MA Interior Architecture and Design Thesis by Jonathan Xuereb

Speakersâ&#x20AC;&#x2122; Corner: The investigation of ecosystemic sustainability, through the epistemology of form and space within public squares. Master of Arts in Interior Architecture and Design INT9005M XUEREB Lincoln School of Design UNIVERSITY OF LINCOLN

I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where states otherwise by reference or acknowledgment, the work presented is entirely my own.

Jonathan Xuereb 28 August 2020

XUEREB, Jonathan, August 2020

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Acknowledgements: I want to express my gratitude and appreciation to the following people, without whom I would not have been able to complete this research, and without whom I would not have made it through my masterâ&#x20AC;&#x2122;s degree! I want to begin by thanking my lecturers and supervisors; Dr Raymund Konigk, Ms Lorna Cameron and Dr Anna Catalni for their consistent support and guidance, providing advice with regards to analysis throughout this project and for continuously encouraging me and who were always willing and enthusiastic to assist in any way they could. Lastly I would like to thank my other half Mariah, for all her support, patience, honesty and love. You have been my kite and my rock! To conclude, my biggest thanks goes to my family for their love and endless support throughout the compilation of this dissertation! Finally, I would like to dedicate this dissertation to my loving parents, Carmen and Dione, whose words of encouragement supported me throughout the process. I will always appreciate all they have done, to making me, the person I am today. Thank you and will be forever grateful.

XUEREB, Jonathan, August 2020

Speakersâ&#x20AC;&#x2122; Corner: The investigation of ecosystemic sustainability, through the epistemology of form and space within public squares. XUEREB, Jonathan (18701452)

Submitted in fulfillment of a part of the requirements for the degree Master of Arts in Interior Architecture and Design Lincoln School of Design UNIVERSITY OF LINCOLN Supervisor: Module:

Dr. Raymund Konigk and Ms. Lorna Cameron Thesis Project INT9005M August 2020

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It seems to be correct to begin with the real and the concrete, with the real precondition, thus to begin, in economics, with e.g. the population, which is the foundation and the subject of the entire social act of production. However, on closer examination this proves false. The population is an abstraction if I leave out, for example, the classes of which it is composed. ... if I were to begin with the population, this would be a chaotic conception of the whole, and I would then, by means of further determination, move analytically towards ever more simple concepts, from the imagined concrete towards ever thinner abstractions until I had arrived at the simplest determinations. From there the journey would have to be retraced until I had finally arrived at the population again, but this time not as the chaotic conception of a whole, but as a rich totality of many determinations and relations.

Karl Marx

XUEREB, Jonathan, August 2020

Titlu: Speakers’ Corner: L-investigazzjoni tas-sostenibbiltà ekosistematika, permezz tal-epistemoloġija tal-forma u l-ispazju fi pjazzez pubbliċi. Isem Kunjom: Jonathan Xuereb Taħt is-superviżjoni ta’: Dr. Raymund Konigk u Ms. Lorna Cameron Iskola: Università ta ‘Lincoln Grad: Master of Arts fl-Arkitettura Interna u d-Disinn

ASTRATT MALTI Il-morfoloġija ta ‘belt hija affettwata mill-istrutturi ekonomiċi u politiċi tagħha. Fil-preżent, l-istruttura tal-belt qed tevolvi billi ssir aktar urbanizzata. Fl-istess ħin, id-deterjorament ambjentali, is-sinifikat kulturali u l-benessri tal-komunità qed jiġu injorati minħabba l-popolazzjoni dejjem tiżdied, li tirriżulta f’aktar bżonnijiet, aktar servizzi u aktar ħela. Il-pjazez pubbliċi kienu formalment meqjusa bħala postijiet għall-komunitajiet biex jinġbru u jissoċjalizzaw; madankollu, dan ma jidhirx li huwa l-każ iktar. Illum il-pjazez qed jiġu ddisinjati b’mod superfiċjali billi jitilfu l-morali tagħhom, mill-funzjonalità u jiġu sostitwiti b’materjali li jagħtu illużjoni ta ’disinn tajjeb li maz zmien jispiccaw jitilfu l-kwalitajiet estetiċi tagħhom malajr. Waqt it-twettiq ta ‘riċerka, eżempji ta’ pjazez preżenti kienu analitikament imqabbla ma ‘dik tal-passat. Dan wassal, biex tipoloġija tal pjazez tiġi stabbilita u ndixxjata. Matul din it-teżi, il-problema tad-disinn kellha l-għan li tittratta l-vojt fl-esponiment tat-tipoloġija tal-pjazzez pubblici, li tippermetti biex il-pjazza tiffunzjona kif jimplika t-tipoloġija tagħha, u jsir spazju ta ’interazzjoni komunitarja. Dan intqal, il-punt fokali ta ‘dan l-istudju kien li jinvestiga u jifhem kif l-influwenzi soċjali jistgħu jaffettwaw l-imġieba psikoloġika stess fil-ġisem; spazju u forma biex jirrestawraw is-siti; l-istorja; kultura; u l-memorja. Il-proġett se jkun applikat billi tigi maghzula waħda mill-pjazzez tal-belt ewleni ta ’Lincoln, magħrufa bħala ‘Speakers’ Corner’. Għalhekk, id-data primarja ġiet miġbura permezz ta ‘żjarat kosistanti fis-sit u stħarriġ, filwaqt li d-data sekondarja nġabret minn studji ta’ każ; li maqsuma filosofiji simili, karatteristiċi u tipoloġiji. It-teoriċi li ġejjin influwenzaw ir-reviżjoni kritika ta ‘dan l-istudju b’informazzjoni kruċjali, li għen biex tiġġenera t-tipoloġija proposta. Ching; “Architecture form, space and order”, (1979), Scott; “On altering architecture”, (2008), Jennings; “A Case for a Typology of Design: The Interior archetype Project”, (2008), Pallasmaa; “The eyes of the skin: architecture and the senses”, (2012), Königk; “An Imaginal Interpretation of Interior Design’s Methods of Cultural Production: Towards a Strategy for Constructing Meaning”, (2015), Crowther; “Ecologic architecture”, (1992), Fisher; “An Ecosystemic Role for Architectural Style: Bearing ‘the plan’ in ‘mind’, (1992), Caan; “Rethinking Design and Interiors : Human Beings in the Built Environment”, (2011), u l-aħħar iżda mhux l-inqas, Giedion; “Space, time and architecture the growth of a new tradition”, (1982) Id-disinn kien immexxi u kkurat minn riċerka primarja u sekondarja, li appoġġjat l-alterazzjoni proposta tat-twaqqigħ. Madankollu, id-disinn ġie żviluppat aktar u appoġġjat minn Ħmistax-il Arketip. Dawn għenu biex jorganizzaw u jarmonizzaw it-tqassim spazjali. Is-semijotika kienet l-aspett li ġabet ilkunċett, u żieded valur f’termini ta ‘tifsira. It-tnejn ingħaqdu bla xkiel, li ġġeneraw rabta psikoloġika bejn l-utent, il-funzjoni, id-dehra u s-sit. Metodu ekosistemiku (filosofija) intużat biex iġib ordni lura filpjazza. Dan l-għan intlaħaq permezz tal-introduzzjoni jekk żewġ diskorsi interni: • •

L-epistemoloġija żammet il-valur psikoloġiku tal-post, filwaqt li l-forma trażmess l-aspetti psikoloġiċi fil-valur fiżjoloġiku. It-tliet pilastri li jiffurmaw sostenibbiltà ekosistematika (soċjali; ambjentali; ekonomika) ġew analizzati aktar permezz ta ‘proċess ta’ ħsieb ekoloġiku, biex jiġi żgurat bilanċ, ordni u s-saħħa tal bniedem. Ir-riċerka tikkontribwixxi għad-dixxiplina b’modi li juru kif l-arkitettura ta ’ġewwa tista’ tissodisfa u ssolvi l-miżuri eżistenti, billi twassal lill-utent fl-ispazju u fl-ispazju fil-kuntest. Barra minn hekk, tikkontribwixxi għad-dixxiplina tal-arkitettura u disinn interni, li turi manifestazzjoni strateġika ta ‘kif l-arkitettura, l-ispazju, u d-disinn interni jingħaqdu biex jindirizzaw it-tipoloġija tal-pjazzez pubbliċi. B’dan il-mod, il-punt prinċipali huwa biex is-sit jsir il ċentrali fejn ix-xewqa talbniedem, u l-istorja, il-kultura u l-memorja tas-sit jistgħu jerġgħu jiritornaw il-ħajja. Biex nikkonkludi, nemmen li minkejja li l-bini preċedenti fuq is-sit (kjosk) kien propost għat-twaqqigħ, il-memorja u l-użu preċedenti tagħha ġew sostnuti. Barra minn hekk, minħabba n-natura tal-kors, nirrakkomanda li riċerka primarja addizzjonali, bħal ‘questionnaires’, jkunu inklużi. Li tagħmel dan tipprovdi opportunità għall-komunità biex taqsam il-fehmiet u l-opinjonijiet tagħhom. Ukoll, huwa ideali biex issir stħarriġ komplet fuq is-sit biex jinkiseb proġett aktar preċiż u dettaljat.

‘Epistemoloġija’, fehim tal-post; u ‘Forma’, il-mod kif issir.

Keywords: Ekoloġiija; Ekosistematika; Epistemoloġija; Sostenibbiltà

Title: Speakers’ Corner: The investigation of ecosystemic sustainability, through the epistemology of form and space within public squares. Name Surname: Jonathan Xuereb Supervisor: Dr. Raymund Konigk and Ms. Lorna Cameron School: University of Lincoln Degree: Master of Arts in Interior Architecture and Design

ABSTRACT ENGLISH The morphology of a city is affected by its economic and political structures. At present, the city structure is evolving by becoming more urbanised. At the same time, environmental deterioration, cultural significance and community wellbeing are being overlooked because of the increasing population, resulting in more needs, more services and more waste. Public squares were formally seen as places for communities to gather and socialise; however, this does not seem to be the case anymore. Today squares are being designed superficially losing their ‘morals’, of functionality and substituted with materials which give an illusion of good design but lose their aesthetic qualities quickly. While carrying out research, examples of present squares were analytically compared to past one. This led, to an established square typology can be discerned. Throughout this thesis, the design problem aimed to tackle the gap of the exposing the public square typology, allowing the square to function the way its typology implies, becoming a space of community interaction. This being said, the focus of this study was to investigate and understand how social influences could affect one’s own psychological behaviour in the body; space and form to restore the sites; history; culture; and memory. The project will be applied, taking one of Lincoln’s main city squares’, known as Speakers’ corner. Therefore, primary data was gathered through constant site visits and surveys, while secondary data was collected from casestudies; which shared similar philosophies, characteristics and typologies. The following theorists have influenced the critical review of this study with crucial information, which helped generate the proposed typology. Ching; “Architecture form, space and order”, (1979), Scott; “On altering architecture”, (2008), Jennings; “A Case for a Typology of Design: The Interior archetype Project”, (2008), Pallasmaa; “The eyes of the skin: architecture and the senses”, (2012), Königk; “An Imaginal Interpretation of Interior Design’s Methods of Cultural Production: Towards a Strategy for Constructing Meaning”, (2015), Crowther; “Ecologic architecture”, (1992), Fisher; “An Ecosystemic Role for Architectural Style: Bearing ‘the plan’ in ‘mind’, (1992), Caan; “Rethinking Design and Interiors : Human Beings in the Built Environment”, (2011), and last but not least, Giedion; “Space, time and architecture the growth of a new tradition”, (1982) The design was driven and curated from primary and secondary research, which backed the proposed alteration of demolition. However, the design was further developed and supported by Fifteen Archetypes. These helped organise and harmonise the spatial layout. Semiotics was the aspect that brought the concept together, adding value in terms of meaning. The two seamlessly merged, which generated a psychological attachment between the user, function, appearance and site. An ecosystemic approach (philosophy) was used to bring order back to the square. This aim was reached through the introduction if two interior discourses: • •

Epistemology maintained the psychological value of the place, while form transmitted the psychological aspects into physiological value. The three pillars that make up ecosystemic sustainability (social; environmental; economical) were further analysed through an ecological thinking process, to ensure balance, hierarchy and wellbeing. The research contributes to the discipline in ways that shows how interior architecture can fulfil and resolve existing measures, bringing the user into space and space into context. Moreover, it contributes to the interior architecture and design discipline, showing a strategic manifestation of how architecture, spatial, and interior design come together to tackle the typology of public squares. Thus in this way, the centre point for human desire, and the sites history, culture and memory can be revived. To conclude, I believe that even though the previous building on site (kiosk) was proposed for demolition, its memory and previous use has been sustained. Furthermore, due to the nature of the course, I recommend that additional primary research, such as questionnaires, need to be included. Doing this would provide an opportunity for the community to share their views and opinions. Also, it is ideal for conducting a complete site survey to achieve a more precise and detailed project.

‘Epistemology’, understanding of place; and ‘Form’, the making of place.

Keywords: Ecological; Ecosystemic; Epistemology; Sustainability

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TABLE OF CONTENTS

01 INTRODUCTION 1.1.1 Background and motivation 1.1.2 Hypothesis 1.1.3 Problem in context 1.1.4 Design problem 1.1.5 Aim of project 1.1.6 Design objectives 1.1.7 Research questions 1.1.8 Delimitations 1.1.9 Conclusion

02 CONTEXT STUDY 2.1 Introduction 2.2 Site criteria 2.3 Conclusion

03 CONTEXT & SITE ANALYSIS Overview 3.1 Understanding of place 3.1.1 Overview 3.1.2 Historical background 3.1.3 Use 3.1.4 Association 3.1.5 Fabric 3.2 The cultural significance 3.2.1 Historical value 3.2.2 Communal value 3.2.3 Aesthetic value 3.2.4 Statement of significance 3.3 Identifying factors & policies 3.3.1 Obligations 3.3.2 Current conditions 3.3.3 Developing policy 3.4 Conclusion

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04 CRITICAL REVIEW 4.1 Introduction 4.2 Ecosystemic sustainability 4.3 Economical sustainability 4.3.1 Introduction 4.3.2 Speakersâ&#x20AC;&#x2122; corner typology 4.3.3 Brand identity 4.4 Social sustainability 4.4.1 Introduction 4.4.2 Social wellbeing

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4.5 Environmental sustainability 4.5.1 Introduction 4.5.2 The Intersecting of physiological and pyschological effects 4.5.3 Physiological elements form, colour, and texture 4.5.4 Environmental psychological elements 4.6 Conclusion

05 PRECEDENT STUDIES Overview 5.1 The Obo office 5.2 National museum of Scotland 5.3 Nordic pavilion 5.4 Colicci cafe 5.5 Il- Gabbana 5.6 Organic house 5.7 Museum, visual arts centre 5.8 Treehugger tourist information office 5.9 Portsoken pavilion 5.10 Apple store liberty 5.11 Conclusion

23 24 25 26 27 28 29 30 31 32 33 34

06 ALTERATION PROPOSAL 6.1 Introduction 6.2 Mode of intervention 6.3 Proposed typology 6.4 Conclusion

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07 CONCEPT 7.1.1 Introduction 7.1.2 Conceptualise 7.1.3 Imaginal strategy 7.1.4 Exterior space 7.1.5 Interior space 7.1.6 Exterior and interior materials 7.1.7 Curation of materials, furniture, lighting and equipment 7.1.8 Conclusion

39 40 44 46 51 53 54 58

08 CONCLUSION 8.1.1 Overview 8.1.2 Contributions 8.1.3 Limitations 8.1.4 Recommendations 8.1.5 Conclusion

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09 REFERENCES 10 BIBLIOGRAPHY

11 ADDENDUM B Technical drawings

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LIST OF FIGURES

Figure 1.1: Image of Market Hall square Figure 1.2: Image of Corn Exchange sqaure Figure 1.3: Image of Speakers’ corner square Figure 1.4: Image of Speakers’ corner square Figure 1.5: Semiotic approach diagram

Figure 2.1: Locality plan, showing chosen site

Figure 3.1: Plan drawing Figure 3.2: Profile drawing Figure 3.3: Elevation drawing Figure 3.4: Section drawing Figure 3.5: Footings drawing

Figure 3.1.1: Timeline of site development

Figure 3.2.1: Image of Speakers’ square in the 1900’s Figure 3.2.2: Neo-Victorian Iron cast colunm Figure 3.2.3: Signs of protest placed around London plane tree

Figure 3.3.1: Kiosk, High street Figure 3.3.2: Speakers’ square Figure 3.3.3: Speakers’ square

Figure 4.1.1: Understanding of project Figure 4.1.2: Schouwburgplein, Rotterdam Figure 4.1.3: Exchange square, Manchester Figure 4.1.4: Pershing square, Los Angeles Figure 4.1.5: Speaker’s corner square, Lincoln

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Figure 4.2.1: Ecosystemic diagram

Figure 4.3.1: Speakers’ corner, High street Figure 4.3.2: Origin products

Figure 4.4.1: Nested system diagram

Figure 4.4.2: Ecological design process diagram

Figure 4.5.1: Triangle of human needs diagram Figure 4.5.2: Colour scheme diagram

Figure 4.5.3: Colour meaning and representation diagram

Figure 4.5.4: Ecological holistic design diagram

Figure 4.5.5: Paradigm of creating experiance and perception diagram

Figure 4.6.1: Understanding flow of project diagram

Figure 4.6.2: Project distribution diagram

Figure 5.1.1: Open and clean design Figure 5.1.2: Scemetic planning, configuration of space Figure 5.1.3: Preservation of original elements

Figure 5.2.1: Interior iron cast columns Figure 5.2.2: Circulation drawing Figure 5.2.3: Natural lighting Figure 5.2.4: Shemetic sectional drawing

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Figure 5.3.1: 1970â&#x20AC;&#x2122;s photograph Figure 5.3.2: Drawing of circulation around surrounding buildings Figure 5.3.3: Site location and sun path Figure 5.3.4: Tree and building Figure 5.3.5: Experiantial space Figure 5.3.6: Interior trees

Figure 5.4.1: Compact kiosk Figure 5.4.2: Interior of kiosk Figure 5.4.3: Outdoor seating area Figure 5.4.4: Explosive sketch of kiosk Figure 5.4.5: Site location, surrounding context

Figure 5.5.1: Siteâ&#x20AC;&#x2122;s historic development Figure 5.5.2: Link between brand and the building Figure 5.5.3: Artificial lighting Figure 5.5.4: Site location Figure 5.5.5: Explosive drawing of kiosk

Figure 5.6.1: Continuity, fluid design Figure 5.6.2: Schemetic drawing, showing spatial configuration Figure 5.6.3: Identification of architypes, through space Figure 5.6.4: Aerial view of site Figure 5.6.5: Sketches highlighting specific aspects of design

Figure 5.7.1: Exterior of building Figure 5.7.2: Schemetic drawing, showing spatial configuration Figure 5.7.3: Identification of architypes, through spaces Figure 5.7.4: Stairs/ seating, and ambiance Figure 5.7.5: Explosive drawing

Figure 5.8.1: Exterior form, awning Figure 5.8.2: Schemetic drawing, showing spatial configuration Figure 5.8.3: Identification of architypes Figure 5.8.4: Interior furniture, in and out feeling Figure 5.8.5: Sketches highlighting circulation and features

Figure 5.9.1: Exterior form Figure 5.9.2: Schemetic drawing, showing spatial configuration Figure 5.9.3: Identification of architypes, through public square Figure 5.9.4: Interior space Figure 5.9.5: Exploded view showing spatial areas

Figure 5.10.1: Exterior, stairs/ seating area Figure 5.10.2: Schemetic drawing, showing spatial configuration Figure 5.10.3: Interior showcase stairs Figure 5.10.4: Exploded drawing, public & private spaces Figure 5.10.5: Experential features enhancing wellbeing

Figure 6.1: Diagram showing circulation and kiosk obstruction

Figure 6.2: Drawing of site alteration

Figure 7.1: Site location, and nearby coffee shops Figure 7.2: Architypes forming part of philosophy

Figure 7.3: Concept diagram Figure 7.4: Site observation

Figure 7.5: Early sketches showing alteration variations Figure 7.6: Understanding of site, through current use and function Figure 7.7: First proposed concept Figure 7.8: Image showing change in floor depth (terrain)

Figure 7.9: Understanding sites’, ratio, scale of surroundings Figure 7.10: Understanding of site, considering natural, wind and light

Figure 7.11: Putting form into place Figure 7.12: Understanding of site, giving new meaning Figure 7.13: Developed concept

Figure 7.14: Architypes selected for this project

Figure 7.15: Isometric drawing illustrating areas and aspects of the project

Figure 7.16: Artistic section drawing

Figure 7.17: To-go cafe and re-use of colunms Figure 7.18: Site plan artistic drawing.

Figure 7.19: Exterior visual of cinema scene Figure 7.20: Lower level artistic drawing

Figure 7.21: Upper level drawing Figure 7.22: Integrated bike storage, Betula utilis trees

Figure 7.23: Speakers’ corner podium, human interaction and past / present symbolism Figure 7.24: Warm interior/ exterior lighting, high-lighting geodesic structure

Figure 7.25: Proposed showcase stairs Figure 7.26: Interior visual showing proposed furniture/ service counter and lighting

Figure 7.27: Interior representation showing wall lights, integrated fridges, iron cast colunm and wall seating Figure 7.28: Visual of service counter, exhibiting coffee dispensers and overhead lighting

Figure 7.29: Visual showing a full representation of Speakers’ public square and pavilion

Figure 7.30: Concrete brick paving Figure 7.31: Exposed aggregate Figure 7.32: Polished concrete Figure 7.33: Concrete exterior and interior walls

Figure 7.34: Lino leather Figure 7.35: Chrome silver Figure 7.36: Mirror Figure 7.37: Chrome black Figure 7.38: Glass exterior and interior glass types

Figure 7.39: White oak wood Figure 7.40: Stainless Steel Figure 7.41: Stone Figure 7.42: Green tiles Figure 7.43: ICS stool Figure 7.44: Flute table Figure 7.45: Ilda coffee table

Figure 7.46: Stanford armchair Figure 7.47: Grace chair Figure 7.48: Model 2065 Figure 7.49: Hoist Sconce Figure 7.50: Elektra Espresso machine Figure 7.51:Elektra indie 2 units

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Figure 11.1: Locality plan Figure 11.2: Site layout Figure 11.3: Site alteration Figure 11.4: Floor plans Figure 11.5: Floor plans Figure 11.6: Floor plan Figure 11.7: Elevations Figure 11.8: Street elevation Figure 11.9: Section drawings Figure 11.10: Street elevation Figure 11.11: Electrical lighting plans Figure 11.12: Construction detail drawings Figure 11.13: Construction detail drawings Figure 11.14: Administration of architypes Figure 11.15: Isometric drawing

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INTRODUCTION

GAP

1.1.1 Background & Motivation As a city develops, its economic and social conditions change. The physical environment is continuously adapting to facilitate the increase in population and changing needs. In accommodating smart development, sustainability has since grown to be one of the most significant aspects of the building industry, (McKinsey, 2013, Pp. 1). The compound term is not easily defined; however, the definition of sustainability within this study will cater to enhance the quality of life, thus allowing people to live in a better-improved environment. While experiencing Lincoln’s culture and history, three public squares were distinguished. They share a similar quality of being disengaged from the public. This recognition led to identifying a gap of in-existing public spaces.

Figure 1.1: Market Hall adjecent River Witham (2020).

A philosophical approach will go through an epistemic evaluation, which takes into perspective decisions and choices taken and made, with regards to the effects of how tangible and intangible aspects within a public space trigger human emotions. Doing this will lead to making a self-active space, taking into consideration form and flow to help improve the performance of the square, to enable events, such as; markets, concerts and festivals. Therefore the epistemic evaluation will be considered an asset to achieve the previous mentioned aspects. The city of Lincoln has three main squares; Market Hall, adjacent to the River Witham; Corn Exchange, adjacent to Sincil street; and Speakers’ Corner, adjacent to High street. Observation of all three squares led to identifying similarities, which led to the question: why are they all open, clean, plain and empty? Therefore, such a project is needed to help improve social wellbeing within such urban public spaces and help solve the current problem with regards to public squares. 1.1.2 Hypothesis Taking into consideration the ecosystemic pillars of social, economic and environmental aspects of sustainability, design will provide a better understanding of how and what could affect the human mental states.

Figure 1.2: Corn Exchange adgecent Sincil street (2020).

PROBLEM IN CONTEXT

1.1.3 Problem In Context Throughout this dissertation, the understanding of ecosystemic sustainability will be investigated and analysed through the understanding of social, environmental and economic pillars, using ecological thinking with regards to public urban spaces (Chan, 2007, Pp 9). This investigation will be tackled through a theoretical approach and applied later in practice to the specified site (see figure 1.4). Borchardt (2005) claims that public squares are centre points which aim at connecting the user to its context’s history, identity, culture and memory of place. As this thesis serves as a base on which a practical project will articulate from, the chosen site investigated will be ‘Speakers’ Corner, city square’ located adjacent, the High street, Lincoln. Lincoln has seen many alterations and developments in the past 10 years to accommodate students, residents and visitors. As the city developed through the changing use, alteration and new buildings, open areas such as squares were superficially updated to satisfy aesthetic needs. The use of materials and finishes stands as an illusion of good design, which results in losing their impetus and significance, lacking experience and emotion.

Xuereb, Jonathan, August 2020

Figure 1.3: Speakers’ Corner adjecent High street (2020).

“Making aesthetics the chief priority concludes in soulless buildings where the choice of material is justified exclusively against aesthetic criterion and fails to engage the auditory, haptic, or olfactory realms” (Rushika H.P. undated). This quote justifies the meaning and proper use of the term aesthetics, it gives a thorough explanation of how the aesthetic process should not be taken for granted, though to be taken with great caution and detail. This understanding leads the study towards adopting a semiotic approach to restore meaning within the chosen site (Konigk, 2015).

DESIGN PROBLEM

1.1.4 Design Problem As it stands, the site currently hosts a building from the 1980s; it’s cultural significance although not identifiable, is evident through the site’s communal and aesthetic values, which currently are disregarded (Australia Icomos, 2013). The building’s alteration will be addressed through a semiotic process, to transmit meaning and generate a sense of hierarchy through tangible and intangible aspects (Scott, 2008, 23). Existing research shows that both ‘interior architecture and spatial design’ is generally overlooked within the public realm (Whyte, 1988, 109). Combining ecological principles which focus on the articulation of the physical environment, typology and aesthetics would tackle the first-order meaning, taking into consideration how living organisms react with their surrounding environment. The second-order meaning derives from conceptions, perceptions and experiences of the intangible space. Thus, this project attempts to investigate the space concerning the body, through the philosophy of epistemology in form and space, in terms of social wellbeing and ecosystemic sustainability. The aim is to understand how social influences could affect one’s psychological behaviour (Zollman, 2011, Pp 338) while addressing the identified gap of the unknown, public square typology.

EPISTEME Philosophy

FORM Tangible

SPACE Intangible

Figure 1.5: Diagram of addressed discourses and semiotic approach.

1.1.6 Design Objectives 1. To restore purpose and provide meaning back to the site; [1] 2. To propose a universally accessible design; [2] 3. To embody meaning through semiotics to generate psychological attachment; [3] and 4. To preserve and enhance the significance of the site. [4] 1.1.7 Research Questions This is the main question; 1. How could an ecosystemic approach improve the local wellbeing? [5] These are sub-questions; 2. How would a person perceive space and form? [6] 3. What may psychological effects space and form impose on humans? [7] 1.1.8 Delimitations 1. To focus on just the square area; 2. Surrounding buildings will not be tackled; 3. Proposed water systems will not be focused in detail; 4. The proposed structural construction will only be an interpretation from a designers perspective and not from an engineering point of view.

Figure 1.4: Speakers’ Corner square (2020).

AIM

1.1.5 Aim of Project The research and design proposal acknowledges the social, environmental and economical changes throughout the years within the city of Lincoln, and therefore aims to identify the most suitable alteration approach and use-function to the chosen typology.

The aim is to reclaim the site back to its community, enhancing function and meaning, through means of alteration. The act of demolition and preservation of the site is taken through semiotics which evokes feeling, memory, and body, restoring the site’s significance of hosting the community.

1.1.9 Conclusion The following chapter will introduce the chosen site. Throughout this documentation, the identifying of the square and its surrounding context is investigated, uncovering its cultural significance using the Burra Charter (2013) and Historic England guidelines (2008). Furthermore, Jenning’s (2007) and Ching’s (2005) literature; ‘The interior archetype project’, (2007) and ‘Form, space and order’, (2015), will form part of the typology analysis and communication throughout this occurring study. Precedent studies related to this project having similar morphological and typological characteristics will be critically analysed. The objective for carrying out similar studies is to gain inspiration through their execution, philosophies and methods, which will lead to development. Thus an alteration proposal will be tackled, stating its mode of intervention and its proposed typology, complying with Scott’s On Altering Architecture (2008).

CONTEXT STUDY

2.1 INTRODUCTION

This study will focus on the Speaker’s Corner, located in the heart of the city. The square lies adjacent to the High street and the historic Cornhill building. The square has been used since the early 18th century as Lincoln’s main square, where markets and local events regularly took place. The building that forms part of the site was built during the 1980s, providing locals and tourists with information. In 1986 the entire square was altered and became pedestrianised.

2.3 CONCLUSION

The site was selected following the criteria given. Research on the site uncovered evidence of its cultural significance. The importance of the site derives from it being at the centre of the city, making it a frequented location by consumers. The square today is utilised only as a node, a transportation hub. By retaining the sites, cultural significance through ways of design, using semiotics, symbolic motifs (Konigk, 2015), archetypes (Jenning, 2007) and proven theories, the square can be restored combining social, environmental, and economic aspects. The term node is defined as a control point, or as an intersection, which represents points that describe flow throughout a space. These are considered invisible details, which define and shape how people move and engage with the space being only constrained by its given form. This aspect will be taken into consideration to enhance and facilitate social interaction efficiently, as it once did (Lynch, K, 1990, 47). The next chapter will analyse the site in more depth; to get a better understanding of its built environment.

Figure 2.1: Locality plan, showing chosen site.

2.2 SITE CRITERIA

The site comprises of an ample open space surrounded by tall buildings used for residential and commercial purposes. In contrast, on-site a Neo-Victorian building and a mature London plane tree are present, which are in the process of being removed. Locals have argued against this act; stating, “The tree should stay because it’s not causing any issues. It’s healthy so won’t create a health hazard. It helps keep the air cleaner and in no shape or form does it obstruct a business and if it does...Maybe the wellbeing of the planet should again come before a profit” (Robyn Fuller, The Lincolnite, 2019). The building has now closed from all public use, which escalated to protests by the community. The public disapproves with the proposed planning of alteration. Apart from its historical value, the building possesses communal value due to its service, Robyn Fuller also stated the following; “That kiosk near the tree has so much sentiment from times eating a chocolate Mr Whippy on a summery day when visiting Lincoln as a little girl, and I imagine others have similar experiences. For such a historical city, the council seems we will adept at removing things as opposed to restoring the little things that make people smile (Robyn Fuller, The Lincolnite, 2019).

Xuereb, Jonathan, August 2020

CONTEXT & SITE ANALYSIS

OVERVIEW

Throughout this analysis, the Burra Charter process (Australia ICOMOS Incorporated, 2013) and Historical England conservation principles, policies and guidelines (2008), were used to understand the sites’ context and significance. Following the Burra Charter, a context and site analysis will be conducted. This chapter aims to uncover the following aspects as well as determine and understand the sites’ significance. The understanding of the place (see section 3.1) will firstly be analysed, following form, space and order (Ching D.K, 2007). This understanding led to uncovering the sites’ significance through an in-depth historical evaluation of its past and physical appearance. The assessing of its cultural significance (see section 3.2) will be broken down throughout this documentation, revealing factors that contribute or has contributed to the sites’ cultural significance. This information will finally be synthesised to provide a statement of significance. Throughout this chapter, the square will be thoroughly analysed (see section 3.3), which aims to assess ways and means to propose a concept concerning the sites’ significance. Lastly, a policy will be developed (see section 3.4) while considering the proposed building’s use to determine the necessary measures and priorities to enhance the building’s established cultural significance.

PANDORA

Figure 3.1: Plan (2020).

BARCLAYS

Figure 3.2: Profile (2020).

Figure 3.3: Elevation (2020).

Figure 3.4: Section (2020).

Figure 3.5: Footings (2020).

Xuereb, Jonathan, August 2020

3.1 UNDERSTANDING OF PLACE 3.1.1 Overview The chosen site, Speakers’ Corner is located at the edge of High street, which is often used as a node to access other parts of the city, making it a fluid space due to its given location. 3.1.2 Historical Background The building is located on the edge of the square centralised with the east end of the archival grade two ‘Corn Exchange’ building, which dates back to 1847. The square dates back to the 15th century, where markets and fairs were hosted. Such activities would often take place in rectangular-shaped areas, where face-to-face trading took place, which made the square adequate. In 1908 the square was used as a platform for freedom of speech, this is where it inherited its name ‘Speakers’ Corner’. It was during this time early 1900’s when suffragettes (militant women) peacefully protested under the banner “votes for women”, who fought for the right to vote in public elections, known as women’s suffrage (speakerscornertrust, n.d). In 1972 the square was paved and became officially pedestrianised later in the 1980s. During this time the market was replaced by retail shops between 1973 and 1980. In 1984, the visitors’ office building was built on-site and extended towards High street in 1998 (Lincs to the past, 2015). 3.1.3 Use The existing building was used as a visitors’ information centre until in 1998 when the building was extended and used as a Kiosk. The information centre was later turned into a health care centre until 2011 when it became an advertising platform that closed down later in 2014. The kiosk closed earlier this year rendered unused. Due to the development of the surrounding areas, the square and building are now somewhat neglected, putting the building at risk of being demolished, and the tree being cut down (The Lincolnite, 2019). 3.1.4 Association The square’s former use served as a market space, for local merchants and suppliers to sell their goods and trade. Aside from trade, the market also served as a meeting point for residents to socialise and interact. In 1908 the square was used as a platform for freedom of speech, which earned its given name, ‘Speakers’ Corner’. The 1984 addition, served as an information office, for visitors in Lincoln. The extension of the building in 1998, hosted a Burger and Ice-cream kiosk, which till September 2019, was frequented by employees of nearby businesses, tourists and residents (Lincs to the past, 2015). 3.1.5 Fabric The building’s exterior displays a Neo-Victorian quality, which can be recognised through the decorative cast-iron structure. At the same time, the roof represents a gothic style period form, known as ‘Tudor’ arch. Together the building and the pivotal tree form part of the square’s environment, and by relation are part of its historical development.

1853

1900

(Alamy, KGPA Ltd, 2011).

1908

1946

(Linctothepast, 2015).

(Speakers corner trust, N.d).

1970

(Barclays, N.d).

1976

(Alamy, Welsh, N.d).

1984

1990

(Linctothepast, 2015).

(2019).

(Linctothepast, 2015).

2013

2019

Figure 3.1.1: Timeline showing development of site.

(Linctothepast, 2015).

(Flickr, Abel, 2013).

3.2 THE CULTURAL SIGNIFICANCE 3.3.1 Historical Value Historical value derives from the site, hosting markets and social events since the 15th century (Historic England, 2008, 27-34; and Alamy, 2011). This square is a symbol of Lincoln’s past, which served as a physical space for locals to meet and trade. The square served as a place where activities held, gathering the community together, performing as the hub of the city, refer to figure 3.2.1. 3.2.2 Communal Value The square is a symbol of coming together. Today a building shares a collective of experiences and memory with the community of Lincolnshire. Through recent articles, it is evident that the square and the kiosk had a sense of communal value when locals expressed their despair with the annunciation of the proposed demolition, moreover the removel of tree (Historic England, 2008, 27-34; and Jaines, 2019), refer to figure 3.2.3.

Figure 3.2.1: Speakers’ square in the 1900’s. (Linctothepast, 2015)

3.2.3 Aesthetic Value The site is known for its surrounding characteristics, such as the historic Cornhill building, the London plane tree and the structure of the kiosk. These three attributes add a story and aesthetic value to the site. The significant value of the kiosk building derives from its structural endeavour. The craftsmanship and repetitive ornamental detailing embraced throughout the building has resulted in being of associational value. The cast-iron columns represent a specific time in Lincoln’s cultural context, making it a traditional building. The iron column forms part of the industrial revolution, which was the time when the city began to change and expand, for this the iron column is a symbol of progress and today a token of the past, refer to figure 3.2.2. 3.2.4 Statement of Significance As previously stated the significance of the site descends from several aspects. The site has enough information to support its worth to the community. The fact the site was utilised as a central square during the 18th century, hosting markets and events makes the site historically significant. The kiosk building has been part of the community from past years, which made it gain a sense of communal value. Its value was generated through years of service to the community, creating memorial value. Discovered online journals and articles made this evident, stating regrets towards the building’s removal, which depict memorial value, refer to page 3. The building is built in a specific style, using specific materials which uncover the period when the building was built, through its design and patina. The structure represents a typical building style that resembles a period.

Figure 3.2.2: Neo-Victorian Iron cast colunm (2019).

Figure 3.2.3: Signs of protest attached to tree on site (2019).

Xuereb, Jonathan, August 2020

3.3 FACTORS & POLICIES 3.3.1 Obligations Having conducted an in-depth research documentation about the site, analysing the site was also done. Observational site visits were carried out at different times during the day. Throughout these exercises, the way people moved and circulated the site was analysed, while also taking into consideration natural light and winds which ran through the pathways. Doing this led to uncovering the strengths and weaknesses of the site. Due to the sites historical significance, its past use as a public square was successful and therefore after reading and understanding Fred Scotts Book, ‘on altering architecture’ and analysing the site with great precaution the method of alteration chosen, was demolition. This decision was taken in response to retain the square’s reputation and presence. By doing this, the experience within the square can enhance users wellbeing while sustaining the sites’ memory. The obligation is to restore the site by not harming added attributes along the years, such as the Cornhill building, London plane tree and Neo-Victorian iron columns. These three characters form part of the sites’ historical, communal and aesthetic value, refer to chapter 3.2. 3.3.2 Current Conditions Currently, the square is a bare open site, having no seating, shading or service provided to the public. The square is active and engaged with only when events are hosted on-site. However, this is done on rare occasions, generally during festive seasons. The kiosk on site is currently unused, the iron structure, Gothic Tudor roof and Neo-Victorian ornamental designs are in good condition, due to restoration work done by ‘Dorothea restorations’, in 1998.

Figure 3.3.1: Kiosk at High street, Image taken 22/10/19.

Figure 3.3.2: Speakers’ square, event hosted on site (2020)

3.3.3 Developing Policy The aim is to retain the significance of the square by modifying its environment, restoring order and meaning back. The objective is to make a place, which enhances human interaction but still keeping the sites’ significance. By removing the kiosk, the site is more accessible uncovering features that make the square significant. The conceptual design will be based on epistemological methodologies, ecosystemic aspects and ecological thinking.

Figure 3.3.3: Speaker’s square, Image taken 02/02/20.

3.4 CONCLUSION

This chapter analysed and uncovered the sitesâ&#x20AC;&#x2122; context and cultural significance, resulting in a clear direction for establishing an alteration proposal.Â Having discussed the site context, the next chapter compromises a review of the literature, which would identify the brand and critically analyse the epistemology of ecosystemic sustainability, which would focus on categories of form and space. The term episteme is based on understanding perception, memory and reasoning, experienced from physiological and psychological aspects. The goal for the coming chapter is to understand what the term ecosystemic sustainability is, and how do the three pillars; social, environmental and economic aspects relate to the approach. This would be done by evaluating the social, environmental interest and economic reliability of surrounding areas through epistemology. Further, the understanding and use of the ecological process will be investigated, taking into consideration the physical form, spatial experience and user perception to restore sustainability in place. Methodologies for constructing the literature review will address the issues related to the gap mentioned earlier (refer to page 1). The following sources were used to support the stated argument: a review of academic papers; and original publications on sustainability (ecosystems, ecology), epistemology, and well-being (psychological and physiological).

Xuereb, Jonathan, August 2020

EPISTEMOLOGY

SOCIAL

ECOSYSTEMIC SUSTAINABILITY RELATIONSHIP

FORM ENVIRONMENTAL

ECONOMICAL

PHYSICAL (form)

TANGIBLE

THEORY

ECOLOGICAL PROCESS

CONCEPT

INTANGIBLE

EXPERIANCE (space)

USER (wellbeing)

Restored Sustainability in Place (site)

Figure 4.1.1: Understanding of project.

CRITICAL REVIEW

4.1 INTRODUCTION

The morphology of the city is affected by its economic and political structure. The increase in population means more needs, more services and more waste. The city structure is changing becoming more urbanised while environmental deterioration, cultural significance and community wellbeing are becoming disregarded. Public squares are seen as opportunities and commercial investment and for the wellbeing of the community. Unfortunately, today many public spaces seem to be intentionally designed to be looked at and not be touched. They are neat, clean, and empty - as if to say, no people, no problem! (Whyte, 1988). The Speakersâ&#x20AC;&#x2122; Corner square, is currently an empty and awkward space, due to its lack of functionality and appearance. Throughout this documentation, the typology of the square would be investigated, composed of an ecosystemic sustainable approach. The approach of semiotics (Konigk, 2015), first order and second order meaning will be applied throughout the proposed form, function and aesthetic qualities. The use of semiotics will potentially re-connect the site to the community and restore its communal and aesthetic value. The intangible experience of social interaction and social wellbeing will restore sustainability within the space making it a place with an identity, by understanding the physiological and psychological effects (Hinkel, Landau and Iacono, 2011).

Figure 4.1.2: Schouwburgplein, NI, (ProjectPublicSpace, 2005).

Figure 4.1.3: Exchange Square, UK, (ProjectPublicSpace, 2005).

Figure 4.1.4: Pershing Square, CA, (ProjectPublicSpace, 2005).

Figure 4.1.5: Speakersâ&#x20AC;&#x2122; Corner square, Lincoln, (2020).

Xuereb, Jonathan, August 2020

4.2 ECOSYSTEMIC SUSTAINABILITY

The term ecosystemic is the interaction of organisms concerning the physical environment; it is the science and understanding of how we humans connect in space and with space itself, through our responsive social behaviour (Crowther, 1992). Ecosystemic sustainability is concerned with reliability, security, rights, and maintain society. The sites’ sustainability will be restored through three specific pillars: social, environmental and economic aspects. Concerns with regards to the mentioned aspects have been raised throughout the years, making them issues that affect social wellbeing directly and indirectly: social issues, deal with human needs and health; economic issues, affect the local environmental structure and amenities; and environmental issues, deal with global warming and biodiversity. Therefore, the ecosystemic approach will be taken to understand the nature and relationship between each sustainable pillar (Rafiaani, 2017). Achieving balance and hierarchy between all pillars will result in a sustainable working environment. Throughout this document, the terminology ecosystemic sustainability will drive the study forward, analysing each of its pillars through an epistemological understanding. Throughout this investigation, ecological thinking will be used as a guiding process, taking into consideration the surrounding environment. [5] These terms will engage with ethics to the design, which will be investigated through epistemology to further understand the space and culture through ecological thinking (Lucas, Lloyd Jones, Allen and Manzi, n.d.). Thus, it is fundamental, as a designer, to commit responsibly towards reducing stress while caring for general wellbeing.

SOCIAL PILLAR Human Rights Health Issues Comfort

l ica log Eco nking Thi

Ec olo Th gica ink l ing

• • •

ECOSYSTEMIC SUSTAINABILITY

ECONOMIC PILLAR • •

ENVIRONMENT PILLAR

Local Environment Amenities

• • Ecological Thinking

Figure 4.2.1: Ecosystemic Diagram.

Research question - [5] How could an ecosystemic approach improve the local wellbeing?

Global Warming Biodiversity

4.3 ECONOMICAL SUSTAINABILITY

4.3.1 Introduction Economic sustainability is the philosophy of designing a space, which affects the social and ecological environment. This pillar is significantly essential, depending on research gathered and decisions made. The economic factor could impact the value of the site, which impacts the future of society and its environment. Economic sustainability aims to create better and more beneficial designs, improving wellbeing and the environment. By considering this, the project could increase marketability, making it environmentally and socially efficient, which in the long run improves productivity, comfort and nature. 4.3.2 Speakers’ Corner Typology The public square acts as a social glue to retail stores and commercial entities, where people can display their culture and identities, by socialising and interacting with space (Worpole and Knox, n.d). Even more important than the building in a city are the public spaces between them. The Speakers’ Corner square hosts a one-story building split in half, previously used as a burger kiosk and a tourist information stop. The building is currently unused, and thus the square is left empty, only used as a transitional space by the public. As stated in the previous chapter, interior architecture and spatial design are generally overlooked when it comes to such public spaces due to the lack of research and funding. Thus, this could be the reason why such public spaces in Lincoln are being done in this way. The lack of thought resulted in it becoming irresponsive to its cultural, sociological and psychological needs. Therefore its emptiness led to question its social responsibility as a square, being unable to function sustainably. A square could be the re-introduction of culture within a city. 4.3.3 Brand Identity The frequently asked question, coffee or tea? Well, even though tea remains the most popular hot beverage in the UK, tea is a relatively simple process to brew and consume, by having a kettle, a teabag and adding hot water (Hyde, 2017). In terms of coffee, people do not tend to own high-powered coffee machine or even the necessary apparatus to brew the coffee. Today coffee shops have been looked at, as places were socialising, and work can be carried. Coffee has been the consumption in varying settings and rituals, which has manifested as a symbolic register. It plays a massive part in the public system, in terms of identity, status, sociability, ceremony and convenience. Steven Topic (2009) states that coffee has been the fashionable drink, which enables interaction with humans. Although coffee can be prepared at home, most coffee shops put attention to detail, such as specially sourced beans, which are kept dry and weighed before grinding to ensure consistency for the perfect brew in accordance to one’s liking (Gander, 2016).

Figure 4.3.1: Speakers’ corner, High Street, (2020).

Origin, is a coffee brand established in the UK, which takes pride in its products; coffee and brewing equipment. These are made to last minimising its footprint on the environment. The coffee is distributed from El Salvador, Nicaragua, Colombia, Brazil and then roasted in the UK where blending science, senses, rituals and experimentation, is managed. The brand’s philosophy and ethical practice express their commitment to the environment and social sustainability (Origin, 2020). Origin, currently has a total of five retail establishments, 2 located in Cornwall, UK and 3 in London, UK (Origin, 2020). Analysing and understanding the brand’s concern to ensure a minimal footprint, has made Origin the perfect candidate to form part of the square’s typology.

Figure 4.3.2: Products by Origin. (2020)

Xuereb, Jonathan, August 2020

4.4 SOCIAL SUSTAINABILITY

4.4.1 Introduction Social sustainability is the extent to which social values, social identities, social relationship and social institutions can continue into the future (Black, 2004). As stated earlier, sustainability is composed of social environmental, and economic pillars, (Lucas, Lloyd Jones, Allen and Manzi, n.d; Landry, 2006, 11). The term social sustainability ensures and supports social relations. The mentioned pillars help create these relations by considering the physical, cultural and social place that would support wellbeing (Palich and Edmonds, 2020). Charles Landry states, how social, environmental, and economic pillars come together forming a holistic process through ecology.

AC RM D AN BI

These experiential questions will aim to address general perceptions which are critical to our human ecologic sustainability. Perceptions are formed through physiological and psychological reactions and experienced within every environment (Crowther, 1992). The following elements: lighting, sound, temperature, smell, form, colour, and texture (Crowther, 1992), extend to a sensorial experience which impacts our energy, production, interaction, emotions and wellbeing. [6] “Every touching experience…is multi- sensory; qualities of matter, space, and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton, and muscle.” (Pallasmaa, 2005, 41). Figure 4.4.1: Nested system diagram.

Research question - [6] How would a person perceive space and form?

E AC PL IN DY

• Would anyone want to go there? • Would anyone want to stay there?; and • Does it seem safe and friendly?

Therefore throughout the practical stage of this investigation, the following questions would better guarantee an adequate and well thought-out space:

“The connection between a mental content and some perceptible behaviour which expresses it, is given to us in our experience” (Rickman, 1967).

4.4.2 Social Wellbeing Forming a relationship between the physical space (tangible), the experience (intangible), and the user, social wellbeing will be achieved. Lansing and Marans (1969) stated that an environment of high quality, conveys a sense of wellbeing and satisfaction to its population through characteristics that may be physical, social or, symbolic (Adams, 2014). Any object that comes in contact by senses of touch or sight can generate physiological and psychological effects. It is all about the perceptions, attitudes and values, based on how one reacts, feels and adapts to a place. [6] Paola Sassi, emphasises that a building without thought and meaning can cause issues towards the user (Sassi, 2006). While Hans Peter Rickman (1967, 39) states that,

“Cities need to be emotionally and psychological sustaining. And issues like quality and design of the built environment, the quality of connections. Between people and the organisational capacity of urban stakeholders become crucial, as do issues of spatial segregation in cities and poverty” (Landry, 2006, 11).

TIME

PLANNING

ECOLOGICAL ARCHITECTURE

INTERIOR

SPECIFICATION

DESIGN

RESTORE

HUMAN WELLNESS

SUSTAINABILITY

TIME Figure 4.4.2: Ecological design process diagram (Crowther. R,1992, P14)

Xuereb, Jonathan, August 2020

4.5 ENVIRONMENTAL SUSTAINABILITY

4.5.1 Introduction Environmental sustainability is primarily associated with environmental conservation, which we people so much depend on even though sometimes we take for granted. This research will tackle the wellbeing factor to be able to design a healthy environment for the community. It takes into consideration the phycological and physiological effects, so therefore, throughout this chapter, tangible and intangible aspects will be discussed. 4.5.2 The Intersecting of Physiological and Psychological Effects Physiology and psychology intersect and influence one another. Through this relationship, we can understand how and what the inhabitant perceives and feels through their reactions. These perceptions fall under human senses, which result in the first impression. Shashi Caan mentions the triangle of human needs, stating that there are six elements that make up a humane, sustainable space. The six elements: safety, comfort, support, trust, freedom and privacy, are potentially aspects which illustrate the needs to achieve human wellbeing within an environment. Taking these six terms into consideration, as a sort of paradigm (Caan, 2011) will ensure in achieving environmental sustainability. The six mentioned elements are factors that we humans perceive psychologically, based on impression and thought (sight). However, we then run our impressions through physiological reasoning (profound observation), acknowledging physical objects which allow and disallow movements and action. [7]

PSYCHOLOGICAL NEEDS

PHYSIOLOGICAL NEEDS

Cognitive and volitional states of conciousness

Pertaining to physical functions and activities oxygen water food shelter clothing

SAFETY COMFORT SUPPORT TRUST FREEDOM AND PRIVACY SENSORY-STIMULATION

EMOTIONAL NEEDS Affective states of conciousness respect inclusion empowerment fulfillment recognition value

Figure 4.5.1: Triangle of human needs diagram, (Caan, S, 2011).

Research question - [7] What may psychological effects space and form impose on humans?

4.5.3 Physiological Elements Form, Colour, and Texture The form is the first object grasped by its outline, edge and figure, which generates physiological influences. It is the first aspect that responds to the human brain, whereby the object is recognised. Through sight, form is perceived, through touch, a connection is imagined between the building and the user (Fisher, 1992). The sense of freedom to touch is essential, enhancing the feeling of wellbeing in and out of the space. It is interesting how we perceive space through impression and adaptation (Exner and Pressel, n.d). Our behaviours tend to change according to the typology and characteristics of the building, which comes down to scale and proportion, which makes us perceive a building depending on its significance (size, aesthetics, history and politics). Space is influenced by the form, providing direction and function. However, the form is influenced by its material and colour, making this a crucial phase which illustrates meaning, function and sustainability. Throughout the years’ space experiences wear and tear, forcing it to change appearance, which could influence the spatial design (Exner and Pressel, n.d). Selection of material can come in different finishes and textures, which could generate opportunity (interaction) and awareness (symbolic). Textures can allow and disallow activities instead of just aesthetic qualities, making it a functional aspect to enhance ecosystemic sustainability. Materials and textures tend to affect our emotions and behaviours; for example, different ground textures can allow or disallow access and activity. The use of colour could influence the architectural space, dividing areas and zones. Mahnke (1996, Pp 131) explains how each colour can symbolise its ambient stating that, “An architectural space should not just have a colour, but rather its appropriate colour that fits the purpose of the building or space”(Mahnke 1996, Pp 131). To accommodate form and space natural monochrome and floral colours such as: black, white, grey, brown, green, yellow, blue, and chrome will come together through different interpretations. The colours are specifically chosen, based on prior studies on “perceiving colour”. Our eyes send messages to our brain, causing fluctuations in emotion and behaviour (Peate, S, 2017). Throughout the selection of colours, materials and textures were chosen based on properties and its relation towards the culture of Lincoln, the surrounding physical context of the site and finally, the chosen brand Origin. Even though colours are personal tastes, dependent on the individuals’ preferences, the aim is to adjust perception, by forming a balance between bold and soft hues, generating emotion and authenticity reflected from the city and the brand (Origin). The colours mentioned all form part of the Scandinavian colour palette carrying phycological messages, which would enhance first and second-order meaning. Using this colour scheme thoughtfully would allow stability, harmony and a sense of mental space. Moreover, due to their different nature, black and white would enhance the internal architectural form highlighting shadows, light, positive and negative spaces, and hosted typologies within the pavilion (Samara, 2017).

Figure 4.5.2: Colour scheme, (Alexander .K and Samara .D. 2017).

COLOUR

CATEGORY

STRENGHT

WEAKNESS

Black

Neutral

Power Luxury Exclusiveness

Sadness Serious Pessimistic

Grey

Neutral

Calm Relief Balance

Motionless

Chrome

Metal

Reflective Sensitive Modern

Coldness Indecision Colourless

White

Neutral

Purity Openess Cleanliness

Empty Unimaginetive Boring

Yellow

Lighting

Curiosity Chearfulness Attractive

Overwelming Childish

Green

Plants

Nature Harmony safety

Materialistic

Blue

Fabrics/ Textures

Communication Calmness Relaxation

Old-Fashioned Unstable

Brown

Material

Stability Comfort Support

Materialistic

Figure 4.5.3: Colour meaning and representation diagram.

Xuereb, Jonathan, August 2020

4.5.4 Environmental Psychological Elements Colour can influence the duration of time a person spends in a space. Creating a warm and inviting atmosphere all depends on the balance and composition of natural materials and colours. The use of metals, such as copper and chrome adds dimension by altering spatial perception. Visual aesthetics can increase comfort and wellbeing, giving the space elements of ‘hygge’ (sense of warmth through feelings of wellness and contentment) and memory (Samara .D. 2017). Colour should be balanced, taking into consideration height, light and complementary colours (Manhke 1996). Natural light depends on the orientation and the existing built environment around the space, which would determine the amount of light exposed to the building. Allocation of features such as; windows, walls and skylights would additionally impact the dynamics and sensorial experience within a building. According to Christopher Day (2002, Pp 200), lack of sufficient lighting can impact the users’ psyche negatively. Sassi (2006, Pp 102) supports this argument by also stating that natural light relieves stress and mental fatigue.

Just as insufficient light can cause discomfort to the inhabitant, so does excessive light. Taking into consideration shading would reduce the amount of glare and direct sunlight from the user. Trees are a way of providing shade, adequate natural light and ventilation. The form given to the building can impact its ecological performance. Inefficient natural lighting can cause user discomfort. Therefore, throughout this project, form and space will be tackled holistically. Artificial lighting is an essential element, which illuminates buildings, paths, monuments, and areas within the space, providing information and accessibility when others are not present. Natural and artificial lighting strategies give life and improve spatial activity (Exner and Pressel, n.d). The perception of sound is a complex one. The aspect of sound depends on the individuals’ emotions and feelings at that time. Sound can capture one’s sensitivity and mould a space according to the materials and textures, which tend to reflect, absorb, or amplify sound (Patel, 2018). The sense of smell can trigger emotions through unlocking distant memories, bridging the past and present time (Patel, 2018). Through understanding the triggering of the senses, the typology presented by a coffee shop makes for a suitable candidate which activate all these senses through the smell of coffee, the sound of grinding and steaming machines, the taste of the coffee, and visually seeing the preparation of the various specialities of coffee.

HUMAN WELLBEING

HOLISTIC DESIGN

INFORMATION BASE SITE SPECIFIC FACTORS

ECOLOGICAL INTERIORS

HUMAN RESPONSE

Figure 4.5.4: Ecological holistic design, (Crowther, 1992, 35).

SITE

AESTHETICS

SCIENCE

THEORIES CONCEPT

PERCEPTION

ECOLOGIC ENVIRONMENT

SPACE

FORM

Figure 4.5.5: Paradigm to achieve experiance and perception, (Crowther, 1992, 18).

Xuereb, Jonathan, August 2020

4.6 CONCLUSION

Throughout this chapter, the term ecosystemic sustainability is the primary driver throughout this theoretical study, which brought an understanding, to how an environment can affect one’s emotions and behaviours. In order to create good design, all aspects associated with the chosen site are taken into consideration and investigated. The three ecosystemic pillars were broken down and analysed while putting them through an ecological process. The ecological aspect of this study was used as a safety net, re-assurance throughout the conceptual phase. Going through this process of understanding each term was carried-out epistemically to reinforce the three pillars and create a spatial response, with regards to tangible and intangible characteristics, keeping sustainability between the built environment and the user. A semiotic approach will be taken throughout the study to ensure a balance between the first and second-order meaning. The gap was addressed through methodologies tackling issues with regards to psychological and physiological perspectives, identifying tangible and intangible aspects between the relationship of human and space. The new proposed typology of a coffee shop was established through its enabling of the senses. In contrast, the brand ‘Origin’ was chosen due to its philosophical concern with achieving a minimal environmental footprint. Lastly, the physiological and psychological principles and sensorial elements were looked into to signify their importance within the public environment. In conclusion, the investigated research addressed the lacuna, through observing and experiencing one’s behaviours, customs and his/her relationship with space. The project is driven by an ecosystemic sustainable process, which consists of three pillars; social, environment and economical. These pillars helped formulate the concept strategically through research. The ecological process (Crowther, 1992) tackled the technification part of the project, understanding the physical characters, the experience and the user. The ecosystemic sustainability approach brought awareness towards the cultural, social, environmental, and economic pillars within the public space. In contrast, the ecological process brought awareness towards the cultural, social, environmental, and economic pillars within the context of the project. Searching for literature on ‘episteme’ and ‘form’ brought forward the realisation that ‘interior architecture and spatial design’ is overlooked within the public realm, inspiring the understanding of how space can support and enhance human wellbeing through an epistemic philosophy of form and space. The terms’ ecosystemic’ and ‘ecological’ have been fundamental parts of the study, bringing them together to achieve an analogy between social influences and human behaviour. The three pillars were used as guidelines to understand what needs to be addressed to restore meaning and function. The intersection of physiological and psychological theories led to the understanding of users’ perception and feelings through senses.

Driver - ECOSYSTEMIC Behaviours and Emotions

Environment

Social

Economical

Process - ECOLOGICAL Built Enviornment

Philosophy - EPISTEMOLOGY Understanding

Figure 4.6.1: Understanding flow of project.

Environment

Location, Orientation, Scale and Significance.

Social

Comfort, Security, Interective, Accessible.

Economical

Reliable, Efficiant, Respectful, Sustainable.

Right and Wrong information.

Concept.

ECOSYSTEMIC

ECOLOGICAL

Communial Significance

Environment

Context Significance

Phychological Aspects

Social

Physiological Aspects

Improvment & Benefits

Economical

Sustainable & Efficiancy

EPISTEMOLOGY Balance Harmony Meaning

Figure 4.6.2: Project distribution.

In the following chapters, precedent studies, the spatial alteration and concept will be generated. Throughout these parts of the research, denotation (first-order meaning) and connotation (second-order meaning) findings will be identified embodying meaning and achieving semiosis. Further, a synthesis between the imaginal strategy (Konigk, 2015), symbolic motifs and archetypes Jenning’s (2007) will link the chosen brand and site, generating motion and function, through the physical expression, based on physiological and psychological aspects. To conclude, the introduction and literature review assisted in bridging the topics to illustrate the gap and the relevant identified research questions. At the same time, the investigation of the chosen site’ Speakers’ Corner’ was essential, for identifying its significant value and current condition which established the needs for this study.

Xuereb, Jonathan, August 2020

PRECEDENT STUDIES

OVERVIEW

The following precedent studies consist of contemporary and historical projects, which are specifically chosen to help solve the identified research problem. The chosen precedents as well share similar typological and morphological characteristics, like that of Speakersâ&#x20AC;&#x2122; Corner, Lincoln. Throughout this documentation, the aim is to gather specific studies to gain inspiration and help with the justification of the thesis. The following precedents will be supported with visual content, highlighting specific aspects of the project being analysed. Throughout this investigation, 10 specific projects were selected based on their building use, building occupants, building location, building type, building size, type of site, materials, sustainable strategies and construction strategies. Analysing the following precedents will further be examined; how the building interacts with its ecological environment, how the building interacts with light and shadow, entrances, window openings, landscape, vegetation, interior finishes and exterior finishes. Moreover, the following aspects will be analysed in further depth, as to address the overall design concept and understand the decisions made; Entrances/ exits, circulation, materials, structure, details, scale and volume, proportions, and atmosphere.

Xuereb, Jonathan, August 2020

5.1 THE OBO OFFICE Design: Ciguë Clients: OBO Location: Paris Project year: 2018 Key materials: Solid oak, black steel, glass, stainless steel, terracotta and fibreglass.

5.1.1 Introduction Throughout the following precedent, the aim is to understand how designers outlined the execution and thought process of the design. Also, to reveal how the designer preserved, reused and enhanced the historic architectural characteristics, which Speakers’ Corner shares. This project is carried out by a French design firm called, ‘Ciguë’, and their objective was to transform a traditional home into a creative production office, for OBO in Paris (YellowTrace, 2019). 5.1.2 Analysis and Comparison The precedent demonstrates the importance of how materials can determine and enhance spatial activity and human wellbeing. Ciguë approached the project through means of minimalism and sustainability, taking into consideration the buildings’ environment and interior characteristics of the Parisian home. Ciguë wanted to give the building a sense of monastic feel, enhancing the existing interior elements, such as; materials, ornate entrances and iron cast columns. Speakers’ Corner (my chosen site) consists of an iron structure supported by many Victorian cast-iron columns. The aim is to reuse these components throughout the proposed design concept. Ciguë preserved such elements by integrating them as part of the interior furniture, refer to figure 5.1.3. Them restoring the iron columns revived their physical presence, now reused not only as a structural element but also as decoration. The columns added authenticity, character, aesthetic value and story to the interior space. Ciguës’ use of materials helped enhance aesthetics and functionality, improving wellbeing. Ciguë retained ornaments and architectural characteristics, issuing them through contrasts, exposing their presence within the interior space. They divided the building into zones depending on already existing materials and the buildings ecological environment. The typology of the building is different from that of Speakers’ Corner (my chosen site); however, the morphology of the building is considerably similar. Ciguë oriented their interior layout dependant on natural lighting, existing materials and flow of the building. The site is located south-facing, which makes it highly exposed to the sun throughout most of the day, making it a much brighter and warmer space. Ciguë wanted to create a dynamic, flexible, welcoming and adaptive space, which could potentially be easily reverted or changed in future cases. In creating this concept, moral principles were obeyed, making decisions based ethics of right and wrong. Following this process, Ciguë aimed to understand the building, understand the user and encourage interaction and socialisation, refer to figure 5.1.1. Materials throughout the building were preserved and used for new matters in the building. Ciguë selected durable and natural materials that fit the context of the building’s identity and function. An existing terracotta flooring was reused, boasting its unpretentious appearance, due to its age and aesthetic. Using terracotta as kitchen flooring is a beautiful touch, in keeping within the style of the building, refer to figure 5.1.3. However, this could be very difficult to maintain and as well create a cold atmosphere. The introduction of solid oak flooring created a warm and comfortable environment. This material served to differentiate zones while also adding a homely feel throughout the entire interior. Ciguë focused on maximising natural light within the building. Therefore walls internally were given a white finish, achieving openness, and reflection (travel) of light. To further achieve ‘openness, and reflection’, glass partitions were used to divide working areas and rooms, keeping it looking open and organised, refer to figure 5.1.1. The use of different glass opacities created private and public spaces; thus, enhancing user wellbeing, the buildings’ function and the environment throughout the building. 5.1.3 Evaluation Analysed this study, ways and methods have been identified to achieve a minimal, modern and ethical design, taking into consideration the significant values the building contains. Many aspects of Ciguë’s design were not analysed in detail, due to their extensive and excellent use, of material execution and perfect organisational layout, which provided the client with a dynamic and sustainable environment.

Figure 5.1.1: Open and clean design (Ciguë, N.d).

Figure 5.1.2: Scemetic planning, configuration of space.

Figure 5.1.3: Preservation of original elements (Ciguë, N.d).

5.1.4 Application The lessons learned from this precedent study are as follows: • Materials can enhance spatial activity and human wellbeing. • To use durable and natural materials which improve the function and enhances existing characteristics of the building; • To preserve and retain features of the building that may form part of the building memory; • To take into consideration the cultural and identity of the location; • To take into consideration the orientation and surrounding environment of the building; and • To enhance the building’s form and user experience through sustainability.

5.2 NATIONAL MUSEUM OF SCOTLAND Architect: Gareth Hoskins Architects Design: Ralph Appelbaum Associates Clients: NMS (National Museums Scotland) Location: Edinburgh, Scotland, United Kingdom Project year: 2011 5.2.1 Introduction This precedent was chosen for its historical significance, alteration, style and architectural characteristics. Throughout this, the aim is to investigate the architects’ decisions taken to improve the functionality of the building. The building is located in the heart of Edinburgh, built between 1861 and 1866. The building boasts from its extensive Victorian architecture exhibited throughout its exterior and interior environment (Wikipedia, 2019). The building was selected for its similar style and architectural elements it possesses. 5.2.2 Analysis and Comparison The Victorian Grade, A building, was restored in 2011 by awardwinning architect Gareth Hoskins and award-winning museum designers Ralph Appelbaum Associates (Archdaily, 2011). The architect and designers improved the building’s performance and interaction with the visitor by re-planning the circulation, accessibility, and interaction of the building. Hoskins planned out new entrances and zones to help encourage visitors to enter and experience the building, taking them through a journey of discovery of Scottish history, the natural world, world cultures, science, technology, art, and design (Raany, N.d). The morphology and typology of the building are very different to Speakers’ Corner (my chosen site), though similar issues were tackled and therefore can be related. The aim is to uncover ways to make the building more approachable to passersby by means of interaction and aesthetics. The building is located in the middle of the square detached from all surrounded buildings, and improving its circulation can make it more efficient to the community. The building was altered with great precaution, refurbishing it to adapt with new public spaces and entrances, reconnecting the building with the surrounding cityscape (RIAS, N.d). By restoring and adapting the ‘birdcage’ like hall as the main entrance, welcomed visitors with a breathtaking experience, constructed from authentic cast-iron columns that rose 20 meters high meeting the triangular glass roof, referred as the ‘Window on the World’ (Archdaily, 2011 and ADS, N.d). Due to its age and restrictions, the building lacked accessibility, in aspects of circulation and exploration, therefore ramps, lifts and escalators were added, making the building more accessible, enhancing social wellbeing. “There has been a phenomenal public response to the transformation of the building, the new displays and the work we have done in making the museum more open and accessible” (BBC, 2011). Doing this modernised the functionality of the building while still taking into consideration the cultural and historical significance. 5.2.3 Evaluation Analysing this study provided me with justifications to how I may improve the circulation, interaction and accessibility of my chosen site. The approach taken was proven successful by the public reaction. Keeping in respects to the buildings historical significance, restoring it prestigious characteristics; cast-iron columns and triangular glass ceiling, kept it identifiable. Its significant values were preserved and restored using innovative materials, which achieved balance and harmony.

Figure 5.2.1: Interior iron cast columns (ArchDaily, Lee. A, 2011).

Figure 5.2.2: Circulation drawing.

Figure 5.2.3: Natural lighting (ArchDaily, Lee. A, 2011).

5.2.4 Application The lessons learned from this precedent study are as follows: • To ensure accessibility; • To preserve and restore authentic elements; • To take into consideration the use of the material and finish; and • To tackle circulation in relevance to the buildings uses for better user experience.

Figure 5.2.4: Shemetic sectional drawing.

Xuereb, Jonathan, August 2020

5.3 NORDIC PAVILION Architect: Sverre Fehn Clients: The states of Sweden, Finland and Norway Location: Brussels, Belgium Project year: 1962 Key materials: Concrete, Plastic, Marble and Pine. 5.3.1 Introduction This project was chosen for the following reasons, the way the building blends itself with nature and the psychological approach towards human wellbeing. The Nordic pavilion is located in Venice, Italy, designed by a Norwegian architect, Sverre Fehn back in 1959. The thought behind his design decisions represents the Nordic identity (Sweden, Finland, and Norway), in which I aim to discover the analogy made between the building and its materials (Archeyes, 2016). 5.3.2 Analysis and Comparison The architect based his design following the Scandinavian concept; linking humans to nature. Sverre Fehn removed two exterior walls replacing them with glass sliding doors and a translucent roof. The roof is supported using 6cm thick beams, to preserve the interior of the building controlling the intensity of light (Architectuul, 2013). The glass doors made the building more approachable and open. The architect combined a mixture of white cement, white sand and crushed Italian marble and used it as the primary material constructing the building, giving the built environment a tranquil and steady homogeneity (Archdaily, 2018). The use of concrete and marble added boldness and contrast throughout the space while making it more durable and long-lasting, due to its location being damp and wet. One detail which highlights the building is the way the structure forms around the exterior tree, symbolising an act of protection (Itinari, 2019), refer to figure 5.3.4. This feature can be related to my project since the Speakers’ Corner public square consists of a London plane tree which is at risk of being cut down. Inside the pavilion, three trees are present, going through the roof, creating that inside, outside experience, refer to figure 5.3.6. A pyramid of stairs made from Swedish pine allows visitors to climb up and touch the roof, even peep out of the ceiling, creating a new sense of user experience. Members of the pavilion state that, ‘in therapy’ isn’t attempting to be an exhibition, but a place of reflection”. (The modern house, N.d and Designboom, 2016). 5.3.3 Evaluation Throughout this precedent, a beautiful philosophy was discovered, which combined the presence of nature with the presence of humans.

Figure 5.3.1: 1970’s photograph (Archeyes, 2016).

Figure 5.3.2: Drawing of circulation around surrounding buildings.

Figure 5.3.3: Site location and sun path.

5.3.4 Application The lessons learned from this precedent study are as follows: • The importance of having an open space; • To allow light and air fulfil the space; • To bring nature as part of the architectural design; and • To create a place where people can relax, reflect and observe.

Figure 5.3.4: Tree and building (ArchDaily, Lindman, 2018).

Figure 5.3.6: Interior trees (Designboom, Laurian Ghinitoiu, N.d).

Figure 5.3.5: Experiantial space (Designboom, Ghinitoiu, N.d).

5.4 COLICCI CAFÉ Architect: Jonathan Mizzi Clients: Colicci Location: Westfield Stratford, London, UK Project year: 2016 Key materials: Copper, concrete and glass. 5.4.1 Introduction The following precedent aims to examine the use and function of microarchitecture. The award-winning kiosk designed by Mizzi Studio, located in London (Archdaily 2019). Mizzi was chosen by the artisan brand ‘Colicci’ to design a café for the main entrance of Westfield Stratford shopping centre (Mizzi N.d). Throughout this precedent, the aim is to analyse how the designer interprets the brand identity throughout the conceptual design, implementing sustainable design. The surroundings and style of the kiosk are different from the one of my project. However, the approach is something I can relate to since Mizzi’s design aims to tackle the economic, environmental and psychological problems by terms of sustainability (Archdaily 2019). 5.4.2 Analysis and Comparison The pavilion inside a shopping centre, London. The given organic form responds with the ecological surroundings, using materials and arrangement. The form derives from the mouth of an orchid, its unique shape and flashy aesthetic persuade passersby to stop and experience the cafe. They aimed to convert the usual ‘grab and go’ culture into a more sensory, warm user experience (Mizzi N.d). Internally the kiosk is kept relatively compact and straightforward, having only a sales counter and a few tables, making materials create the space. The copper ceiling/ roof embraces the historical landscape, by using traditional craft techniques making the building looking authentic, innovative and intriguing to passersby (Archdaily 2019). The construction of the roof was done using a traditional technique dating back to the 18th century, infusing the past and present together, refer to figure 5.4.1. Copper is a raw life long material, which has high electrical and thermal conductivity, having zero losses in performance and being 100% recyclable, making this an economical and environmentally sustainable design (European copper institute, N.d). The copper is sealed with a clear lacquer to preserve the material’s texture further and retain its rich lustre and reflectivity (Copper concept, 2018). The roof seems like it is floating in mid-air, using glass to give this impression but as well kept the area light and open, rather than closed and dull (Mizzi N.d). The exterior seating area was executed and combined as part of the design, which seamlessly made part of the kiosk rather than just an afterthought. The outdoor area is surrounded by planters and trees, giving the impression of privacy and resting area, refer to figure 5.4.3. Throughout the design, the brand was flawlessly incorporated and interpreted throughout the form and finished used. Throughout the design, Colicci’s philosophy was implemented, based on; honesty, sustainability and natural values. 5.4.3 Evaluation This study was significant due to the design language used and methods used to fabricate and understand the site. However, the spatial area could have been further developed, to enhance the form of the kiosk further, keeping with its organic form. Also, I did not identify the brand’s identity, lacking transparency and authenticity throughout the proposed design. Lastly, I think that the concept was approached more philosophically than visually.

Figure 5.4.1: Compact kiosk (Mizzi Studio, N.d).

Figure 5.4.2: Interior of kiosk (Copper Concept, 2018).

Figure 5.4.3: Outdoor seating area (ArchDaily, 2019).

Figure 5.4.4: Explosive sketch of kiosk.

5.4.4 Application The lessons learned from this precedent study are as follows: • To interpret the brand’s language but as well its history; • To create a warm and sensory experience; • To get inspired from surrounding buildings on-site; and • To make the building intriguing to the visitor, through the use and implementation of materials.

Figure 5.4.5: Site location, surrounding context.

Xuereb, Jonathan, August 2020

5.5 IL- GABBANA Architect: Daaahaus Clients: Il-Gabbana Location: Sliema, Malta Project year: 2014 Key materials: Cast Iron, steel and glass. 5.5.1 Introduction The Maltese term ‘Gabbana’ translates to the kiosk; it is a place that offers a quick option that usually has Maltese pastries and other types of to-go food, which made it gain a sense of communal significance, due to its importance in society. It is the place where workers go during break times, to rest and socialise with others, which shares similar factors and characteristics that the kiosk at Speakers’ Corner contains, such as; site context, materials, details and historical/ communal significance. The kiosk was built in 1984, and was recently refurbished to fit the modernised surrounding, by’ Daaahaus”. The kiosk is located in one of Malta’s busiest promenades has, which makes it a frequent stop for locals and tourists, a similar the context of Speakers’ Corner. Throughout this analysis, the aim is to investigate how the designers helped evoke the brands’ identity through the building’s architectural style (Daaahaus, N.d). 5.5.2 Analysis and Comparison The cast-iron pavilion is located in an urban setting, surrounded by tall buildings, frequently visited by pedestrians, as a quick stop. The designers preserved its immense baroque iron-work, keeping its vintage authentic character. They aimed to restore and preserve its architectural background, but also make it look contemporary (Il-Gabbana, N.d, Daaahaus, N.d). The buildings historical characteristics act as an attraction to visitors, the way the cast-iron columns and decorative patterns stand out form its modern surrounding context, makes it more interesting. The matt grey gave the building a modern vibe, while its preserved form and architecture kept its authenticity. The two-level building is accessed from two entrances by staff members. The ground level is used as the bar and cash area, while the underground level serves as a kitchen, toilet and storage area. The public can experience the building all around, having seating available and enjoying the natural beauty of the area. Table sand chairs are located outside the building, surrounding most of the building, making it the centre of the site. The designers modernised the building by use of bright, contrasting colours and eye-catching signage, with yellow being a part of the brand’s identity. The atmosphere of ‘il-Gabbana’ is consistent, using yellow throughout the layout of the area such as; furniture, lighting, menus, take-away packaging, etc... (logixcreative, N.d). The sense of continuity and presence within its context, made the business stand-out, resulting in being approachable by passersby. Lighting was used for functional purposes as well as to enhance the pavilion’s original decorative details. The design was kept within limitations that enhanced the appearance of the overall business and brought life back to ‘il-Gabbana’. With the focus being mainly on restoration, the building could have been further improved by development within circulation to increase efficiency and functionality, in return, providing an enhanced user-experience (Daaahaus, N.d). 5.5.3 Evaluation The study was beneficial due to its similar typology and morphology status. I believe that the project was kept too conservative, having minimal changes done to the site. It would have been more interesting if the ‘Maltese’ culture was integrated within the design and having furniture made to compliment the site and the building identity.

Figure 5.5.1: Site’s historic development (Daaahaus, 2011).

Figure 5.5.2: Link between brand and the building (Daaahaus, 2011).

Figure 5.5.3: Artificial lighting for aesthetics (Daaahaus, 2011).

Figure 5.5.4: Site location.

5.5.4 Application The lessons learned from this precedent study are as follows: • To bring life back to an old structure; • To expose the brands’ philosophy and characteristics; • To keep the building significance in mind; and • To develop the sites use, generating an experience between the building and the site. Figure 5.5.5: Explosive drawing of kiosk.

5.6 ORGANIC HOUSE

Architect: Javier Senosiain Client: Unknown Location: Naucalpan De Jaàrez, Mexico Project year: 1984 Key materials: Ferro cement, White cement & Steel 5.6.1 Introduction The following precedent study was selected for its interior characteristics and environment. The architect Javier Senosiain became inspired by the peanut shell. The house blends with its landscape, due to it being immersed into the earth. The segmentation of the interior layout was based on the ecological environment and the human-made environment. This was achieved through observational analysis. This precedent can be associated with Jacque Fresco and Sverre Fehn designs, both bringing the nature aspect and human wellbeing together. 5.6.2 Analysis and Comparison The interior space is constructed in an organic, and fluid mould, which may seem like a never-ending space, which can be associated with the Cash Battlo building by Antoni Gaudi. Its free-flowing and distinctive detail of colour, form and texture within the interior of the architecture. The peanut shell has given form, naturally splitting the building into private and common areas (Dwell, 2019). Such private areas are known to be used at night, while the common areas used throughout the day, were located towards the sun, increase social interaction. This thinking approach determined the configuration of rooms and openings, refer to figure 5.6.2. Analysing the interior aesthetic, this could be associated with one of Malta’s archaeological sites known as ‘Ħaġar Qim’, noticing its colour, form and texture is similar to a cave or pre-historic temple. Ferro-cement was used to create such aesthetic, which was applied onto a metallic skeleton and finished off with a layer of sprayed polyurethane, for insulation and waterproofin, refer to figure 5.6.1. The invisible transition between one space and another was achieved using natural lighting and material. The exterior of the building is covered with plants, fusing its ceilings with its surrounding landscape. Throughout this project, apertures are looked at, as highlighting features. Their specific placement, positioning and fluid form is what makes them significant. Windows and domes were used, allowing light to enter and fill the interior. The given architectural form allows for proper circulation of air, thanks to its aerodynamics (Archdaily, 2019), refer to figure 5.6.4. The use of trees helped address physiological and psychological wellbeing, providing shading and noise cancellation. Bushes, on the other hand, were used for temperature control, creating a comfortable interior space (Dwell, 2019). The designer kept a very neutral and monochrome colour palette, keeping walls and floors finished in the same material (Quarry), (Cornell University), making it look as if it was carved out. Furniture pieces were distinguished by their poping colour, making them stand out. Apart from the abnormal form, an experience was produced and sustained by natural light which entered from the ceilings, windows, and other openings, generating direction, refer to figure 5.6.5. 5.6.3 Evaluation Even though the morphology and typology are different to the one in Lincoln, the concept and design style is refreshing. The idea of having the furniture details permanently fitted as part of the building’s interior is something I would consider. The concept of applying one material throughout the space could give the building an authentic and significant character. Further, something this project might be lacking is sufficient lighting, even though its a beautiful concept and maybe even sustainable, the lack of artificial light could still affect the user’s wellbeing.

Figure 5.6.1: Continuity, fluid design (Archdaily, 2019).

Figure 5.6.2: Schemetic drawing, showing spatial configuration.

Figure 5.6.3: Identification of architypes, through space.

Figure 5.6.4: Aerial view of site (Archdaily, 2019).

5.6.4 Application The lessons learned from this precedent study are as follows: • Less is more; • Seamless materials and texture, creating one whole composition; • Seamless transition from one area to another; • Natural materials, for durability, authenticity and experience; and • Controlled natural lighting and ventilation.

Figure 5.6.5: Sketches highlighting specific aspects of design.

Xuereb, Jonathan, August 2020

5.7 MUSEUM, VISUAL ARTS CENTRE Architect Designer: Daipu Architects Client: Chinese Contemporary Art Development Location: Beijing, China Project year: 2012 Key materials: Concrete & Glass

5.7.1 Introduction This precedent study inspired me due to its captivating design, being based on ecological configuration. The building is located in Songzhuang, China, were its morphological context was taken into consideration to enhance accessibility and user communication. The museum designed by Daipu Architects aimed to create a public space that stood out from its surrounding environment while creating a place where people could linger, meet and chat (Architizer, n,d). The building was designed to fit and belong to its existing environment, planning the space out to satisfy wellbeing. The idea of the design was mainly to invoke communication with nature such as; light, trees, water, and contemporary art. 5.7.2 Analysis and Comparison This precedent was selected to uncover specific considerations and applications taken. The form and orientation of the building is an excellent example of ‘form follows function’. A high concrete wall separates the building from the busy main road, acting as a sound barrier for visitors. The architects used curves and light to trigger the human senses. The organic structural form given to the high concrete wall (entrance), aimed to trigger human perception with its forced light, high ceilings and raw texture, creating curiosity and a feeling of exploration. Throughout the corridor, books and small sculptures are exhibited, inserted within the curvature of the building. The building’s organic form, seamlessly moulds as part of the site, turning roofs into ramps and stairs. Doing this created levels for visitors to roam and experience the provided public plaza, where people could sit and talk, refer to figure 5.7.4. The sloping building reaches different heights, placed and angled towards the sun path; ‘light traps’ and ‘sun spine’ archetypes were integrated (Cornell University) throughout the design. These design strategies provided light to fill the exhibition halls below while connecting the interior and exterior spaces. Narrow paths and open spaces generated feelings and emotions, making one feel safe, free and comfortable. The separate buffer zones are spaces that would calm anyone’s emotions, forgetting the outside world. The integration of a static pool reflects the sky, helping people to filter their mind, while they sit and admire artworks and people lingering inside the building. The central courtyard serves as a separator between the public and private zones acting as a transactional space, refer to figure 5.7.3. Some characteristics and design features can be associated with the Nordic pavilion precedent. The use of raw, natural materials can be depicted, as well as light traps and sun spine (Cornell University). Their concept of bringing nature and experience within the space is identical. 5.7.3 Evaluation This precedent, followed by Javier’s organic house project, has helped me to decide on specific details and take into consideration new attributes. The similar organic and seamless design, based on ecological and ecosystemic design is evident, taking into consideration the surrounding environment and local significance. The interior style of the two projects is minimal and make use of natural tones and materials, complimenting specific showcase items and the borrowed view (Cornell University), of visually bringing the external view into the interior. Daipu Architects focused on aspects of physiological and psychological wellbeing, playing with form, space and materials to put emotion into play. 5.7.4 Application The lessons learned from this precedent study are as follows: • Experiencing open space; • Different public zones for different emotions; • The invisible transitional separation between public and private areas; • Materials and texture, complemented with light and shadows, generating satisfaction and drama; • Water feature symbolises reflection and movement; and • Having ample natural lighting and ventilation.

Figure 5.7.1: Exterior of building (Archdaily, 2019).

Figure 5.7.2: Schemetic drawing, showing spatial configuration.

Figure 5.7.3: Identification of architypes, through spaces.

Figure 5.7.4: Stairs/ seating, and ambiance (Archdaily, 2019).

Figure 5.7.5: Explosive drawing.

5.8 TREEHUGGER TOURIST INFORMATION OFFICE Architect Designer: MoDusArchitects Client: Bressanone Tourist Association Location: Bressanone, Italy Project year: 2019 Key materials: Concrete

5.8.1 Introduction This precedent was chosen due to the characteristics and typology of its site. The given architectural form respects and interacts with its surrounding buildings and environment. The building is located just outside the historical city of Tyrolean, which sits adjacent to the Bishop’s Palace and a thirteencentury villa. The architecture of the building is dedicated to welcome visitors with its particular features of slender columns, deep openings, and delicate overhangs. The objective was to raise the site upwards, freeing the ground level while capturing the city’s landscape. Looking over the historical and influential buildings like; the Bishop’s Palace and the ancillary Chinese and Japanese pavilions and their towers. These were inspirations which influenced the design of the building. 5.8.2 Analysis and Comparison MoDusArchitects transformed the sites geographical status, creating a new gateway for the city of Bressanone. The existing tree was the driver of the project, placing it in the heart of the building, which revolves around it naturally. It determined the design of the building, acknowledging it as a monument rather than an obstruction or an intruder. The way the building organically frames, twists and turns around the tree brought the two objects into collaboration, refer to figure 5.8.1. The visual texture and tactile qualities used throughout the building complement one another, connecting nature and the built environment. Similarly to the previously analysed precedents the sun-spine (Cornell University) in-type and transactional space technique were used to achieve a successive in-door and out-door experience, using vertical glazing for maximum transparency and permeability. The seamless exterior material adds fluidity and continuity throughout the facade, while its texture protects the building from forces of nature having a bush effect. This texture changes when entered inside having a smooth material embracing safety and practicality. Concrete tends to change its colour depending on the temperature and weather just like a tree trunk; mimicking each other, refer to figure 5.8.2. The inset recessed windows, and large overhangs help preserve and shelter spatial qualities of the square, serving as shading and spaces for shelter, while highlighting entrances. The ground floor is made up of mainly information desks and public seating, while the second floor comprises of private offices and workspaces, accessed by a spiral staircase. The welcoming exterior curves balance and harmonise with its historical context, organically reflecting and sharing its local culture with its bold character, refer to figure 5.8.5.

Figure 5.8.1: Exterior form, awning (Dezeen, 2020).

Figure 5.8.2: Schemetic drawing, showing spatial configuration.

Figure 5.8.3: Identification of architypes.

5.8.3 Evaluation Having analysed this precedent, the way the architects analysed and broke down the cultural significance, determining the needs of the city is something I could relate too. The site context is similar to the one in speakers square, Lincoln, being used as a tourist information centre and having a tree on-site, this study provided me with a better understanding of what methods and approaches I could use to restore meaning to the site. The fact that the tree is being considered being removed, for no justified reason is absurd, and this project shows that public space can be preserved and improved. 5.8.4 Application The lessons learned from this precedent study are as follows: • The connection between tree and host building; • Building providing service; • Building reflecting and designed concerning the surrounding environment; and • Taking into consideration the transforming effects of materials and textures.

Figure 5.8.4: Interior furniture, In and out feeling (Dezeen, 2020).

Figure 5.8.5: Sketches highlighting circulation and features.

Xuereb, Jonathan, August 2020

5.9 PORTSOKEN PAVILION

Architect Designer: Make Architects Client: The City of London Location: London, United Kingdom Project year: 2018 Key materials: Glass, Concrete, Wood, Steel & Stone. 5.9.1 Introduction The award-winning public square was transformed by make architects in 2018, reviving and remodelling the square making it a welcoming green space for the public. The steel pavilion is made up of an asymmetric form complimenting the existing school and church adjacent to the square. Throughout this case study, the design and approach took to transform the square will be investigated, uncovering how the form given to the pavilion affected its surroundings and how the typology given enhanced the users experience. 5.9.2 Analysis and Comparison The square is located in central London, making it a similar site to that of speakers’ square, Lincoln. The square is surrounded by tall and historic buildings, previously used as a roundabout and entrance/ exit to subway services. The City of London aimed to improve the open space, for events and leisure, in a result of improving wellbeing and providing natural surveillance within Aldgate Square. The square connects the two heritage buildings, ’Aldgate church’ and ‘Primary School’. The architectural form given to the building is made up of geometrical triangular shapes, having three points folding down to the ground. The building is inserted in the square rather than placed on, which created a transformative and bond between the two space. Glazing window panels are being used for two reasons: to keep the square open and free-flowing and to allow people to see through the building, connecting the interior with its exterior spaces. Using glass allowed natural light, while the prefabricated roof is designed to provide both aesthetic and functional characteristics. The rigid corten structural skin allowed rainwater to run down the three folding points. The weathered Corten steel colour is associated with the brown brick, which is depicted on both significant surrounding buildings, refer to figure 5.9.1. The interior of the building mimics the exterior shell, its continuity of geometric shapes improved acoustic performance while creating pendent play (Cornell University) allowing artificial light to escape at night, providing a glowing effect to the whole building, refer to figure 5.9.4. The re-using of the subway tunnels accommodated as public toilets and back of house facilities. Due to them being located underground and in a fairly closed space, constructing this using concrete helped regulate temperatures throughout winter and summer seasons, further air controlling systems were installed for better air quality and temperature regulation. The overhangs act as solar shading for the interior, taking into consideration the travelling of the sun led to the orientation of the building, which determined entrances, openings and the positioning of the roof.

Figure 5.9.1: Exterior form (Make Architects, 2019).

Figure 5.9.2: Schemetic drawing, showing spatial configuration.

Figure 5.9.3: Identification of architypes, through public square.

5.9.3 Evaluation Having analysed this precedent, I have noticed reoccurring details and elements that designers consider when dealing with such sites; such as having adequate lighting, airflow and shading. The choosing of materials that blend, contrast, transform and relate to the surroundings of the site. This precedent confirmed that my conceptual ideas are on the right path and that these are already being considered. 5.9.4 Application The lessons learned from this precedent study are as follows: • Using glass to keep the site open, free-flowing and light on the presence of the building; • Using materials that can be associated and depicted in surrounding buildings, for coherence and significance; • Going down not up could minimise footprint and expand interior space; and • The use of yellowish lighting for a dramatic and authentic scene.

Figure 5.9.4: Interior space (Make Architects, 2019).

Figure 5.9.5: Exploded view showing spatial areas.

5.10 APPLE STORE LIBERTY

Architect Designer: Fostes + Partners Client: Apple Inc Location: MIlan, Italy Project year: 2018 Key materials: Bamboo, Glass, Stone and Stainless Steel. 5.10.1 Introduction The following precedent is another example that manifests the ability and possibility of building down rather than up. Foster architects designed the following project; in collaboration with apple designers, the building is located under an existing piazza close to the Corso Vittorio Emanuele, one of the most popular pedestrian streets in Milan (Archdaily, 2018). The designers regenerated the site by changing its configuration and function, giving it a typology to drag people to the site. Zones at different heights were created, making it more experiential and appealing to the community. 5.10.2 Analysis and Comparison Like that done by Daipu Architects, the museum for visual arts, the two projects can be compared. They both share characteristics and details that embrace the use of the site and human senses through emotion and experience. The dramatic water feature is the eye capturing element with its free-falling natural sound, updated the traditional piazza and making it space where the public can sit and enjoy. The rapidly decreasing stairs which lead to the entrance of the retail store form a theatre-like environment, refer to figure 5.10.5. The volume and depth created between the height of the water feature and the steps generated an intangible experience (psychological) with the user, making them feel free, safe and relaxed. The water feature is used and a second-order meaning, seeing and hearing the water splashing against the high glass walls, re-created the childhood game of running through fountains, bringing back memories and delivering expression excitement and of being alive. The Sunburst trees planted along the longitude of the square serve as shading and provide the site with a more natural appeal, refer to figure 5.10.1.

Figure 5.10.1: Exterior, stairs/ seating area (Dezeen, 2018).

Figure 5.10.2: Schemetic drawing, showing spatial configuration.

“We combined two fundamental elements of the Italian piazza water and stone, adding a glass portal that creates a multi-sensory experience as visitors enter the store through a cascading fountain that seems to envelop them” (Dezeen, 2018). The materials used, blended and complimented well with the present surrounding buildings, using grey stone called Beola Grigia, throughout the exterior floor and interior walls. This material was supplied locally and used for most of Milan’s architecture. Using the same material throughout the building, made it seem as if the interior is carved out of the site. Even though the building is submerged underground, the space is still bright and airy, using light traps and backlit ceiling panels (Cornell University), which provide artificial and natural light. Natural light entered from the high glass walls and risers of the exterior stairs. Cross ventilation was achieved using perforated stone flooring, located underneath tables (9to5mac, 2018). Foster architects trademark the interior of the building with their use of sustainable and natural materials such as bamboo, stone, glass and paper. 5.10.3 Evaluation The local context is similar to that of Lincoln. Them comprising of both historical buildings and a monumental Cathedral, this made it adequate to study this precedent. The square is located away from the cathedral; however, still visible from the site. The site is frequently used as a node, a passage-way leading to the cathedral (Duomo di Milano), making it a crucial space for locals to enjoy, rest and admire the local characteristics. Throughout this investigation, my objective was to understand how the building functions and sustains it-self, this precedent made me aware of particular approaches and strategies with regards to lighting and ventilation, as well as how to create a multi-sensory experience for visitors and their well-being. 5.10.4 Application The lessons learned from this precedent study are as follows: • Natural lighting strategies; • Ventilation systems; • Artificial lighting; • Natural and sustainable materials; • Locally found resources; and • Senses, water, light, hear and see.

Xuereb, Jonathan, August 2020

Figure 5.10.3: Interior showcase stairs (Dezeen 2018).

Figure 5.10.4: Exploded drawing, public & private spaces.

Figure 5.10.5: Experential features enhancing wellbeing.

5.11 CONCLUSION

The precedents chosen are a mix of square and commercial typologies, analysing these provided me with knowledge and inspiration towards my project. The projects analysed were explicitly selected according to my objectives and concerns. They all share similar aspects to my project site, which helped me understand their ways of reasoning and execution. While analysing these projects, I took into consideration the context of the tackled projects; such as surrounding buildings, the orientation of the building or sites, the materials, textures and finishes applied throughout the interior and exterior of the site. Throughout this documentation, I became more cognise and familiar with archetypes, noticing repetitive aspects from one precedent to another. These could be recognised and studied, noticing how such details could change and affect the entire site. Throughout this chapter throughout the identification of such architectural and spatial designs were considered according to its awareness towards ecosystemic sustainability, and itâ&#x20AC;&#x2122;s three pillars; social, environment, and economical factors. In the following chapter, the alteration proposal will be composed.

ALTERATION PROPOSAL

6.1 INTRODUCTION

Throughout this chapter, the teachings from ‘On altering architecture’ (2008), are used as references. Fred Scott states that once a building is handed over by the builders to the client, have three possible fates, namely to remain unchanged, to be altered or to be demolished” (Scott. F, 2008, 1). Throughout this project, an in-depth analytical process was taken to make the best decision for the site and community. After a long dilemma of whether to alter or demolish the kiosk building circled my mind for most of the duration of the course. Fred Scott’s reading has guided this study towards an understanding of the correct way in approaching alteration. One phrase that encouraged my decision making was the following, “In a perfectly functioning state, according to the precepts of functionalism, buildings would either fulfil their purpose or be demolished, except perhaps for a few exceptions. The alteration would be unknown. Through forethought and prescience, buildings would remain unchanged from the moment of their inception to their eventual demise” (Scott. F, 2008, 1). Re-reading this and referring back to previous research done, the kiosk building had changed its function numerous times, which meant that it unfulfilled its purpose towards the past consumers. Nietzsche states that “The purpose of our palaces and public gardens is to maintain the idea of order” (Scott. F, 2008, 1), and this is what I aim to do, to restore order and meaning back to the site. As mentioned previously in chapter 1, ‘As a city develops, its economic and social conditions change. The physical environment is constantly adapting to facilitate the increase in population and changing needs’, this mirrored the text Fred Scott wrote, stating that “Alteration is the mediation between preservation or demolition. In this less then perfect world, the cause of obsolescence is more generally derived from social and economic changes in the wider society. In the city, uses and occupations migrate from quarter to quarter in quantum shifts; the one-time brothel becomes software offices, the soap factory becomes artists’ studios. Change of use causes a massive change in the rituals of occupation. Buildings change as the city changes” (Scott. F, 2008, 17). Throughout the rest of the book, I observed the strengths and weaknesses of the site and was made clear that the correct and most ideal form of alteration would be demolition.

High Street

Most frequent route Most frequent route

Barclays Bank Pandora

Cornhill Exchange

Figure 6.1: Diagram showing circulation and kiosk obstruction.

Xuereb, Jonathan, August 2020

6.2 MODE OF INTERVENTION

As it is, the chosen site ‘Speakers’ Corner’ square, currently hosts a building dating back to 1984. The cultural significance, although not identifiable, is evident through the sites’ communal and aesthetic values which are disregarded (Australia Icomos, 2013). The sites alteration will be addressed through a semiotic process, to transmit meaning and generate a sense of hierarchy through tangible (physiological) and intangible (psychological) aspects (Scott, 2008, 23). The building currently is un-used, which makes it look run down and an eyesore to the community. The current local council plans to remove the building soon, to open up the square. Looking at the previously mentioned squares in Lincoln (Chapter 1), it is evident that a square typology is still unclear and unrecognisable. Apart from the removal of the building, the London plane tree is also at risk of being cut down. The tree makes part of the square, being strongly valued by the community. Therefore the proposed design will aim to preserve and integrate it as part of the project. In the early stages of this investigation, I intended to preserve and only intervene with the kiosk onsite, improving the square by restoring function, aesthetics and life into the kiosk building. However, through the observance of the site, a repetitive pattern was noticed, making it clear that the issue derived, from the placement of the building. Currently, its position disallows and disengages human flow and activity, obstructing the square and its surrounding buildings. “In a perfectly functioning state, according to the precepts of functionalism, buildings would either fulfil their purpose or be demolished” (Scott. F, 2008, 1). While understanding the site’s context, I came across a few articles, (Barker, 2019, Jaines, 2019, Jaines and Whitelam, 2019, Verney, 2019, Whitelam, 2019) that discussed locals’ views on the site’s demolition. Most comments mainly derived from disappointment expressing their frustration towards the Lincoln local council. As plans were approved earlier this year, it was decided that the site will consist of an extended outdoor market requiring demolition of the kiosk and removal of the adjacent London plane tree, at the aim of providing a more appropriate space for events (Jaines, 2019). Disappointed reactions are justified and also helped in understanding the site’s significance with the communal value being the most evident in this situation. The new proposal for development targets the commercial amenities; while the sites’ historical value could potentially be lost. Additionally, the proposal considers a space mainly based on aesthetics and function. In such public places, it is necessary to also integrate the aspect of emotion, through material, form, memory and other characteristics that could deliver this message through second-order meaning. With this being said, the act of demolition is still considered the most appropriate type of alteration to be proposed for this study; however, it needs to be justified. Many locals were saddened at this news while expressing sympathy towards the Kiosk business owner and admitted that they would miss the food. Taking communal value as an essential aspect, it is crucial to justify why the same business is not re-introduced in this project. The square directly invites flow, meaning that the introduced business would ideally act as a hub that offers fast-paced service. Along with demolition and cultural significance, this proposal takes into consideration the site’s environment, through an ecological process. To achieve function in the way its typology implies, making it a space for interaction (wellbeing). An ecosystemic approach will be taken to ensure sustainability within the local context, taking into consideration physiological and psychological behaviour in the body, space and form to restore the sites, history, culture and memory. 35

6.3 PROPOSED TYPOLOGY

Through precedent studies, archetypes were better understood. Jan Jennings’ teachings, made me aware of how to balance time, style and cultural boundaries. Studying and becoming familiar with such design-specific vocabulary, helped me understand my design in greater depth and add significance to the concept being created. The selected archetypes that highlight this project were gathered from Cornell’s in-types project, which was initiated by Jennings (2007). Francis Ching is also used as a reference to fundamentally generate a manifesto which would accommodate human activity, while not diminishing the importance of social and economic aspects (Ching D.K, 2007). The selected site no longer fits within the terminology of; “form follows function”, nor “function follows form, due to the site’s and kiosk building being impractical and incongruous. Therefore the aim is to change and adapt the site to fit its modern needs but preserving its significant value. By dismissing the building and altering the square, order will be restored, making its form follow function but as-well function following its form. The proposed typology within the square will be that of a coffee shop. Even though Lincoln has a few coffee shops in this area, I believe that this typology would be most appropriate for this site. Due to the site being a square located in the middle of the city and adjacent to one of Lincoln’s crowded streets, it allows people to stop and relax freeing them from daily struggles or stresses. The chosen brand ‘Origin’ will be infused throughout the site, making it form cohesively with its surroundings using semiotics, defining connotation and denotation meaning. Space will be versatile but sophisticated, having the ability to transform when activities need to take place, bringing the community together.

6.4 CONCLUSION

This part of the study established the alteration proposal, which defined the treatise. Theorists like Fred Scott, Jen Jennings, Francis Ching and guidance from the Burra Charter (2013), and Historic England (2008). The research commenced from these sources, paved the way for a statement of significance that helped me conceptualise ideas in a more organised and meaningful manner. In the coming chapter, the concept will be illustrated, bringing all the previous content together visually, explaining how the critical review, context study, precedent studies, archetype illustration, and alteration proposal helped construct the project.

Preserve London plane tree.

Re-use iron columns.

Excavate, dig 2000MM.

Demolish building on site.

Figure 6.2: Drawing of site alteration.

Xuereb, Jonathan, August 2020

07 CONCEPT

7.1.1 Introduction As the alteration proposal was tackled, this chapter aims to analyse the previously gathered information to develop the informed design concept. The context study illustrated the built heritage and the historical significance of the chosen site. This crucial information made me understand the past and present of the city, giving me an insight into its cultural significance. Using primary and secondary research methods, which created a timeline, refer to figure 3.1.1, highlighting essential phases of the existence of the site. The following characteristics were focused on, to restore meaning and identity to the site were;

S BANK

The Speakers’ Corner; The London plane tree; The Cornhill Exchange; and The past use of the site.

LLOYD

• • • •

PANDO

EURO CHANG

BOOTS

LUSH

LINCOL N DOUGH NOTTS MC DONAL

MONSO

CARD

CORNHILL EXCHANGE FACTO

WATERSTONES

RY HALIFA

X WHSM

ITH

BUSINESSES

COFFEE SHOPS

CHOSEN SITE

Figure 7.1: Site location, and nearby coffee shops.

ECOLOGIC Form -

Notch Light Trap Sun Spine Dressed Ceiling Compelling Light

APPEARANCE Ambiance Follow Me Light Seam Down The Line Showcase Stairs

A IC

Xuereb, Jonathan, August 2020

ATM

AYS BANK

IO YS PH

Having gone through each chapter, the proposed alteration was generated. As discussed previously throughout ‘the alteration proposal’, the kiosk building would need to be demolished, while preserving the London plane tree due to its communal value and re-using the Victorian iron columns which hold aesthetic value. Having analysed the sites’ strengths and weaknesses, a more visual and imaginative exercise was taken to gather connotation and denotation aspects, refer to figure 7.3. A diagram was formed, and the conceptual phase had begun, transmitting the written text into visual images. Throughout this process, Semiotics, the imaginal strategy (Konigk, 2015) and Archetypes, Jenning’s (2007) helped configure the external and internal areas within the site, refer to figure 7.15.

PLACE

EPISTEME Brand Activate Speciman

O OL

Conducting the critical review provided valuable knowledge, which supported the concept by becoming more aware of certain aspects, enhancing human wellbeing and sustaining the site. The review aimed to explain how an ecosystemic approach could benefit the research problem. Ecosystemic sustainability is the understanding of the built environment and its effects on human emotional behaviour, and therefore to further understand this, its three pillars; social, environmental, and economic aspects were investigated within site. Conducting this investigation uncovered how different each pillar is, but still, all depend on the other in order to perform sustainably. The pillars explain wellbeing from different spectrums, discussing the relationship between psychological and physiological human responses. Psychological and physiological were researched in more depth, revealing how one affects the other, stimulating perception and behaviour, refer to figure 7.2. Form, colour, texture, lighting, sound, smell, space and function were analysed through discussion of phycological and physiological situations. Throughout conducting this research, an ecological process was taken, evaluating decision made. Throughout this process, the built environment was considered, making sure that no harm was being done to the site and its surrounding context. Precedent studies discovered and analysed many factors, which aided as inspiration and helped with the justification of the thesis. Throughout this documentation, the following factors were looked into such as; building use, building occupants, building location, building type, building size, type of site, materials, sustainable strategies and construction strategies. Throughout this intensive analytical process, the understanding of archetypes and semiotics became more recognisable, which made it easier to understand the design process. Analysing projects with similar attributes to my site, re-assured my ideas, which guided me to towards the conceptual phase.

BARKL

ECOSYSTEMIC Space -

Figure 7.2: Architypes forming part of philosophy.

Quarry Fluid Floor Double Vision Transactional Space

A De ob

tat

rva

ble

ion ev

SUPERFICIAL

ide

DEEP

‘Frames’ easily interpret context

CONCEPTUAL ASSOCIATIONS

4 5

OPERATIONAL PURPOSE

‘Overcoding’ commonly used rules

IMAGE BOARD: RAPID EVIDENCE ASSESSMENT

‘Bracketed extensions’ content disguised from the core message

herm en

c ic

arison

ircle Co

p om tc

cre

ota

ativ

tio

e in

ter

pre

tat

ion

con sta n

Figure 7.3: Concept diagram. IMAGE REFERENCES A1: A2: A3: A4: A5: A6: A7: A8:

B1: B2: JX-105 B3: B4: B5: B6: B7: B8:

C1: C2: C3: JX-092 C4: JX-102 C5: JX-024 C6: JX-058 C7: C8:

D1: D2: D3: JX-010 D4: JX-039 D5: JX-051 D6: JX-041 D7: D8:

E1: E2: E3: JX-055 E4: JX-056 E5: JX-029 E6: E7: E8:

F1: F2: F3: JX-013 F4: JX-026 F5: F6: JX-080 F7: F8:

G1: G2: G3: JX-043 G4: G5: JX-004 G6: G7: G8:

7.1.2 Conceptualise The concept diagram above is made up of tangible and intangible inspirations, generated from the conducted research. The diagram is made up of a collection of images inspired by the city of Lincoln, and the chosen brand ‘Origin’. These came together as being symbolically valuable towards the community, adding significance. The concept diagram inspired the given form and the ambience created throughout the designed space. The brands’ philosophy of blending science and senses, ritual and experimentation influenced the concept in terms of ecological design, making the spatial environment reflect the brands’ and the sites’ historical past. The connotation associated with the bomber is due to Lincolnshire’s historical significance during World War 2. The design concept combined the understanding of ecosystemic sustainability, semiotics (imaginal strategy), archetypes and the ecological process to restore meaning, emotion and comfort in place. The social, environmental, and economic pillars were investigated and addressed to generate the concept, which examined physiological and psychological aspects with regards to what and how one’s perception is triggered and effected. This was done through the undertaking of two discourses, ‘episteme’ and ‘form’, which aimed to improve the wellbeing and the sites’ significant value. The spatial alteration generated a sense of hierarchy through first and second-order meaning to embody and transmit connotation and denotation significance. Visiting and observing the site’s public interaction and changing environment, uncovered its strengths and weaknesses. It was made evident that the site was a negative space which disengaged itself from the public. At the same time, the building was unnoticeable to passersby, making it psychologically forgotten and therefore, demolition was the most appropriate option, refer to figures 6.1 and 7.4. XUEREB, Jonathan, March 2020

H1: H2: H3: JX-003 H4: JX-077 H5: JX-097 H6: H7: JX-101 H8:

I1: I2: I3: I4: JX-103 I5: JX-104 I6: I7: I8:

J1: J2: J3: J4: J5: J6: JX-090 J7: J8:

K1: K2: K3: K4: K5: K6: K7: JX-107 K8:

L1: L2: L3: L4: L5: L6: L7: L8:

This decision also came from trial and error, having tried 1. to manipulate the kiosk’s form in support of the proposed function. Having tried to re-use the building by merely intervening with its nature, the void in the square remained. Therefore the problem with the kiosk is mainly its position, which makes it very restricted and limited in space and experimentation. 2. 1.

2. 4.

Figure 7.4: Site observation.

Following the site visit, a more strategic and schematic analysation was conducted, to identify and configure the site according to its known characteristics, such as the Cornhill Exchange, the London plane tree and the ecological environment. Having these boundaries made it easier to plan out the spatial areas. After some continuous sketching, a SWOT analysis taking into consideration, strenghts, weaknesses, opportunities and treats, of developed specific ideas were taken, which identified the most influential and credible concept. The aim is to transform the square into a sustainable public place in terms of function and wellbeing, to achieve in improving social, environmental, and economic sustainability. The design was inspired by the movement of the city, due to the built surrounding context.

PUBLIC

PRIVATE

PUBLIC

The idea was to build down rather than up to achieve the following results; • • • •

Scale and depth between the visitor, the buildings and the tree; To give the site the impression of a found ruin, associated with the roman findings in Lincoln; To open and generate more flow and user interaction; and To create the illusion of detachment and attachment using levels from the High street.

The objectives are to create a space which invokes feeling, memory, and body. The first concept was to create a natural flowing form which seamlessly formed part of the site and to insert a ramp descending from the middle of the square, connecting the two prime corners of the site where the majority of the public flow passed. Going down the ramp, the user finds themselves in a more controlled and compact space where social interaction can take place. Having an amphitheatre and a coffee shop oppose to it created a place within a space, for social activity. This concept had potential; however, the given form went against the natural flow of the square, while it was limited in space, movement and activities to be held (markets, concerts). Therefore this was further developed reversing the circular design into a more directional and responsive form to its context.

Figure 7.6: Understanding of site, through current use and function.

Figure 7.7: First proposed concept.

Pandora Store

High Street

Cornhill Exchange

4. Speakers Square Barclays Bank

Figure 7.5: Early sketches showing alteration variations.

Xuereb, Jonathan, August 2020

Figure 7.8: Image showing change in floor depth (terrain).

Further development was carried, specifically tackling the form of the pavilion. The intention was to generate a form which presents functionality and appearance. The use tectonic forms created a curving body, coming-in different heights, refer to figure 7.9. The same thought process and considerations were taken developing this concept while using AutoCAD, refer to figure 7.10. The tectonic form floats, inspired from seagulls that fly over the Brayford. The tips hinder openings while providing shelter from sun and rain, due to its up and down motion, this way rain could be collected and re-used. With all the mentioned positives that it may have, it did come with a few problematic circumstances. One of the issues was the mounting of each tectonic form, which would have consumed most of the interior space, plus making it inefficient towards being social and economically sustainable. Amending this idea, different construction methods were applied; however the circular form was challenging to work with, limiting opportunities. Therefore modifications to the square were done, stripping it back to a rectangular shape, refer to figure 7.11. Throughout this phase of development, the determining of the form given to the square was identified. The circular form eventually lost its function and flexibility, due to its restricted and consumed space, therefore returning to the rectangular form made it more accessible, allowing better awareness to the surrounding characteristics. The tectonic forms generated previously were further modified to better fit the new form. During the development, aims and objectives were set and drove the project forward. The movement of the city is taken into consideration, while in-keeping with the information gathered from figure 7.4 and 7.10; the idea was to reflect the characteristics that make up the significance of the site. The complex organic roof is made up of a series of waves, creating energy through the site with its circular motion refer to figure 7.13. The objective is to make form and function enhance the given typology, which was achieved by morphing the curves into the site, signifying specific zones within the building. The application of semiotics is used to interpret the cultural, aesthetic, historical and chosen brand throughout the site, following its branding and coding; transparent, organic, clean and environmentally friendly characteristics. The imaginal strategy is used to help determine and make identifiable the physiological and psychological aspects, receiving semiosis. This will be done using symbolic motifs to enhance the analogy between people, objects and space (Konigk, 2015). Archetypes will provide order to the human psyche, Jennings (2007).

Figure 7.9: Understanding sitesâ&#x20AC;&#x2122;, ratio, scale of surroundings.

Most used route by public

Most of the flow comes form the South

Figure 7.10: Understanding of site, considering natural, wind & light.

Figure 7.11: Putting form into place.

Figure 7.12: Understanding of site, giving new meaning.

Figure 7.13: Developed concept.

Xuereb, Jonathan, August 2020

7.1.3 Imaginal Strategy Semiotics was achieved from connotation and denotation to determine intangible and tangible aspects. Semiotics helped give deeper meaning, enhancing the physiological and phycological attachment between the user, object and space. Semiosis was achieved using methods of the imaginal strategy (Konigk, 2015), making sure that a synthetic concept is generated. Taking into consideration, proximity, timeliness, and association aspects, translated into first and second-order meaning bringing memory into place (Konigk, 2015). [3] Proximity was managed through forms of symbolic meaning, which generated movement, comfort, attachment and wellbeing. Proximity mostly tackled the mental state, using physical features to draw thoughts and emotions. Further, the following accessibility standards were crucial in order to achieve a non-discriminating design. (Disability Access Standards, 2015). • • •

The coffee counter is made wheelchair accessible; Sliding doors are used for safe and secure access; The accessible unisex toilet, equipped with all requirements, having non-slip flooring, all necessary fittings at reaching heights, PIR lighting, and full mirror for aesthetics and leisure (Disability Access Standards, 2015). [2]

In this case, symbols were erected through different parts of the site, providing a different experience to the user. The aim was to interpret something the visitor would relate to or recognise. Symbolic motifs were mainly used as images to embody deeper meaning, relating to the city’s’ and sites’ historical past, through sign, form, objects and materials. [1] The dressed ceiling (interior) is constructed from geodesic geometry, to create the unique curved form of the proposed pavilion. The geodesic structure symbolises the airframe structure of the Wellington bomber (‘Bomber County’ past and present, 2012), which were made and deployed in Lincolnshire throughout the second world war (1939). Lincoln had become known as the bomber county (‘Bomber County’ past and present, 2012). Another motif is the excavation of the site, symbolising the history of Lincoln. The city of Lincoln is known for its monumental, magnificent cathedral, dating back to 1185. Throughout the years’ physical remains have been discovered, and this was the intention of ‘quarry’. To interpret or demonstrate the found, through excavation and now preservation. These motifs are associated with Lincoln’s past, which achieved emotions perceived through time and space, using form and material. Lastly, the outer reflective skin applied to the exterior of the pavilion symbolises the traditional craftmanship of Lincoln (History of Lincolnshire, 2020). The chrome finish achieves reflection (double vision), of its surrounding context. The skin is fixed using rivets, bringing authenticity, mimicking the bomber plane and the Witham shield (300-400BC), (History of Lincolnshire, 2020). This approach achieved timeliness, acknowledging local traditions, preserving the city’s cultures through tangible and intangible elements. [4]

Throughout the square typology, 15 archetypes Jennings (2007) were integrated throughout the public and private spaces. These forms of information belong to the inherited structure of the human psyche. The following intypes were collected from Cornell University Jennings (2007). The gathering of these archetypes aimed to restore identity, time, style and function in place, refer to figure 7.14.

ACTIVATE

QUARRY

FOLLOW ME

SUN SPINE

NOTCH

COMPELLING LIGHT

LIGHT SEAM

LIGHT TRAP

DRESSED CEILING

TRANSACTIONAL

DOWN THE LINE

FLUID FLOOR

DOUBLE VISION

SHOWCASE STAIR

SPECIMAN

Figure 7.14: Architypes selected for this project.

Design objective - [3] To embody meaning through semiotics to generate psychological attachment; Design objective - [2] To propose a universally accessible design; Design objective - [1] To restore purpose and provide meaning back to the site; Design objective - [4] To preserve and enhance the significance of the site;

Roof - 32 Millimetres thick aluminium sheeting, finished in chrome reflecting material.

Opening - Seagull swing door, opening upwards, evoking the image of a seagullâ&#x20AC;&#x2122; s wing. Structure - Aluminium geodesic structure.

Trees - The Betula utilis tree is a medium size tree having a birch trunk.

Liquid Crystal glass panels - Making interiors and exteriors customized as glass switches from controlled levels of opaque to transparent.

Signage - A pre cast concrete facia sign, with inset lettering.

Water feature - Providing a natural and trenquil ambiance. Outdoor plants - Sophora prostrata plant is used to create privacy/ distance depending on how the visitors feel. Mature tree - Preserving exsisting London plane tree.

Podium - Re-introducing the Speakersâ&#x20AC;&#x2122; corner significance, symbolising freedom of speech. Shading systems - Re-using cast iron colunms with operable conopies, for market use. Touch screens - Interactive, information touch screens.

Figure 7.15: Isometric drawing illustrating areas and aspects of the project.

Xuereb, Jonathan, August 2020

7.1.4 Exterior Space The proposed concept gradually descends, morphing the ground level to the lower level. The aim is to create a continuous flow between flooring and architecture; this characteristic was inspired by the previously researched precedents. Creating this upper and lower floor gives the feel of being in a quarry, blending with its surroundings. Specific characteristics were applied to further enhance meaning by psychological detaching the square, giving the visitors more space to express their feelings. A stream of water gracefully splits the centre of the square, serving as direction to influence passers-by, while providing a calming sound. The sharp cuts and angular exterior walls balance the fluidity of the organic ceiling while its curves serve for multi-purpose, being it for shelter, accessibility or aesthetic.

Figure 7.16: Artistic section drawing.

The floor level represents a quick-moving society, where people can socialise and actively interact. Located next to the London plane tree a circular form resurrects from the ground acting as a symbol to protect and preserve nature while also to be used as a podium to re-introduce the Speakers’ Corner tradition dating back to 1908, refer to page 6. Re-using the iron columns taken from the kiosk are infused to the podium symbolising memory, refer to figure 7.17. Information touch screens are placed around the square modernising it’s previous use of the former information centre, while a to go cafe, serves people on the go. It’s given location, and design makes it easily identifiable (notch, archetype). The gull-wing window transforms as an awning, stating its presence and use for shelter. Only from inside the pavilion can staff members access the to-go cafe.

ORigin cafe

Figure 7.17: To-go cafe and re-use of colunms.

Figure 7.18: Site plan artistic drawing.

Xuereb, Jonathan, August 2020

Walking down to the lower level a water feature splits the site allowing reflection (double vision, archetype), direction and natural flow (fluid floor, archetype) throughout the site. The ramp is designed according to UK regulations it being a 1:12 ratio ramp. The seating/ stairs area is provided for recreational use, making it seem like its carved out of the site (quarry, archetype). The location of the stairs allows the viewer to observe the Cornhill Exchange and the London plane tree. In addition to this, the proposed concept allows for outdoor cinemas, fashion shows, plays and other events to take place. Outdoor plants were chosen specifically according to the climate of the site; the Sophora prostrata plant is used to create privacy/ distance depending on how the visitors feel.

Figure 7.19: Exterior visual of cinema scene.

Figure 7.20: Lower level artistic drawing.

The organic roof is constructed using a geodesic construction method, covered using 32 Millimetre thick aluminium sheets, finished in chrome, to reflect its surrounding context. The roof meets the ground floor level making it accessible for the public to safely walk on and experience different parts of the building, refer to figure 7.21. The roof gradually meets the floor close to the Cornhill building, were 3 Betuli Utils type trees break through the flooring, while innovative bike storage forms part of the floor, available for the public to use, refer to figure 7.22. The given form allows for natural light and natural ventilation (light trap, archetype) to forcefully access the building, as well as to create an in/ out experience. This being achieved by the use of skylights and large openings. The random height variation allows water to be collected and used for its water feature by being drained and re-used. The facade of the building is constructed using retractable glass panels which transform into HD (high-definition) projection screens whenever an event is taking place (sunspine, archetype). The facade being retractable extends the interior space out to the exterior, transforming it as part of one space. The HD projection screens give the site more creativity with endless possibilities for use, refer to figure 7.19.

Figure 7.21: Upper level drawing.

Figure 7.22: Integrated bike storage, Betula utilis trees.

Xuereb, Jonathan, August 2020

The warm exterior lighting will be provided from ground lights being placed on the parameter of the site as directional lighting (follow me, archetype), additional ones will be placed to highlight specific elements, such as the iron cast Neo-Victorean columns and signs. Further LED cased in strip lighting will be embedded in the edges of the exterior seating/ stairs (lightseam, archetype).

Figure 7.23: Speakersâ&#x20AC;&#x2122; corner podium, human interaction and past/ present symbolism.

Figure 7.24: Warm interior/ exterior lighting, high-lighting geodesic structure.

7.1.5 Interior Space The interior of the building will reflect the brandsâ&#x20AC;&#x2122; identity (activate, archetype), applying similar characteristics found in their existing stores; this way, a sense of cohesion is created. The interior is made up of three primal zones; the to-go cafe (private), the main cafe (public) and the back of house areas (private) (transactional space, archetype). The to-go cafe is accessed from the main cafe, moving through a transactional space where a flight of stairs will lead you to it (showcase stairs, archetype) refer to figure 7.25. The to-go cafe is designed and located specifically to draw passerbyâ&#x20AC;&#x2122;s attention, while windows and openings are positioned to enhance functionality and connectivity with its context. Skylights (light traps, archetype) are located facing east for maximum natural light during morning and afternoon time. As for the main public cafe, is desiged using modern and cosy furniture, being it organised in a linear formation for easy accessibility and order (down the line, archetype). The roof is held up by a geodesic aluminium frame and supported by the pre-existing iron cast columns, supporting the ceiling from the exposed internal structure (dressed ceiling, archetype). Products sold by the brand will be showcased throughout the space, mainly exhibited in inserted shelves and from first-hand experience (specimen, archetype). Built-in overhead cassette will provide ventilation/ heating and cooling, filling the interior with fresh air and a comfortable space throughout summer and winter seasons.

Figure 7.25: Drawing of proposed showcase stairs.

Figure 7.26: Interior visual showing proposed furniture/ service counter and lighting.

Xuereb, Jonathan, August 2020

Interior lighting will be provided by drop-down pendant lighting, wall-mounted fixtures and ceiling mounted lights. The dropdown lighting is used to highlight elements of function such as tables and the service counter refer to figures 7.26 and 7.27. Wall-mounted fixtures are used to highlight areas within the space and give a more aesthetic feel to the interior; finally, the ceiling-mounted lights highlight passageways, such as transactional areas (compelling light, archetype). The back of house area is used by staff members, consisting of a preparation area (kitchen), storeroom, staff room, toilet, and two service rooms one for water management and the another for electric supply.

Figure 7.27: Interior representation showing wall lights, integrated fridges, iron cast colunm and wall seating.

Figure 7.28: Visual of service counter, exhibiting coffee dispensers and overhead lighting.

7.1.6 Exterior & Interior Materials The benefits of choosing the right materials and finishes were studied, uncovering how oneâ&#x20AC;&#x2122;s perception can be influenced by appearance and form. It was a crucial part of the project when coming to select materials and finishes. The aim was to select the material depending on its association to the site, brand (Origin) and culture, and as-well its technical properties (sustainability). The materials used throughout this project are metal (steel, aluminium and iron), stone, concrete, glass and wood. The roof will be finished in chrome, to create a personal connection between the user and the place. The finish will allow experiencing the site through the sense of touching and seeing. The sheeting will be fixed using flush rivets, attaching it to the white geodesic aluminium frame, mimicking the Lincoln Bomber military plane. The white ceiling structure will reflect natural light making space look larger while keeping it simple and modern. Glass will be used for the facade, allowing transparency throughout the day and night, providing a changing experience during the different times of the day. The exterior flooring will be finished using concrete brickwork (ground level) and aggregate concrete (lower level), to achieve a seamless, authentic look while keeping with the concept of being quarried. As for the exterior walls, these will be finished in polished concrete, keeping with the monochrome palette and aesthetics, but aswell having the fascia sign carved into the wall. As for the interior flooring, this will be finished using polished concrete, continuing with its exterior floor this way when the glass panels have fully retracted a sense of continuity is visible. The interior walls will be finished with textured concrete to enhance the quarry expect throughout the space. The flooring in the private areas will aswell be finished in polished concrete for maximum durability.

Figure 7.29: Visual showing a full representation of Speakersâ&#x20AC;&#x2122; public square and pavilion.

Xuereb, Jonathan, August 2020

7.1.7 CURATION OF MATERIALS, FURNTITURE, LIGHTING AND EQUIPMENT

7.30 Concrete Brick Paving - Square Ground Level The patterned flooring will streghten and evoke a sense of modernity and traditional aesthetic. The concrete bricks are very durable and can be easily repaired or replaced if needed, making them an appropiate choice for outdoor application. The design will achieve a timeless look, forming a seamless and continuous aesthetics to the landscape.

7.31 Exposed Aggregate - Square Lower Level Flooring This material was selected due to its decorative style and durable characteristics. This selection would add a unique sense of style, contrasting beautifully concrete and surrounding materials. The materials versatility boasts of safety, abrasivness and aesthetics.

7.32 Polished Concrete - Interior Flooring This material was selected for its properties and aesthetic. The material would compliment with the exposed aggregate, keeping with the same colour hue, transition by texture. Doing this, would help in maintanance, light reflectivity and thermal mass properties, which lead to reduced energy costs. The breathability of polished concrete eliminates the need for costly moisture barriers, making it easy to clean, allergy free and hard wearing.

Exterior Wall - Stained Look

Interior Feature Wall - Smooth Look

Interior Walls - Textured Look

7.33 Concrete Wall Stained Look - Exterior & Interior Walls Reinforced concrete is extremely durable and requires little maintenance. It has good thermal mass, fire resistantce, acoustic insulation, and energy envelope. Using concrete would serve as both exterior and interior wall finish material, increasing both the economic and aesthetic advantages, compling with the same performance-based quality standards as conventional concrete masonry. Its aesthetic changes when hit by sunlight or rain, changing in colour.

7.34 Lino Leather - Furniture This material emulates the texture of real leather. Its durable and aesthtic abilities makes it a great choice, complying with the chosen brands philosophies. the materila withstands heavy usage, and is usually smooth in texture. Making it a hypoallergenic, easy to clean material. The leather material appeals to our sense of smell as well as sight, touch, and sound, creating a warm holistic experiance.

7.35 Chrome Silver - Cieling This material was chosen for many reasons however, its finishing properties would help amplify light, add drama and create interesting reflections. The mirroring ability of the material would maximise the amount of light in the space, thorugh reflection of both natural and artificial light. This would also harness any daylight possible even if the weather is gloomy.

7.36 Mirror The use of a mirror will be more for functional rather then aesthetical purposes. The mirror will be applied in the customer toilet, for aceessibility.

7.37 Chrome Black - Furniture The chrome black finish represents stability and structure. This will help the transition between the floor and the furniture.

Satin

Clear

Textured

Tinted

7.38 Glass - Exterior & Interior glass types Satin glass panels will help allow light flow throughout the buildingsâ&#x20AC;&#x2122; interior. The satin finish given to the glass will help create privacy without cutting off the light source to the interior space, this such material will be used for the customer toilet. Clear glass panels will allow full visibility, while aswell connecting the inside, outside areas. This will be used for the facade glass panels and windows. Textured glass will be used as a decorative touch, providing privacy aswell as transperency. This will be applied to the transitional door leading to the back private areas. Tinted glass will be used throughout the back private areas. This will add visual appeal to the workplace, while its given filter will minimize heat gain.

Xuereb, Jonathan, August 2020

7.39 White Oak Wood This selected material will generate a warm and traditional charm to the counterspace, making it an affordable and versatile material. Apatr from its aesthetic appeal the wood would act as a tool for baristas to use whilst prepare the bevarage. This would offer visual depth on par with the selected stone top.

7.40 Stainless Steel The stainless steel material, will help reflect light, britghning up the surounding area. This material will mostly be found on the selected coffee equipment, making it; heat, stain, durable and bacteria resistant.

7.41 Stone The chosen granite stone will provide the space with a more natural and welcoming feeling. Its durability and low maintenance, makes it a brilliant selection, due to its heat resistance, scratch resistance, chemical resistance, seamless texture, repairability and sustainability.

7.42 Green Tiles The specific selected tiles are chosen due to their association to former esthablised stores around the UK.

Figures 7.30 - 7.42: Material board.

7.43 ICS stool 7.44 Flute table The ICS stool is specifically selected for its The Flute table is a great selection to be defined style and material. part of this space, its simplicity of clean shape and finish would balance the interior.

7.45 Ilda coffee table The Ilda coffee table is made part of this curation, due to its simplistic detail. This piece would add visual character & structure.

7.46 Stanford armchair The Stanford armchair is a symbol of elegance and comfort. Its thin and light characteristics will fill the interior nicely without over loading it.

7.47 Grace chair The Grace chair shows off its versatility, durabilty and aesthetic elements, and therefore was selected.

Figures 7.43 - 7.47: Furniture board by Poliform.

7.48 Model 2065 The Model 2065 lighting pendant is chosen for its aesthetic and material charcteristics/ properties. Its ability to diffuse light, creates a more intimate light -space and stronger graphic expression.

7.50 Elektra Espresso Machine This machine is chosen for its aesthetic qualities, adding authenticity, character, sophistaction and elegance to the interior.

7.49 Hoist Sconce This minimilistic wall mounted light source, compliments well the cieling pendant light, having similar finishes and releases the same light colour and light intensity.

Figures 7.48 - 7.49: Lighting board.

Xuereb, Jonathan, August 2020

7.51 Elektra Indie 2 units The technical specifications listed for this coffee machine makes it a great choice for the to go cafe, due to limitation of space.

Figures 7.50 - 7.51: Equipment board.

7.1.8 Conclusion Throughout this chapter, the concept was expressed in words, decoding the process to how the proposed idea was curated. The aim was to transform the square into a functional, ecologically, friendly and sustainable public place, taking into consideration the social, environmental and economic pillars of design. These three pillars form part of ‘ecosystemic sustainability’, which helped address the built environment and its effects on human emotional behaviour. Due to the size and typology of the site, the ecological process was used to understand better how and what could negatively affect the built environment. The social, environmental and economic pillars were used as guidelines to understand what needed to be addressed to generate the concept. The understanding of physiological and psychological aspects were taken into consideration, to understanding the users’ perception and feelings through the human senses. This was done through epistemology, which enhanced the understanding of wellbeing of the public and the site. The spatial alteration was generated with high awareness and sensitivity to bring a sense of hierarchy throughout the square. The combining of semiotics (Konigk, 2015) and ecological principles brought meaning, emotion and comfort within the sqaure. The proposed design was inspired by the movement and culture from the city of Lincoln, its given form was generated through an in-depth analysis of the site context; taking into consideration light, winds, activities and its past. The complexity of the ceiling gives the viewer a feel of energy while its chrome mirror finish provides the viewer with emotion and more profound thought. One of many objectives throughout the development of this design was to try and create an architectural monument, which serves as a symbol for the city of Lincoln, representing its past, present and future. Alongside this, the aim was to generate a safe, accessible and open public space, which transformed itself from day and night. Doing this was challenging though, through in-depth analysation, constant research and understanding the chosen site ‘Speakers’ Corner’, a flexible and modular space was achieved, allowing and supporting different events to take place, such as; • • • • •

Exhibitions; Markets; Open theatre; Fashion shows; and Open cinema.

Considering the concept is stable and realistic, further research and exploration are needed to understand further and improve the functional and aesthetic factor. Having, analysed materials and their way of application, more technical properties such as; material transformation. Aswell further research with regards to the fabrication of the roof structure is needed to be conducted, to be able to improve its potential capabilities. Another aspect is the water draining system, modifying the way the water is collected from the surface, seamlessly without using drain covers would elevate the project. Lastly, further experimentation on the exterior seating would improve its functional aspect, by further modifying its surface, to enable better drain of water and comfort.

To conclude, I believe that even though the previous building (kiosk) was proposed for demolition, its memory and previous use has been sustained. The site was modified with responsibility, considering its surrounding retail stores, the needs of the community and for the better of the square. As the design concept has been concluded, the following chapter will aim at concluding the full study whilst also providing an analysis of the overall document.

Xuereb, Jonathan, August 2020

CONCLUSION

8.1.1 Overview The project aimed to identify the in-existing public square typology to restore its significant values. Examining and understanding the chosen site was a crucial part of the project, which identified the appropriate alteration needed to reinvigorate the chosen site, Speakers’ Corner, of High street, Lincoln. In achieving the aim, a philosophical approach was specified to develop further and understand the ecological surrounding environment. The ecosystemic approach served as a method to reach sustainability within the site context. This philosophy was run through an epistemic study to comprehend its theory better. An ecological process was taken to analyse further the philosophy of ecosystemic pillars; social, environmental and economic wellbeing, linking between and within ecosystems. This investigation was taken into form, which illustrated the environmental performance, forming as-part of the process to which addressed the practical use through its physical expression. The theory connotation and denotation came together spatially expressing the city of Lincoln and the chosen coffee brand ‘Origin’, using imaginal strategy methods (Konigk, 2015). This increased hierarchy, balance, and order throughout the tackled site, re-connecting the identity in place. In-fulfilling the gap of the in-existing public square typology, an in-depth analysation of synthesis, proximity, timeliness, and associations was taken determining physiological and psychological aspects, which transmitted into tangible and intangible artefacts throughout the proposed design, achieving semiosis. Semiotics gave a more in-depth meaning enhancing the analogy (relationship) between people, objects and space. Symbolic motifs such as, signs, form, object, tradition, and material helped generate the technification aspect of the project, illustrating technical and formal attributes, which reflected the sites’ past and present values. The alteration was determined, considering the preservation of the local indigenous culture, which included tangible, and intangible elements. These form part of Lincoln’s historical past, dating back to the middle ages, the industrial revolution, world war 1 and 2. ‘Traditions’, are characteristics that today form communal, historical and aesthetic values and which need to be preserved. The square typology is a symbol for human rights (Suffragettes/ freedom of expression), and wellbeing (ecological). Symbolic motifs were generated to embody deeper meaning, forming part of archetypes, which enhanced perception influencing human psyche. These were used as a constellation forming a pattern, making it easier for users to recognise and orient themselves with space and bring users closer to the point of attachment and observation (proximal). Embodied knowledge in ensemble performance allows for compliance with reaching the three domains of ergonomics: physical, cognitive, and organisational details. The proposed square manifests into a synthesised project enriched with first and second-order meaning between the alteration and theory, achieving semiotics. The second order was deeply analysed and expressed into first-order meaning, distinguishing objects through aesthetics and functional values, translating memory from form, which generates temporal emotions perceived by the inhabitant through time and space.

Xuereb, Jonathan, August 2020

The proposed form is a generation of motion, symbolising a change in time and human flow (energy) through the square. The concept put forward is imposed for human use considering human senses; scent, sound, sight, and touch, which were applied to benefit the sites’ values and user experience. As one of Lincoln’s main squares, its social, environmental and economic attributes were lost through time, breaking its significant values, resulting in an uninhabitable void. By restoring the three pillars (social, environmental and economical), its typology is reinstated, reviving its cultural, historical, communal and aesthetic significance, has reestablished the Speakers’ corner square as a distinctive point of the city once again.

8.1.2 Contributions The treatise makes the following contributions:

Theoretical

Practical

•

• •

•

The critical role of wellbeing throughout the design, considering mental and physical aspects. The relationship between the community and place, forming a social attachment, though morals, ethics and the significant values of the site. The identifaction of the ideal sustainable approach to tackle this typology (Public square). The application of the ecosystemic approach and ecological thinking, to create a friendly place, benefiting its surrounding businesses, environment, and the local community. The benefits of public squares in cities, that invokes interaction and human responsibilities, in bringing communities together.

•

Observation visits to assess and understand the ecological context of the site, identifying its strengths and weaknesses. Through a process of image coding and collection, gave me inspiration and reasoning. From this exercise, I identified first and second-order characteristics, which assisted me in uncovering tangible and intangible elements that linked with my project. This exercise provided me with ideas that, in the end, formed a cohesive concept, having meaning and function. The REA process was driven by the theoretical findings transmitting them into meaningful methods for first-order meaning. Semiotics generated the interior utterance linking the functional typology with the meaningful purpose, resulting in a complete design, in which the tangible and intangible aspects are visually distinguishable. The imaginal interior hypothesis was analysed using the epistemic approach, which helped gather vital information, to construct the connotation interpretation, considering synthesis, proximity, timeliness, associations and technification.

8.1.3 Limitations The following are limitations encountered:

• • •

Was unable to undertake interviews and questionnaires to the public domain, due to the project being research-based; I was unable to enter the kiosk building; due to the council not acknowledging and responding to emails and calls; and Was able to receive technical drawings, with measurements and annotations of the kiosk, unfortunately not of the square itself; having had these would have made the project more precise.

8.1.4 Recommendations The treatise makes the following recommendations for further research: Further Research

Practice

•

To conduct interviews with people who form part of administration such as; the speakers’ corner trust, local planning, Lincoln Business Improvement Group, and the university (sustainable and environmental sectors). To conduct questionnaires to the public domain, away with reaching to the community and get g the thoughts about such a project. To conduct a full site survey, taking into consideration; water supply infrastructure, drain infrastructure, electrical infrastructure, historical use, photographic, ecological survey, photogrammetry survey and measured surveys and structural surveys.

•

A further ecological investigation could be taken to further manipulate the roofing, including more openings for natural light and observational views. Further study to improve the gathering of rainwater and recycling systems, to modify the form further, for it to function more sustainably. To expanding theory on branding and user experience, to improve curation.

8.1.5 Conclusion The proposal acknowledges the in-existing public square typology, addressing it by carrying-out an ecosystemic approach, to retain sustainability within the sqaure. This was further analysed through ecological thinking, which uncovered strengths and weaknesses, whilst also revealing the most appropriate means of alteration. Through an in-depth site analysis, the exsisting kiosk building was evidentially proven to be un-inhabitable due to its repetitive change of use throughout its years. Its failure as a building resulted in becoming rejected by its community for its appearance, obstructive placement and disallowing of human flow. Therefore the act for demolition was best, to restore function and meaning back to the site. This was achieved, taking into consideration; the social, environmental and economic wellbeing, into place, interpreting psychological and physiological aspects of form, followed by its intangible and tangible characteristics, which symbolises deeper meaning and embody function.

Xuereb, Jonathan, August 2020

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Xuereb, Jonathan, August 2020

ADDENDUM B

TECHNICAL DRAWINGS

Xuereb, Jonathan, August 2020

DRAWN BY: Jonathan Xuereb NAME OF DRAWING: Locality Plan PROJECT NAME: Speakers' Corner, High Street, Public Square

SCALE: 1:1250

PAPER: A0 1:1250

PROJECT YEAR: 2020

25m

50m

75m

100m

125m

PAGE: 01 of 15 RTH

DRAWN BY: Jonathan Xuereb NAME OF DRAWING: Site Layout

SCALE: 1:200

PROJECT NAME: Speakers' Corner, High Street, Public Square

PROJECT YEAR: 2020

PAPER: A0

1:200 0

12m

16m

20m

PAGE: 02 of 15 RTH

Preserve London plane tree.

Re-use iron columns.

Excavate, dig 2000MM.

Demolish building on site.

DRAWN BY: Jonathan Xuereb NAME OF DRAWING: Site Alteration PROJECT NAME: Speakers' Corner, High Street, Public Square

SCALE: 1:100 PROJECT YEAR: 2020

PAPER: A0

1:100 2m

10m

PAGE: 03 of 15 RTH

2600

B-B

C-C

E-3 2519

54200 3200

1072

3093

150

3200

500

3500

500

2300

5820

150 1430

5036

E-2

Food Preparation Area Staff Toilet

XSIZE YSIZE

Accessible Toilet XSIZE YSIZE

A-A Storage Area

Staff Area

Electrical Room

Water Service Room

XSIZE YSIZE

A-A

E-1

469

759 460

700

585 585 585

Plan: Lower Ground Floor B-B

C-C

E-3

Scale 1:100

RTH NO

B-B

C-C

E-3

2898

4172 1200

54200

10000

3897

200

650

800

2500 960

2000 960

1418 960

1261 960

E-2

XSIZE YSIZE

E-2

XSIZE YSIZE

A-A

E-1

1000

E-1

14837

2000

200

XSIZE YSIZE

B-B

C-C

E-3

3332

2394

Plan: Ground Floor

5280

17200

Scale 1:100 50941 RTH NO

54200

DRAWN BY: Jonathan Xuereb

SCALE: 1:100

NAME OF DRAWING: Floor Plans 1:100 2m

PROJECT NAME: Speakers' Corner, High Street, Public Square

PROJECT YEAR: 2020

PAPER: A0

10m

PAGE: 04 of 15

B-B

C-C

E-3

23144

6000

15101

E-2

Glass Rail.

Glass Rail. Aluminium Sheeting 32 Millimeters Thick. XSIZE YSIZE

XSIZE YSIZE

Geodesic Aluminium Structure.

A-A

XSIZE YSIZE

A-A

E-1

576

Plan: Ground Floor

600

Scale 1:100

18000

8700

8500

19000

B-B

C-C

E-3

RTH

B-B

C-C

E-3 9273

5191

6299

8532

9636

12783

E-2

XSIZE YSIZE

Lamp Post.

XSIZE YSIZE

A-A

2000

14837

200

XSIZE YSIZE

A-A

Information Touch Screen.

E-1

Lamp Post.

1002

Traditional Telephone Box.

Plan: Ground Floor Scale 1:100

B-B

C-C

E-3

RTH

DRAWN BY: Jonathan Xuereb

SCALE: 1:100

NAME OF DRAWING: Floor Plans 1:100 2m

PROJECT NAME: Speakers' Corner, High Street, Public Square

PROJECT YEAR: 2020

PAPER: A0

10m

PAGE: 05 of 15

Bicycle Storage.

Flute Table - Manufactured by Poliform. Trinity College Tree - White Birch, Reaching Maximum Heights of 3 to 5 Meters. XSIZE YSIZE

Grace Chair Manufactured by Poliform.

Dishwasher

To Go Cafe

XSIZE YSIZE

Ã&#x2DC;1500

Accessible Toilet

Sliding Opaque Translucent Glass Door. XSIZE YSIZE

Ilda Side Table - Manufactured by Poliform.

Floor To Ceiling Mirrors.

Stanford Armchair - Manufactured by Poliform.

Store Room

Staff Room

Service Room Service Room

Fridge

Entrance

Retractable, Frameless 15 MM Glass Panels.

Water Feature.

Water Gully.

Translucent Glass Panel Flooring.

Sophora Prostrata Outdoor Plant.

36000

17400

17000

38000

108400

RTH

DRAWN BY: Jonathan Xuereb

NAME OF DRAWING: Floor Plan

SCALE: 1:50

PAPER: A0

1:50

PROJECT NAME: Speakers' Corner, High Street, Public Square

PROJECT YEAR: 2020

PAGE: 06 of 15

5447

12850

Transforming Glass Into HD Projection Screens. Precast concrete signage with inset letters.

Retractable glass panels.

ORigin cafe

NORTH ELEVATION

9804

Scale 1:100

3243

14000

8636

54935

London Plain Tree.

Trinity College Tree.

1885

1535

500

Steel Bench.

3000

Bike Storage.

2900

Gull Wing Door

Aluminium Chrome Finish

SOUTH ELEVATION Scale 1:100 44621

58511

DRAWN BY: Jonathan Xuereb

SCALE: 1:100

NAME OF DRAWING: Elevations 1:100 2m

PROJECT NAME: Speakers' Corner, High Street, Public Square

PROJECT YEAR: 2020

PAPER: A0

10m

PAGE: 07 of 15

Iron cast column

PANDORA

BARCLAYS Window

ORigin cafe

Podium, associated to 1908 speakers corner.

Fascia Sticker

Water feature.

London plane tree

STREET ELEVATION Scale 1:50

DRAWN BY: Jonathan Xuereb PROJECT NAME: Speakers' Corner, High Street, Public Square

SCALE: 1:50

NAME OF DRAWING: Street Elevation 1:50 1m

PROJECT YEAR: 2020

PAPER: A0 PAGE: 08 of 15

SECTION A-A Scale 1:100

Steel hollow section block.

Refreshments refrigerator.

SECTION B-B Scale 1:100

DRAWN BY: Jonathan Xuereb

NAME OF DRAWING: Section Drawings

SCALE: 1:100

PAPER: A0

1:100

PROJECT NAME: Speakers' Corner, High Street, Public Square

PROJECT YEAR: 2020

10m

PAGE: 09 of 15

SECTION C-C Scale 1:50

DRAWN BY: Jonathan Xuereb PROJECT NAME: Speakers' Corner, High Street, Public Square

SCALE: 1:50

NAME OF DRAWING: Street Elevation 1:50 1m

PROJECT YEAR: 2020

PAPER: A0 PAGE: 10 of 15

Smoke Detector

Cieling Lights. Floor Lights. A.C Points.

Wall Mounted Lights.

Camera. R

Ceiling Mounted Speaker. XSIZE YSIZE

XSIZE YSIZE

Drop Down Hanging Lights.

Accessible Toilet

XSIZE YSIZE

INTERIOR LIGHTING PLAN Scale 1:00

RTH

XSIZE YSIZE

S R R

R R

Double Pole.

Recessed Down Lighting .

Internet Outdoor Extender.

Recessed Outdoor Speaker.

Floor Lights.

Integrated Lighting.

S S

EXTERIOR LIGHTING PLAN Scale 1:100 RTH

DRAWN BY: Jonathan Xuereb

SCALE: 1:100

NAME OF DRAWING: Electrical Lighting Plans 1:100 2m

PROJECT NAME: Speakers' Corner, High Street, Public Square

PROJECT YEAR: 2020

PAPER: A0

10m

PAGE: 11 of 15

1:20 400mm

400mm

800mm

1200mm

1600mm

2000mm

Round plate added.

Belt Type Rivets, providing a flush surface. Aluminum chrome strips.

32 Milimeters thick aluminium Sheet.

Geodesic structure.

100

Iron colunm.

30 degree angle of incline, to provide sufficient shade.

200

Shading System Closed Elevation

2900

Closed Scene

ROOF CONSTRUCTION DRAWING

1:20

Gull Door.

400mm

800mm

1200mm

1600mm

2000mm

Aluminium sheeting. Sophora prostrata outdoor plant . Upward gas spring.

Shading System Opened Elevation Geodesic aluminium structure.

Open and close handle. Creating smooth continuous surfaces allows for easy cleaning and better comfort..

360 Shade, light simple systems, complimenting the site .

Mortise and tenon joining method, creating a strong and seamless joint. Pre-fabricated concrete cast seating, transported and installed on site.

Low-power 12-volts light emitting diodes, drop down lighting primarily to produce an ambient glow in the evenings.

1500

Glass facade.

Open Scene

Shading System Opened Plan

20 1:25

SECTION WINDOW DETAILDRAWING

SECTION DETAILED DRAWING EXTERIOR SEATING AREA

EXTERIOR IRON COLUNM PROPOSED RE-USE & FUNCTION DRAWING

Scale 1:20

Scale 1:25

Mortise and tenon joining method, creating a strong and seamless joint.

0.5m

1.5m

2.5m

Steps.

1:50

BACK ELEVATION

Scale 1:50

DRAWN BY: Jonathan Xuereb

DRAWING NAME: Construction Details

PROJECT NAME: Speakers' Corner, High Street, Public Square

PROJECT YEAR: 2020

NAME OF DRAWING: Construction Detail Drawings

PAPER: A0 PAGE: 12 of 14

32MM Aluminum sheeting.

Belt Type Rivets, providing a flush surface.

Ground level.

Steel hollow block.

Geodesic aluminium structure.

100MM Rubble packing. Rammed earth.

Re-using of Iron colunm.

P.C.C 1:2:4.

Rubber Soiling.

P.C.C 1.2.4

CONSTRUCTION DETAIL

STRUCTURAL ELEVATION

Scale 1:5

Scale 1:20

1:5 1:20 100mm

100mm

200mm

300mm

400mm

500mm 400mm

DRAWN BY: Jonathan Xuereb

DRAWING NAME: Construction Details

PROJECT NAME: Speakers' Corner, High Street, Public Square

PROJECT YEAR: 2020

NAME OF DRAWING: Construction Detail Drawings

400mm

800mm

1200mm

1600mm

2000mm

PAPER: A0 PAGE: 13 of 15

DOUBLE VISION.

DOUBLE VISION. COMPELLING LIGHT.

LIGHT TRAP.

DRESSED CEILING.

SHOWCASE STAIR.

ACTIVATE.

ELEVATION Scale 1:00

NOTCH.

XSIZE YSIZE

DOWN THE LINE. XSIZE YSIZE

TRANSACTIONAL. SUNSPINE.

LIGHT SEAM.

DOUBLE VISION. FLUID FLOOR.

QUARRY.

FOLLOW ME.

FLOOR PLAN Scale 1:100

DRAWN BY: Jonathan Xuereb

SCALE: 1:100

PROJECT NAME: Speakers' Corner, High Street, Public Square

PROJECT YEAR: 2020

NAME OF DRAWING: Administration of Archetypes

1:100 0

PAPER: A0

10m

PAGE: 14 of 15

DRAWN BY: Jonathan Xuereb NAME OF DRAWING: Isometric Drawing PROJECT NAME: Speaker's Corner, High Street, Public Square

SCALE: Unknown PROJECT YEAR: 2020

PAPER: A0 PAGE: 15 of 15 RTH