spatially within the portfolio format.

•Synthesize and present work produced in diverse media (C2)

Placement Report Report Brief The Placement Report is a focused study of a particular aspect of architectural practice. This course is seen as complimentary to Architectural Design Placement: Working Learning. The report question was How Firm Culture effects Design: SsD and GreenbergFarrow.

Report Summary These internships were fantastic opportunities to begin to understand and learn the business side of architectural design and marketing. Although SSD and GreenbergFarrow have very different philosophies, both produce distinctive projects that have been celebrated across the architectural field. When examining how these firms operate, it is important to focus on specific forces at play. Client networking and academic affiliation are two critical variables that impact the quality of design and philosophy of a firm.

The philosophy and organization of an architecture firm directly influences everything it creates and builds. Various factors include: design ethos, partner’s education and background, financial strengths, project budgeting, scale, unique brand of design services, client networking and marketing, academic affiliations, indirect advertising through media recognition GreenbergFarrow New York employs around 50 people in New York. The Manhattan office is one of seven across the country, but it accounts for 50 percent of the corporation’s profits.

GreenbergFarrow is a large commercial company that has to create a substantial profit to support its employee structure. Often the pressure to maintain profit means sacrificing design, such as the construction of chain restaurants. As a commercial architecture firm, most of the projects undertaken have multi-million dollar budgets. Project sizes range from twenty story flat blocks to huge retail and commercial developments. Design quality is a balance between a client’s budget, the designer’s vision and the intended socioeconomics of the program. GreenbergFarrow’s corporate office manages financial matters, secures new clients and promotes the company as a service to profit driven developers. The company spends approximately 7 percent of annual expenditures on marketing. GreenbergFarrow is not a major firm relative to others in Manhattan. That said it functions as a top down system from the CEO to renderers. This hierarchical organization not only dictates specific work, but creates a unified brand attracting certain clientele.

Corporate client relationships at GreenbergFarrow secure a heavy workflow. According to the AIA, large firms report that repeat work accounts for three-quarters of their profit. Work: High-end residential real estate developments, cinemas, soccer stadiums as well as national chains, Home Depot, Target, Wal-Mart, GAP, Marshalls, Costco, Best Buy, Wendy’s and Whole Foods The culture of SSD [Architecture + Urbanism] has enabled the firm to build on an impressive resume. John Hong and Jinhee Park, the two principles, are professors at Harvard Graduate School of Architecture. According to AIA statistics for 2010, two percent of all architects have work affiliations with major academic institutions.

This status in the design community has been a crucial platform for attracting clients and is a beneficial marketing tool. The quality of

Architectural Design Placement: Working Learning January 2012

design is high and their projects are very detailed and conceptual.

They are looking to push the limits with materials and create spaces that are not only exciting but unique. The ideas they teach at Harvard are applied to their own work and in turn inform their teaching. An innovative practice of architecture requires a different kind of client, one who is more receptive to innovation and originality. Networking with this type of client is more difficult; however their connections at Harvard have been crucial in keeping a steady workload. Small firms usually invest about 7 percent of their earnings towards marketing tactics ranging from competition entries to design articles, brochures and websites. Firms like SSD garner this attention by word of mouth from satisfied clients who highly praise their work. SSD’s networking across the country gives the principals an opportunity to hear about exciting new projects, discuss ideas and make proposals.

SsD - White Block Gallery AIA New England Award 2011

The lack of a large workforce at SSD means that everything from firm awareness to construction detailing is shared between a few people. Initially based in Boston and now New York, the addition of a third “micro office” in Seoul, South Korea has widened their geographic reach. SSD’s website and blog displays upcoming designs, project progress, competition entries and awards makes the firm appear much larger then the head count suggests. This self-promotion widens the audience of potential clients. These three geographical locations have been established so that clients don’t feel they are based too far away, especially for their overseas projects in Korea. Work: International competitions, private residences, urbanism, Clover Boston, White Box Gallery, Seoul.

Large firms like GreenbergFarrow are often volume driven whereas smaller, more niche firms like SSD are more often driven by design excellence. Catering to a big box cultural brand, as GreenbergFarrow does, has allowed profitable relationships to continue with companies like Home Depot & Target. Over the years through industry networking and presence, they have branched out offering an array of services from higher-end retail and residential projects to urban renewals, driven by clients such as Trinity & Toll Brothers. SSD will continue to have an intertwined relationship with Harvard and well as outside clients who value their unique conceptual visions. These two different brands are now established and will continue to network and market their services to their unique customer bases.

GreenbergFarrow - 205 Water St, New York Times Real Estate

SsD - Marie Claire ‘Women on Top 2011 GreenbergFarrow - City Point Tower + 1103rd, New York

Learning Outcomes •To provide students with an opportunity to appraise, analyse and present knowledge and understanding gained through direct experience of a specific aspect of the architectural profession or related activity.

•To articulate and illustrate work experience in a coherent and professional manner.

•To research and investigate a chosen topic bearing on the practice of architecture or a related activity •To gather information — text and drawings — relating to the practice of architecture or a related activity and to assemble this into a coherent form SsD - Big Dig House, Massachusetts

GreenbergFarrow - Zinc Building, Tribeca, New York

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Culture Alexander McQueen Presentation Brief Research and present the late fashion designer Alexander McQueen demonstrating an understanding of his impact on fashion and culture.

Presentation Summary “enfant terrible” “working lass lad from a family of taxi drivers” “the hooligan of English fashion” “the yob among snobs” “the bad boy of British fashion” “genius”

Architectural Design Option 2 January 2012

Givenchy McQueen was appointed head of Givenchy upon John Galliano’s move to Christian Dior in 1996. McQueen famously insulted the founder of the brand as being irrelevant. His first collection for the brand was a fail. Stayed for only a few years until 2001. McQueen felt he was being toned down at Givenchy and agreed he was too young for the part The McQueen Impact Bumster trousers, skull prints, exquisite tailoring, mould breaking models, extreme accessorizing, shock tactics.

From Tower Block to Savile Row Born in 1969 to a working class East London family. His mother pushed him to pursue fashion at a young age. Apprenticeships for Savile Row tailors. Worked in Milan for Romeo Gigli where he learnt the power of the press.

House Hold Name British Designer of the Year 1996-2003. 2000 - Gucci bought 51% of his company. 2003 - International Designer of the Year by the Council of Fashion Designers. 2005 - Designed a line for Puma.

2006 - McQ, a younger, cheaper line launched for men and women.

Staple label at red carpet events. Boutiques in New York, London, Milan, Los Angeles, Las Vegas, Tokyo and Beijing

Central Saint Martins Returned to London from Milan to pursue a teaching position at Central Saint Martins. His portfolio was so strong and inspiring that the faculty wanted him to enrol as a student. Graduation collection was bought by Vogue fashion director Isabella Blow, thus launching his career. “McQueen’s Theatre of Cruelt”y was his second collection. During this time he began a life long friendship with personal stylist and editor of Dazed and Confused Magazine Katy England. She became his right hand woman and creative director on his 3rd collection, “The Birds”

Culture + Crisis Forever a disconnect between high fashion and high street.

McQueen understood this and did both during his career. McQueen used fashion to make political statements while also designing luxury brands. “If you want a starving Ethiopian on a jacket, then come to McQueen in London, If you want luxury come to Givenchy. I do both. I’m a fashion schizophrenic” – Vogue 1997. He has inspired various other artists including most famously, Lady Gaga.

Theatrical Catwalks “His shows were always ahead of their time, it was like a full-on production. He made people think it’s not just the hair and makeup. He was making something for people to witness.” Faye Sawyer, fashion editor of 125 Magazine. McQueen was known for taking the idea of the traditional runway and turning it on its head. Turning the runway itself into a art piece. Interaction between models, clothes and the audience.

Misogynist or Liberator?

Female Liberation from violence and the motherly image was constantly a focal theme in all his collections. Wanted to feature his models as something more than pure sexualize objects. Experienced violence towards women in his family. He watched his older sister get beaten to near death. “…everything I’ve done since then was for the purpose of making women look stronger, not naïve. When people called me a misogynist I was angry. They didn’t know me.

That was the first thing about fashion that I hated, people labelling me without knowing me. I am constantly reflecting the way women are treated.” The misogynist labels from critics gave him the determination that drove him.

McQueen Legacy In 2010 his long time assistant Sarah Burton took over as creative director for the company. She continued both sides of the brand, High shock fashion and tailored classical design. In 2011 the Metropolitan Museum of Art held “Savage Beauty.” She has since debuted various collections and dressed the likes of Michelle Obama and Kate Middleton.

Learning Outcomes •Demonstrate skill in research and analysis of cultural, theoretical and physical contexts, along with the quality of communication and presentation (D1, CC3, CC4).

References Frankel, Susannah. “Alexander McQueen.” Visionaries: Interviews with Fashion Designers. London: V&A, 2001. 10-23. Print.

Watson, Linda. Twentieth Century Fashion. London: Carlton, 2008.

298-99. Print.

Browne, Alix. “Alexander McQueen.” Visionaire’s Fashion 2000: Designers at the Turn of the Millennium. By Stephen Gan. London: Laurence King, 1997. Print. http://news.bbc.co.uk/1/hi/magazine/8511404.stm Project Partner - Christopher Nicholson

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Space ICA Boston Presentation Brief Prepare a presentation on the ICA in Boston discussing an understanding of its architecture and unique art exhibition spaces.

Prepare a poche drawing of the building’s main plan and section.

Presentation Summary Diller Scofidio + Renfro created a progressive architectural statement mirroring the museum’s foresight and risk-taking.

The building was envisioned not only as a contemplative space for experiencing contemporary art but a dynamic waterfront venue for public enjoyment. Its taut glass-and-steel forms are an exciting contrast to the ubiquitous brick buildings in its surroundings. The folding exterior expression weaves together interior and exterior spaces, producing shifting perspectives of the waterfront throughout the museum’s galleries and public spaces. The ICA’s ability to interweave art and civic life makes it Boston’s most important building in a generation.

The 65,000-square-foot museum features a dramatic folding ribbon form and a cantilever that extends to the water’s edge. The façade consists of identically sized vertical planks that alternate between transparent glass, translucent glass, and opaque metal. The system provides a taught seamless skin that blurs the distinction between walls, windows and doors while responding to the requirements of the interior program. This ambiguous surface moves from exterior into interior, transforming public into semi-public space. The building is comprised of various public areas, with the galleries box stacked above a theatre, lobby and various administrative spaces. The grand outdoor staircase overlooks the water under the cantilever.

These zones are connected by a continuous ribbon of wood that rises from the waterfront, up the bleachers and into the building to form the theatre stage. Then it rises again diagonally to support the theatre seating and up the rear wall before folding back over to become a platform for the fourth-floor galleries.

ICA’s Inconspicuous Front Entrance

Architectural Design Option 2 February 2012

For now the museum reads more as a sculptural object in stunning isolation against the sky than as part of a dense urban composition.

Rather than engaging with the street the center invites visitors to leave the city behind with a unique building similar to the Bilbao effect. Beyond the water stretches the city skyline.

The entrance area functions neither as a lobby nor a specifically defined assembly space. A 140-square-foot glass elevator gives views of the harbor on one side and all the floors passing by on the other.

A huge wooden staircase connects the underside of the cantilever to the waters edge. The views of the city from these steps are surreal as the heavy cantilevered form of the museum projects out over the tops of the distant skyscrapers. The overhead form guides your eyes toward the. From the top of the steps you feel the heavy weight of the cantilever.

The gallery box on top of the museum is divided into two parallel warehouse like spaces. This level holds 17,000 square feet of space for art, three times the amount of the museum’s previous location.

The 4th floor consists of a glass corridor facing the harbor. The media center is a small room lodged between the two wings that vertically steps down suspending from the underside of the cantilever.

Learning Outcomes •Demonstrate skill in research and analysis of cultural, theoretical and physical contexts, along with the quality of communication and presentation (D1, CC3, CC4).

Project Partner - Christopher Nicholson

Cantilever over Feature Staircase

Poche

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Nexus Scottish National Portrait Gallery Presentation Brief Prepare a presentation on the National Portrait Gallery discussing an understanding of its restoration and design of the gallery spaces.

Prepare a poche drawing of the building’s main plan and section.

Presentation Summary A distinctive landmark on Edinburgh’s Queen Street, the Scottish National Portrait Gallery is a grand, neo-gothic building in red sandstone. The world’s first purpose-built portrait gallery, which resembles more of an ecclesiastical building than a museum. The Scottish National Portrait Gallery is home to Scotland’s national collection of portraits and currently also houses the National Photography Collection. Architect Sir Robert Rowand Anderson created a modern purpose-designed art gallery to rival the most advanced at the time in Europe and America. At the same time, he wanted his building to be a shrine for Scotland’s heroes. The extensive decoration scheme, both external and internal, was designed with this idea in mind and is now an essential part of the visitor’s experience. The building was shared with the National Museum of Antiquities, now the Museum of Scotland, until they moved to a new building in 2009, at which point the long-planned refurbishment of the Portrait Gallery could begin. Following its £17.6m overhaul by Page\Park Architects provided the opportunity for a new approach to how the collection would be shown and what to include in the displays. Portraits are most simply defined as recognisable representations of individuals but they have now extended their understanding of this to include depictions of specific places and events, allowing the gallery to include the landscapes of Scotland to enrich the overall picture. A dramatic increase in space (an additional 250 linear metres) has also allowed us to increase the number of works on show to a massive 850.

Circulation solutions allowed horizontal and vertical movement throughout the building to overcome the limitations of the existing entrance layout. The interior of the cultural institution has been dramatically reconfigured with 60% more display space. To outline a few key characteristics of the refurbished space Page + Park worked

to enhance accessibility, renovate features of the old building and drew attention to the creation of a sequence of top lit galleries.

Accessibility in front of the main entrance. The lobby has been reconfigured. The new axis along the front of the building connects the entry, shop, café and education areas.This new administrative level allows for uppler gallery floors to maximize display space. In addition, the Gallery’s café and shop has doubled in size. Page + Park added a range of new features that has transformed a visitors’ experience of the Gallery. Flexibility in the galleries design allows for alternative collection arrangements in the future. The large glass elevator enables this process. The newly regulated atmosphere of the gallery spaces use 42 percent less energy that previously.

Electric sliding blinds. The refurbishment has restored many of the building’s original features. The building stretches out symmetrically on either side of the Main Hall, and its three floors are used for a mixture of permanent and temporary displays. For the first hundred years of its existence, the Gallery shared its space with a number of learned societies. After the last of these had left, the Gallery went through a major overhaul from 2009-2011. The recent renovation of the building by architects Page\Park had two purposes, restore the building and to introduce services that the Gallery has hitherto lacked. The main issue of renovation was the replacement of old and inappropriate plant and the installation of modern services suitable for the new national art gallery. Furthermore, for the restoration of the building, temporary partitions, lowered ceilings and window blockings were removed to allow the function of robust spaces as they were originally planned. The top lit galleries on the east upper floor were fixed back to the original configuration.

Architectural Design Option 2 February 2012

scottish national portrait gallery page/park

2012

Learning Outcomes •Demonstrate knowledge of measured study techniques, site recording and analysis, along with the quality of communication and presentation (C1, C2)

1

2

1

2

6

5

7 3

4

Project Partner - Christopher Nicholson, Murdo McDermid, Kouko Itamura + Sue Macaulay first floor

second floor

mezzanine level

1 | east gallery 1 2 | east gallery 2 3 | gallery 3 4 | west gallery 4 5 | photos, drawing photography storage 6 | research area, relocated library 7 | lift

ground floor

kouko itamura

Main Hall

Gallery

+ sue macaulay + murdo mcdermid + chris nicholson + will webber

Poche

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Culture + Crisis The Runway

Architectural Design Option 2 March 2012

Design Brief The focus of this unit is the design of a new arts venue. The new space is intended to accommodate a variety of events/exhibitions including touring exhibitions, performances, film screenings, fashion shows, student shows and occasional displays of sensitive archival material. Environmental conditions therefore will vary but the preference will be to adopt a passive approach to moderating temperature and humidity fluctuations. Individual student proposals should demonstrate the potential to add value to Edinburgh’s cultural and arts community, and enhance its cultural and artistic status. Excellence or ingenuity in architectural design with an inspirational approach with good practice or innovation in the reduction of the project’s environmental impact Major cities around the world host fashion events annually. These gatherings require public spaces. Although Edinburgh does not have a fashion industry at the same scale as New York, London, Paris & Milan, there is a large culture in the city from high-end boutique markets to fashion schools. If there was a venue in Scotland’s capitol, then fashion would be recognized and celebrated more. An Edinburgh fashion venue could merge the links between runway for ECA students, runway for new designers, charity events, fashion night out display and marketing events, innovative experimentation in conjunction with InSpace and various exhibition events. An allinclusive location for fashion would be a fantastic opportunity for the industry to become more recognized in Scotland.

The cultural context diagram on the left page illustrates the varying degrees of catchment area surrounding the South College Street site. Solid red lines are used to indicate the imediate context (inner circle), cultural community (middle ring) and then further afield relationships. The green highlights areas of trees, planting or park space that are prominent or of significance in the surrounding area.

The drawing shows that the South College Street site is at the heart of a growing community, currently not living up to its full potential.

With the renovation of the Royal Museum and a merging of the University of Edinburgh with the Edinburgh College of Art, there is the promise of a building which can supplement these various institutions.

Location: 55°56’47.25” N 3°11’14.15” W Height: Approximately 90m above sea level.

Climate: Temperate Maritime Temperature: Average of 8.7° with a range of average monthly temperatures of 11°. Warmest average of 18° in July and August.

Coolest average of 1° in January and February Precipitation: 676mm annually or 56mm monthly with February, March and April being the driest.

Relative Humidity: Mean recorded at 80.1% for an average year, ranging from 75% in April and June to 84% in January and December.

Sunshine Hours: Average of 1.4 hours per day in December and 6.3 hours per day in June. On balance there are 1384 sunshine hours annually which averages 3.8 hours per day.

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Culture + Crisis The Runway

Architectural Design Option 2 March 2012

Site Survey Summary Documenting South College Street to address the city’s aspiration to attract culture-seeking tourists. Site information was gathered and its history (social + physical) has been documented through plans, sections, street elevations etc. This material should adopt the agreed graphic format and be presented at the The South College Street site is located on the edge of Edinburgh’s Old Town, just outside of the Flodden Wall boundary. The site is situated around the central university campus and is neighboured by the Royal Museum, Old College and the Festival Theatre. There are three buildings of historic and cultural importance. A selection of morning and evening photographs. The images aim to convey the materiality and experience of the site and its surroundings at either end of the day.

Site Photos

Site

The Flodden wall was demolished to make way for the newly establish Old College building.

The Unitarian Church is evident in its current site also on South College Street. Tightly constructed Tennement buildings occupy the site with little greenery.

The Royal Museum has its presence on Chamers Street. Potterow has a variety of small scale plots with pends giving access to the inner courtyards within the city blocks. Marshal Street is established giving access to Nicholson Square from Potterow.

A route through a pend servicing the rear of the Empire Theatre is evident .

During the Second World War , the evidence of 1930’s St Leonard’s slum clearance program seen clearly with the north end of Potterow fully developed. A Garage now occupies the site behind the Empire Theatre

The National Museum’s rear extension looking on to Lothian Street has been completed.

Further demolishment of tenements evident on corner of Potterow/ South College street.

However, still remain opposite side of the road.

With extensive demolishment of remaining tenements along North Potterow, the area opposite the site remains empty. When compared to the tight proximity of the urban fabric in 1895, a distinct clearing has been introduced to be made in order to cater for the new university campas buildings such as the Student Health Centre.

The introdcution of the new dual carriage way, which follows the route of old Lothian Street now sweeps around the new established student facilities and Bristo square. An underpass is created from the rising corner of the road at the corner of Potterow and South College Street. This underpass preserves a pedestrian link between the Old College and newly constructed university campus.

With this clearing, the site now has direct iews over Bristo Square looking on to Teviot.

Culture + Crisis The Runway Proposal Brief Demonstrate design development and resolution in relation to research, site analysis and brief (D3, D1).

Evidence of an understanding of the process of assembly in material form (TE5). Demonstrate a personal position in relation to the material gathered by the group (CC4) Quality of communication and presentation through drawings and models at various scales (C1, C2).

Architectural Design Option 2 March 2012

Program

Parti The fashion culture of edinburgh culminates in one all inclusive venue.. The runway connects cultures and spaces.

Precedents These event, retail and cultural buildings have informed the programmatic, volumetric and material qualities.

Program

Form

Form

Material

Material

Culture + Crisis The Runway

Architectural Design Option 2 March 2012

Ground Floor Plan Design Summary The building is arranged on the site so that it creates two outdoor spaces, a large public plaza on the north end and a public green on the south. The building is all glass along the ground floor so that its program can flow to the outside spaces and engage with the public walking past. As a result of this openness to the sidewalk, the mass of the building is built up from the property line and arranged so that it takes advantage of the large wall of the Festival theatre whist keeping the views from the windows of the flat block adjacent. The property line along the north end is covered with an urban screen, to not only conceal the truck port of the theatre, but anchor the outside plaza for the venue. The use of this space can change daily based on seasonal events.

The main space of the building is the runway, which opens up to the public plaza. The idea of the runway is applied to the layout of the building as one processed through it. The centre volume of the three is called the cube and acts not only as the focal point for the structure but dictates the internal horizontal and vertical circulation.

The staircase becomes a theatrical element as a stage for the runway. The axis runs through to the other block symmetrically on both levels.

1 Plaza 2 Urban Screen 3 Urban Seating 4 Runway 5 Stairs 6 Lobby 7 Elevator 8 Vestible 9 WC 10 WC 11 Egress Stairs 12 Lobby 13 Plaza

Plan highlighting the pedestrian zones around the site. The arrangement of the building has enabled 2 public rooms.

Culture + Crisis The Runway

Architectural Design Option 2 March 2012

1 Standing Seam Zinc Rood 2 Glass Rooflights 3 Rubber Roofing Membrane 4 Sawtooth Skylights

Roof Plan 1 2 3 4 5 6 7

Gallery 1 Bridge Elevator Vestibule Office Egress Stair Gallery 2

First Floor Plan 1 2 3 4 5 6 7

Elevator Storage Egress Stair Storage Storage Cleaning Closet Kitchen

Bsement Plan

Culture + Crisis The Runway

Architectural Design Option 2 March 2012

South Elevation Potterow

West Elevation beyond Marshall Street

North Elevation South College Street

Culture + Crisis The Runway

section BB

Architectural Design Option 2 March 2012

Section CC

Culture + Crisis The Runway

Section AA

Architectural Design Option 2 March 2012

Culture + Crisis The Runway

Architectural Design Option 2 March 2012

Birds Eye

Public Room

The Garden

The Runway

Culture + Crisis The Runway

Architectural Design Option 2 March 2012

Technical Study Demonstrate an understanding of building technology, environmental design and construction methods and their relationship to intended design principles, wider considerations of human well-being and the natural world (TE1) (TE5)*

Channel Glass Galleries

IWU Galleries

Zinc Roof

Aluminium Coping Cantilever

Curtain Wall Runway

Sectional Models

Sandstone Core

Granite Plaza Pavers

Stacked Wood Urban Seating

White Washed Wood Galleries

Concrete Lobby

Axonometric

D T+E CC C MP+L

Culture + Crisis The Runway

Architectural Design Option 2 March 2012

Structural Section Perspective

1 Standing Seam Zinc Roof 2 Steel Butterfly Roof System 3 Insulated Double Glazed Window Unit 4 Roofing over Sloping Insulation 5 Reinforced Concrete Decking 6 Steel Beam Framing 250 x 250 mm 7 Double Glazed Interlocking Channel Glass 8 Cavity 200 mm 9 Fibreglass Insulation 10 Insulated Double Glazed Window Unit 11 Reinforced Concrete Decking 12 Steel Beam Framing 250 x 250 mm 13 Exterior Metal Panel System 14 Steel Beam Frame System 250 x 250 mm 15 Drop Ceiling 16 Insulated Double Glazed Curtain Wall System 17 Steel Column 250 x 250 mm 18 Steel Column Base Plate 19 Reinforced Concrete Slab Construction 20 Foundation Wall 21 Concrete Strip Foundation Site Plan (locating section)

Technical Section

Culture + Crisis The Runway

Architectural Design Option 2 March 2012

Detail D - Foundation

Detail F - Channel Glass (in section)

Detail G - Channel Glass (in plan)

Detail H - Roof

Detail E - Ceiling

Detail I - Butterfly Roof

Dissertation

Architectural Design Dissertation April 2012

Dissertation Brief Urban Expansion of American Cities: How New York and Los Angeles Expanded on the Grid Dissertation Summary The Grid “It is the most courageous act of prediction in western civilisation: the land it divides, unoccupied; the population it describes, conjectural; the buildings it locates, phantoms; the activities it frames, nonexistent.� -Rem Koolhas, Delirious New York The growth of any city is unique to its phenomenological, governmental, cultural, technological, physical and economic circumstances. New York and Los Angeles are the symbols of the American metropolis. Although their urban conditions contrast, they share a rooted tradition of expansion along a grid system. How has the adoption of the Jeffersonian grid as the standard planning philosophy shaped these city expansions? Case study investigations on the histories of these two cities will be made, focusing on the design, planning and market forces that have informed their city cultures. Comparisons will be drawn presenting the fundamental differences between their gridded characteristics. This urban study aims to provide an understanding of how and why their consequential urban environments were fabricated.

New York above Los Angeles Grid

Los Angeles Grid

Metropolitan Urban Densities

New York Grid

Background: The Grid in American Tradition. Expansion of American Cities. New York & Los Angeles: Opposites of the American Condition Purpose of Urban Study: New York and Los Angeles expanded unprecedentedly along the grid system and their development has led to distinctly contrasting urban environments. By analyzing the histories of New York and Los Angeles lessons can be learned in terms of how gridded expansion deals with developmental land use, space, architecture, population growth and densification.

Dissertation Cover Design

Method of Urban Study Based on the case study analysis, the grounds for this comparison are the cities contrasting expansionist philosophies: New York is a vertical city, Los Angeles, is a horizontal city.

Research Questions: How was the Jeffersonian grid superimposed over these European settlements?

How did the grid create two cultures of congestion?

How did transportation inform the programmatic composition of the grid?

How were symbolic places accommodated within the grid?

How was the grid used as a playground for architecture?

How was the grid densified, extruded, challenged, removed and accepted?

Shadows on gird. New York (left), Los Angeles (right)

D T+E CC C MP+L

Dissertation

Architectural Design Dissertation April 2012

New York Historical Development Initial European Settlement Superimposition of the Jeffersonian Grid Shape of Urban Expansion Grid Augmentation Transit Circulation Culture of Vertical Congestion Symbolic Addition to the Grid Contesting the Grid Accepting the Grid New York Urbanism Expanding on the Grid Vertically Dense Character Beautification Waterfront Exploitation & Gentrification Retained Density The Allure of Living in a Skyscraper

Manhattan Verticality

Los Angeles Historical Development Initial European Settlement Superimposition of the Jeffersonian Grid Shape of Urban Expansion Grid Augmentation Transit Circulation A Grid of Highways and Houses Density Addendum to the Grid Accepting the Adversities of Idiosyncratic Development

Population Density

Maximizing Zoning Mass

Los Angeles Urbanism Expanding on the Grid Horizontally Suburban Character Transport Aided Sprawl The Age of the Market Polycentric Density The Allure of the American Dream

Unlimited number of virgin sites on one location ie. the Skyscraper

Comparison Dutch & Spanish Urban Design in the New World Jeffersonian Grids Grid as a Playground Culture of Congestion Extruded Grid Symbolic Insertion to the Grid Contextual Augmentation Removing the Grid Accepting the Grid Architectural Style New York Population Density Los Angeles Population Density Strong Cores

Redundant Piers Transformed into Parks

Change in Lower Manhattan’s geography 1660-1980

Midtown Manhattan Skyline 2012

Corbusian inspired Stuyvesant Town, New York

Dissertation Conclusion This dissertation has investigated America’s two largest metropolitan expansions that have grown along the grid. The study set out to analyze the phenomenological, governmental, cultural, technological, physical and economic circumstances which have led to the distinctly contrasting urban environments of New York and Los Angeles. The characteristics of the two grid systems have been compared to understand their philosophical differences. The results of the investigation of these two cities can be described as follows: exploding real estate markets and the influx of people drove the expansions of both cities. New York was realized as a cluster of vertical towers through the sheer multiplication of its confined gridded spaces. It has become the definitive American example of a traditionally centralized urban fabric that radiates from its core.

Los Angeles’ grid was guided horizontality, in the form of houses and open space. It is the purest example of 20th century suburban planning principals. Its unprecedented size and repeated conditions across the landscape have, however, been epitomized as pure ‘urban sprawl’. The findings of this study of New York and Los Angeles suggest that Manhattan is as antagonistic to the car as Los Angeles is to the pedestrian. The case study methodology to compare the conditions of New York and Los Angeles can be used to understand the expansions and compositions of other Jeffersonian gridded cities.

Architectural Design Dissertation April 2012

Los Angeles grid as seen by night

Suburban Configuration in Los Angeles

Car usage in the United States

Qualities Sought in Dissertation •Intellectual curiosity •Well formulated arguments •Clear expression of aims and objectives •Demonstration of knowledge and familiarity with the work of other architects and scholars in the chosen field •Coherent structure and style •Use of correct conventions - syntax, references etc.

Strength of personal view and rigour of conclusions.

Victorian Bunker Hill is razed to accomodate the skyscrapers of the New Downtwon Los Angeles

The urban corridor of Wilshire Boulevard through Westwood

Polycentric Density

The Jeffersonian grid infilled by idiosyncratic suburban developments