MArch StAge 5 & 6
ACADEMIC PORTFOLIO
YASMin KellY - newcAStle UniverSit Y - 120092765
SUMMARY
05 ASSEMBLAGES THESIS STUDIO STAGE 6
69 MEMORY AGAINST HISTORY: RETURN OF THE REPRESSED STAGE 5 ANTISPACES STAGE 5 TOWN PLANNING TOOLS FOR THINKING StAge 5
175 ARCHITECTURE & CONSTRUCTION: PROCESS & MANAGEMENT StAge 6 ARB CRITERIA
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CONTENTS02REFLECTIVE
The first studio choice in Stage 5 I was able to choose was a more theoretical studio titled ‘Memory against his tory: Return of the repressed’ which was based in Vienna. It allowed us to dive deep into the history of Vienna as well as focus on key events in history and from this pro duce a unique symposium titled ‘Dark Vienna’ in which we showcased our work to date in a room full of sound and images relating the subject. The studio allowed me to explore representation in a way that suited me which was through art. I was given the opportunity to start the project and produce representations using various styles of media such as painting, ink and wax drawings as well as edited photographs to produce what almost seemed like works on art on the wall during the symposium for the whole studio.
also allowed me to use the information and knowledge built up during the lectures to explain and resolve sce narios using equations, producing data and in others, using planning documents as a reference point just as a qualified planning would do.
The dissertation I wrote in the undergraduate degree for Architecture was titled ‘Art and Architecture: is there a contemporary example of a bridge between the two?’ and focused on my interest in art, sculpture and in par ticular architecture, although I wasn’t introduced to the subject of architecture until I was a lot older. I always saw many similarities between sculpture and architecture when producing design proposals which used a more theoretical language; the buildings that blurred the boundary between art and architecture. The buildings in particular which interested me were ones which showed a space within the building can have meaning, spaces which can have symbolic meaning and which can at tempt to represent what the designer or architect hoped a person would feel or experience within a space.
Returning back to Newcastle University to study the MArch I was looking forward to a deeper learning expe rience as well as discovering new ideas and topics. I was particularly looking forward to being given the option to choose the Town Planning modules to study throughout Stage 5 and 6 and gain more knowledge on this subject, which could aid my learning in the future in practice. I found the ‘Town Planning’ lectures extremely insightful and relevant due to studying topics such as the econom ics for development. The assessments for these modules
REFLECTIVESUMMARY
Throughout the two years in practice, I was able to gather a wide variety of experience as well as work on projects which I enjoyed, found interesting and learnt a large amount from such as schools and in particular school ex tensions. Working on design proposals for spaces within school, you are able to design in a such a way to ensure you enrich the space for the children and help to improve their daily school life. Working in practice also created my deep interest in planning and how the planning system work at both a local level and at a governmental level.
During the undergraduate degree at Newcastle Universi ty, I learnt how important it is during projects to be pas sionate about the ideas and proposals you might have, especially when you are given the opportunity to adapt an existing brief or produce a brief from scratch. Using topics that provide you with the greatest amount of in terest is a good tool to use, as is playing to your strengths in both university and in practice.
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In semester 2 of Stage 5 I undertook the modules ‘Eco nomics for Developments’ and ‘Planning, Power and Peo ple’ within ‘Town Planning’. These two modules were the complete polar opposites but that worked very well as I was able to gain a large amount of practical knowledge in the ‘Economics of Development’ module whereas the ‘Planning, Power and People’ module was based on the oretical understanding on the history of the planning system and what power means to different planning the orists and brought up a lot of interesting questions. In semester 1 of Stage 6 I undertook the modules ‘Planning Frameworks’ and the ‘Reflective Practitioner’ which were again very different with Planning Frameworks teaching the history and current condition of the planning system within the UK and the ‘Reflective Practitioner’ focusing on the values and a more ethical dimension of planning. I especially enjoyed this module as it discussed the idea of a profession and what it involves calling yourself a pro fessional. I found this relevant not only in planning for a professional planner but also for a person who has the title of the architect within a practice and the standards they must uphold, which is something I will take forward into practice with me.
During the second semester of Stage 5 I chose the stu dio ‘antiSpaces’ which focused on various sized, unused spaces within a small neighboured in the 16th District in Vienna. The studio allowed me to focus on a group of people in need and so as my protagonist I chose a topic I was passionate about which was to focus on demen tia care patients and providing a facility to better their every day living. By choosing dementia care patients as the protagonist of the project, I was able to learn a great deal about space requirements and the general needs of elderly patients and especially those who require this extra level of care. I also researched the idea of intergen erational care and so became my self-titled ‘Centre for Intergenerational Care’ which involved the inclusion of children mixing with the elderly patients, proving both groups with many benefits. The topic of intergeneration al care is a recent topic and with it being current I found there were many documentaries and tv clips from new articles on the subject. Having such a wide variety of me dia surrounding this topic really helped me progress with what the user of the building required and allowed me to focus on other key design issues. Using such a wide vari ety of media on a recent topic that has been in the new quite a large amount is something I brought forward into my thesis project in Stage 6 as it ensured I had an up to date and thorough understanding of the chosen subject
plastics and how we in architecture and buildings can help the plastic problem is one which I look forward to looking into further in the future and I will be interested to see solutions the industry produces. I have always been interested in nature and the natural world and how we as humans destroy so much of it, and so as a designer I am always interested in the ways the industry does come up with solutions to help wildlife, not only in terms of the topic of plastics, but also more generally, such as how a housing development allows for wildlife to continue to flourish. Overall, I enjoy designing positive spaces for people to work/live/play/learn but also one which impacts and improves the current way people live their day to day lives, as well as respecting the environment and the wildlife any development or design could impact.
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My self-titled project in this studio of ‘Thinking Them Away’ was also the inspiration for my ‘Tools for Thinking’ essay and allowed me to explore my concept of my initial project in much more detail. It allowed me to research Freud and his key ideas of psychoanalysis. I focused on the concept of repression and the repressed memories from a time Vienna would rather forget. The Flak tow ers, the concrete giants in Vienna, not allowing Vienna to forget and so I discussed the idea they were thinking them away, as on the visit it seemed as though people were walking past them as if they were invisible. I found this fascinating and explored this further throughout this first project and the essay. A key quote that stayed with me during reading for this essay discusses the im portance of historical buildings and structures and the relationship they have with a city’s past and it was writ ten by Colin Davies who, within the chapter ‘History’, in ‘Thinking about Architecture’, states,
topic was plastics and the negative effect they have on the marine environment and the creatures that live with in it. I was given the opportunity to research for quite some time on the subject of plastics and how they affect the rivers and coastlines of the UK. I wanted to see if I could find a way to use architecture and design to create a physical solution to this plastic pollution problem. After thorough research and mapping, the result was an inter vention on a specific site, a site I knew well, on the mouth of the River Nene, close to where I was brought up, in the Fens. Due to being so passionate about the plastics topic and the site, my interest in the project remained Theconsistent.topicof
Inmatter.myfinal
‘The relationship between architecture and history is complex. Buildings endure. They are visible, un ignorable survivals from past ages. They are like time travellers, visitors from the past, and we interrogate them to find out how things used to be. But we build too, and our buildings represent us, to ourselves and to the future (which may be the same thing). When we build, we decide who we are, what is important to us and how we wish to be remembered.’
year of the March course, Stage 6, for my the sis project I chose the Assemblages studio and within this I opted for a subject I was passionate about as would be continuing the topic until the end of the course. This
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ASSEMBLAGES THESIS STUDIO
The thesis aims to address the ever-increasing plastic problem affecting our marine ecosystems. Located in The Fens, on the mouth of the River Nene, the facility will act as a plastic barrier between the river and sea by bringing the waste plastic from several sources into the building to be recycled. The intervention will allow for the waste plastic to be re-used, developing further components of the building on site.
StAge 6 2018/2019
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locAtion: river nene, the FenS, United KingdoM
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“Let us try to imagine a dweller in the ‘Plastic Age’ that is already upon us. This creature of our imagination, this ‘Plastic Man’ will come into a world of colour and bright shining surfaces... he is surrounded on every side by this tough, safe, clean material which human thought has created.
Outside the home, the same universal rule of plastic holds. Even the tennis racquets, golf clubs and fishing tackle which employ the leisure of the ‘Plastic Man’ will be entirely made of plastic, and when he comes to travel he will find it everywhere.”
7 INTRODUCTION
Within the assemblages studio I have been looking into a solution to the mismanaging of plastic by creating a closed loop system to prevent plastic entering the sea, and therefore aims to address the ever-increasing plastic problem affecting our marine ecosystems. . The most common way plastic enters the sea is through rivers. Located in The Fens, on the mouth of the River Nene, the facility will act as a plastic barrier between the river and sea by bringing the waste plastic from several sources into the building to be recycled; from the river using an air barrier, plastic bales via cargo ships and household waste plastic brought in by lorries. The intervention will allow for this waste plastic to be re-used, developing further components of the building on site and result in processing the plastic tide
A walk along any part of the UK coastline will show evidence of this growing plastic problem. Plastics are supposed to be a solution but have led to greater problems as they are now having a negative effect on our oceans and rivers, mostly due to mismanagement of plastic waste and irresponsible attitudes towards recycling. This plastic pollution is most visible along the coastlines and riverbanks.
Being so lightweight, plastic travels along the ocean currents and unlike many other materials, can take hundreds of years to decompose. When plastic starts to degrade, it creates microplastics (plas tic pieces less than 5mm) which scientists have now found to be located within the fish we are eating. By mapping plastic pollution around UK coastlines, a link can be seen between the ocean currents and where the plastic pollution meets the land. One current major issue is that the UK exports some of its plastic waste to other countries and due to China no longer being an option to export to, there is now ever-growing stockpiles of plastic waste left in the UK.
In 1945, in their book titled ‘Plastics’, Yarsley and Couzens predicted this ‘Plastic Man,’ who lived his whole life surrounded by plastic, from his birth until his death. This new plastic material was seen to become the solution to our problems, providing increased life of food products and providing a sterile environment. However, in the solution to solving these problems, the mismanagement of plastic has led to greater issues affecting our world.
Quite often, plastics that can’t be recycled or that are contaminated go to landfill (e.g. Crisps pack ets). The ideal scenario for a solution to plastic pollution is a ‘closed loop system’, where no new plastic is produced and the existing plastic goes through a cycle of recycling and reuse, however this is a policy that would take many years to ever be considered by government. If there were more specialised facilities within in the UK to process more various types of plastics, more plastic could therefore be recycled and reused, preventing plastic from ending up as pollution.
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Deleuze and Guattari first developed assemblage theory in their book ‘A Thousand Plateaus’ and then much later, Manuel DeLanda adopted this theory in his book ‘A New Philosophy of Society’. In his book, DeLanda quotes a passage from Deleuze and Parnet, of which he considers a simple defination, as they begin to explain assemblage theory;
‘What is an assemblage? It is a multiplicity which is made up of many heterogeneous terms and which establishes liaisons, relations between them, across ages, sexes and reigns – different natures. Thus, the assemblage’s only uni ty is that of a co-functioning: it is a symbiosis, a ‘sympathy’. It is never fi liations which are important, but alliances, alloys; these are not successions, lines of descent, but con tagions, epidemics, the wind.’
An assemblage is a collection of parts, which need to interact with each other. These parts could be many dif ferent elements such as objects, people or places. These parts make up a whole relationship, a collective of in teractions, and without the interactive parts, the whole might not function. For example, society is a whole and we are products of that whole and our interactions is what keeps society functioning.
ASSEMBLAGE THEORY
Plastics were once the solution to many problems, as Yarsley and Couzens once predicted with the ‘Plastic Age’ in their book titled ‘Plastics’ in 1945. However, although plastic has helped the human race greatly, the way in which we dispose of the material has become a world wide
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Although they mention how robust and long lasting the material is, in this book it is seen as only a positive and it is only today we now see the devastating effects plastic is having on the environment and especially within the marine ecosystems.
PLASTICS
Withinproblem.theirbook
‘Plastics’, Yarsley and Couzens discuss the ‘Plastic Man’ and describe an entire life of a man who is surrounded by plastic, from his birth until his death. The world he is brought into is full of plastic, his cot, his toys, his entire nursey, everything is plastic. This continues all the way to the old age plastic man who has plastic teeth and who has a plastic coffin awaiting him. They speak of plastic and all the postivies it brings forward, such as no rust and a world full of colour.
Outside the home, the same universal rule of plastic holds. Even the tennis racquets, golf clubs and fishing tackle which employ the leisure of the ‘Plastic Man’ will be entirely made of plastic, and when he comes to travel he will find it everywhere.”
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“Let us try to imagine a dweller in the ‘Plastic Age’ that is already upon us. This creature of our imagination, this ‘Plastic Man’ will come into a world of colour and bright shining surfaces... he is surrounded on every side by this tough, safe, clean material which human thought has created.
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PLASTIC POLLUTION
Plastic pollution is becoming an ever-increas ing problem throughout the world today, and is most visible along the coastlines when the rubbish washes up. Here are images taken from a short walk along the beach. The plastic is highlighted in blue. The negative effect plas tic is now having on the marine ecosystems is evident here. Although some are now attempt ing to start small scale clean up operations throughout the most heavily effected places in the world.
The main cause of plastic pollution in the rivers and seas is due to mismanagement of plastic waste and irresponsible attitudes towards recy cling. Even if governmental policy and attitudes were to change overnight, the plastic soup would still be present in the worlds oceans, as plastics can take hundreds of years to decom pose.
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THE PLASTIC PROBLEM
The diagram above was produced towards the start of my research into plastics and all the connections and relationships that plastics involves. I looked into various causes of the plastic pollution problem, the negative effects plastics have, the types of plastics and potential solutions to this problem.
MICROPLASTICS
Microplastics are pieces of plastic that have been broken down by the sun and sea over time and are less that 5mm. These are poten tialy the biggest problem with the plastic pollu tion crisis as fish and small sea creatures eat this plastic, mistaking it for food, and in turn we eat this fish and unknowingly, the plastic too. The image above was self-produced depicting this scenario.
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The diagram to the left shows firstly, the type of plastic and their corresponding number, secondly an example of what products are produce from that plastic, third, a common irresponsible method of disposal that tends to occur, and finally a common outcome and how the plastic can end up in unacceptable locations.
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The disposal of plastic can now vary due to the various types of plastics and whether they can be recycled. Al though most plastics can be recycled, there are some such as crisps packets that mostly still unable to be.
PLASTICS TYPE AND IMPACT ON THE ENVIRONMENT
The vast amount of wildlife that has been affected nega tively by plastic is evident in vets and along the coastline. One significant issue with plastics is the length of time is take for them to decompose and how they break down into ‘microplastics’. Microplastics are pieces of plastic less than 5mm and scientists have now found that the fish we are eating can often contain these microplastics.
Various Plastics can be recycled but due to irresponsible actions they can end up in the oceans. Plastics that can’t be recycled or that are contaminated go to landfill. (e.g. Crisps packets). The ideal scenario is a ‘closed loop sys tem’ (plastic recycling plant). UK exports some of its plas tic waste to other countries and due to China no longer being an option to export to, there is now stockpiles of plastic waste left and growing.
The above drawing shows the ocean currents throughout the world and this gives an indication of how plastic can move so easily from one continent to another.
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CURRENTSOCEAN
OCEAN GYRES
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There are five ocean gyres in the worlds oceans which are large systems of circulating currents. This is where a lot of plastic on the surface of the oceans ends up by the oceans currents. The North Pacific gyre is particularly pol luted by plastic and a small clean up effect is underway to prevent this build up of plastic out at sea.
The primer was an opportunity to showcase my research so far and to discuss the existing assem blages to a large group.
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PRIMER
The work I showcased was a map of the UK sur rounded by the ocean currents. The diagram to the left of the UK shows plastic types, their uses and how they can potentially have a negative effect on the environment, such as beer rings which hold cans together and how these can end up suffocat ing a turtle out at sea. There are many ways plastics can enter the oceans however through rivers is the more predominant way.
A close up image on this UK map to the right shows the pins I placed which show my mapping of where certain plastics started life at factories, such as a Coca Cola bottle and then invented a scenario of where these plastics are likely to end up, through research of the most common types of plastics found in rivers, beaches and out at sea. I used blue plastic fishing line to show these routes on this map.
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The map also shows the complex system of rivers throughout the UK. Rivers are the main route for plastic to enter the sea. The rivers of the UK have been found to contain more plastic than first thought and have even been found in one canal of Manchester to have one of the highest concentrations of microplastics. Microplastics are getting into the stomachs of wildlife that feed on the ocean as well as the fish and other marine life that live within it. To be able to stop this cycle of plastic accessing the sea and returning either in the stomach of dead sea-life or on the coasts should be a priority.
22 UK PLASTIC TIDE
The map to the right shows an updated version of my Primer map, and shows the UK surrounded by the ocean currents, which carry the plastic around the world and bring it to the UK coastline. The intensity of the blue surrounding the UK coastline shows where the plastic is deposited by the seas surrounded the UK and which areas of the UK coast line are the most affected. Scotland’s coastline is badly affected, in addition to the coast of Cornwall and the Wash on the east coast.
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The Grand Union Canal is the main canal route through from London to Birmingham. Off this, is the River Nene which flows out to the Wash estuary. As can be seen on the map below, the Wash gathers a large amount of plastic waste due to the ocean current bringing it in, as well as the River Nene and Great Ouse taking it out to sea.
The UK has a complex system of rivers and canals which almost all pass through habited locations which can cause plastic to enter the river system more easily. Plastic is light weight and can float downstream and out to the sea. Using mapping as a technique, I am able to see the relationship between the rivers, the ocean currents and where the plastic ends up on the coastline.
UK CANAL NETWORK
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However, in recent months, the residents that live adjacent to the River Nene have noticed a large increase in the amount of plastic that passes through the river. The river has been called a ‘pol lution super highway’ (see article below), with 26 bags of rubbish being collected from a 100m stretch of the river in the centre of Peterborough.
THE WASH
The Wash is an estuary on the east coast of the United Kingdom. There are several rivers that lead out to it however the key rivers are the River Nene and the Great Ouse. The River Nene is the river that links the Wash to the Grand Union Ca nal. Both the River Nene and the River Great Ouse are popular transport links, and are popular des tinations for canal boating trips.
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RECYCLING AND THE FENS
The map to the left shows the many household recycling centres and their proximity to the rivers. It shows there is a distinct lack of them close to the Wash. The map below shows the area of the Fens. The fens were once a marshland/wet land area, some underwater. This has created optimal peat agricultural land which has now been so heavily farmed, they are reaching the base of the peat in some areas.
To the south of Peterborough, there is an existing Fen restoration project called the Great Fen Restora tion Project. They aim to reclaim land, used for farm land, and change it back to its natural fen environ ment. It is the ‘Just Add Water’ effect to help restore the land, allowing for better flood management and also better habitats for the lost wildlife that once visited these parts of the country.
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RIVER NENE AND THE FENS
The Fens (image below depicts the Fens before riv ers were altered) were once drained, and are still being drained to this day by pumping stations and drains that are throughout the whole area. The map to the right shows the location of these pumping stations and also the location of the ports, at both Sutton Bridge and Wisbech, which allow for larger ships to pass through this stretch of the river. After Wisbech, the rest of the River is only suitable for smaller boats.
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The map the left shows the area of Sutton Bridge and the mouth of the Riv er Nene to the north of it. In Sutton Bridge, the port is active and allows for large cargo ships to dock here, usually transporting timber to the local timber yard also located close to the rivers edge.
SITETRAVELFLOODING,LOCATION&AC-CESSROUTES
The right map (to scale at 1:7500) shows a close up of the chosen site area, chosen for its close prox imity to both the mouth of the river as well as an access route that would have to be altered to allow for heavier vehicles to pass through.
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The top-right image shows a section of the Port Sutton Bridge which is quite active and allows for several cargos ships to dock at once to load and unload their goods. As previously mentioned, the local timber yard uses this port
The middle right image shows a signpost explaining the Peter Scott Walk and the wildlife that is common to find in this area near to the Wash Nature Reserve. Brent Geese, Shelduck and Curlew are popular birds which bird watch ers will travel to this location to see. Many of these birds live close to the mouth of the river and on the Outer Trial Bank where seal pups can also be found.
From Sutton Bridge, the route to the site passes over the swing bridge that is situated over the River Nene. This is used when large cargo ships are required to pass through on their way to Wisbech.
The bottom two image were taken many years earlier in 1997 and show that the site has not changed and was also popular back then as a vibrant shipping route. The bottom-left image shows a large dry cargo ship being towed through the centre of the river where is it deepest.
also several smaller private boats docked along this stretch of the river as it is a popular route for canal journeys with the river joining London and Birmingham amongst many other locations. These boats can also go out to sea and can travel north towards Boston and south towards Norfolk and Kings Lynn.
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ROUTE TO THE SITE
Thereregularly.are
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RECYCLED ISLAND
PRECEDENT STUDIES
The Recycled Island platforms are made from the plastic collect ed from the litter traps. The platform heights can vary and can be used for peoples enjoyment, wildlife and plantlife. The dia gram to the right shows my interpretation of how this could be used along the River Nene.
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Located on an 11 acre waterfront pier in New York, this mate rial recovery facility allows for cargo ships to dock and unload their contents directly into the facility. The design is based around its programmatic use.
SUNSET PARK MATERIAL RECOVERY FACILITY SELLDORF ARCHITECTS
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to the left, from Smile Plastics, show various types of plastics processed into various sheets of recycled plastics, commonly used for elements around the home such as decorative pieces, kitchens and worktops. These are mostly bespoke pieces however they do also produce these in sheets to purchase.
MATERIAL STUDIES
Recycling plastic is not straight forward and with very few facilities in the UK that can process ALL types of plastic, part of the programme in this project will allow for all plastics to be recycled
The image to the top-right show plywood alter natives. These are processed by shredding the plastics the sandwiching them in a press, heat ed to melt the top and bottom and form a light weight piece of recycled plastic sheeting. This could be used for many more used in the future however these processes are expensive but the benefits of using these instead of plywood could be
Thetogether.images
Themany.image
to the bottom-right are pieces of recy cled plastic decking which could also be used for cladding with the right fire-proofing chemicals added in the process. From Envirobuild, these are produced through the extrusion process where plastic is melted down and then extrud ed through specific shapes creating long pieces of timber-like cladding/decking. This material is what this processing facility will produce. As it is producing this on site, the later elements of the building can be added to and developed, as well as any damages to existing cladding or decking be repaired.
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Transportation of the plastic will involve taking ad vantage of the existing canal network and using this already existing transport system to move the plastic to the processing plant. The use of the canal system around the UK is becoming a more popular pastime, with more new routes being created within the next few years. The River Nene is a popular canal route and is linked to the, very busy, Grand Union Canal which links London to Birmingham. The plas tic can be picked up from the litter traps from the canal boats and transported along the route to the processing hub. There are also many dry cargo ships that transport timber and other goods along the riv er up to Wisbech and so these could be utilised to transport the unwanted plastic bales to this site.
E N S I O N H A R V E S T I N G T H R E C Y
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T I C
The project will aim to aid the process of creating a closed loop system of plastic recycling, which en sures all waste plastics is recycling and reused. The intervention will aid in cleaning the rivers of plastic pollution and prevent plastic entering the sea. It will provide the facilities required for the recycling and reuse process for plastic. The project will provide provision for ‘Harvesting the plastic’, ‘Transportation of plastic waste’ and ‘Processing hub’. Harvesting the plastic from the river will involve new elements such as litter traps and the use of the ‘air barrier’. Plastic is light enough to be moved around in water, even in tidal conditions, and so this plastic in the river can be directed towards these litter traps and is too light to pass beyond the air barriers. The litter traps would be located within the recycled islands, which will create the meandering river necessary to create a positive environment for wildlife.
PROCESSING THE PLASTIC TIDE
The Processing Hub will provide the facilities for the plastic waste to be recycled and reused, in addition R V E S T I N G T H E P L A S R E C Y C L E D R I V E R S I D E E X T
• Landscape changes existing farmland site to be come fenland area to surround building creating new wildlife habitat in addition to providing flood management.
The diagram below shows the potential spaces which will be required for the architectural intervention. The pro posal will be situated adjacent to the River Nene to ben efit from the tidal power this stretch of river can provide. The River Nene is tidal from the mouth of the river at the Wash, up to the Dog-in-a-Doublet lock close to the city of Peterborough.
• Shownroom/Shop (Storage and sale) – a place to buy the repurposed plastic to continue the closed loop system within the building
• Workshop – to reuse this plastic to fix boats and parts, and additional items
• Manufacture of recycled plastic cladding - to pro duce the material used to clad the facility and path ways
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tors arriving by road (lounge/cafe/laundry)
to providing facilities for the visitors to use whilst stay ing. The Hub can also be used by the regulars of the ca nal route as a pit stop along their journey. The facility will have a combination of industrial, commercial and social
Theuse.
• Facilities for visitors who arrive by boat, well as visi
• Plastic deposit area where visitors can deposit the plastic, and sorting facility for the plastic waste
architectural intervention will involve:
• Processing plant (plastic recycling plant)
SITE DEVELOPMENT
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Using a 1:500 site model and several cubes of card rep resenting the spaces required within this facility, I began arranging these buildings on the site in an order which suited the desired programme. The top images on this page show the intial site layout and the bottom two im ages show a further proposal with more spaces added as more building material is produced.
The images to the left show the stages in which the buidling could grow as more building material, the recy cled plastic cladding, is produced on site.
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PLASTIC LD NGS PLASTIC LD NGS
The images on the left hand page show further design development of the site with the diagrams to the right showing firstly, the seperatation between the public (or ange) and the private space (blue), and then secondly how the plastic (orange arrows) could move through the Thefacility.image below shows a further design development of an upper floor plan above the lower floor plan to help me to understand how the spaces at different levels do work. The long promenade joining these spaces would have a channel of water beneath, channeling plastic backwards and forwards.
DESIGN DEVELOPMENT
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FINAL MODEL SCALE 1:500
The images on these pag es show the final 1:500 design on the site model. The darker blue in the riv er depicts the low tide and the lighter blue up to the ground level in white de picts the high tide.
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SITE AREA WITH LAND COVER & TRAVEL & ACCESS
The map shows key imag es on route to the site and where they are located. It also shows the land cover types (see key at the bot tom of map), as well as the travel routes and the Peter Scott Walk Route passing the site. It also shows the existing shipping route that passes by the site.
the right shows the site analysis I undertook and built up throughout the project. I then layed this information on a site map with the final design.
TheNTSROUTESmapto
49 SITE PLAN CLOSE UP SCALE 1:1500
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51 FLOORPLANS NTS
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The sketch to the right shows the two channels of plastic moving to the cleaning process and back towards the main facility to be shredded. TIC
The drawing to the left shows the programme of the building and the spaces in which the pro gramme elements are lo cated in order of the pro cess, which is shown in the below diagram.
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ALGORITHMBUILDING
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55 SECTION A NTS
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Thecessed.image taken from the section to the right shows the ‘Air Barrier’ pushing the waste plastic floating in the river towards the col lection point in the water of the facility.
SECTION A CLOSE UP
The image taken from the section to the left shows the arrival of the plastic bales by cargo ship and then being taken into the storage space, where they would wait to be pro
SECTION A CLOSE UP
The image taken from the section to the left shows the waste plastic moving through the water channels under the recycled plastic promenade, and also a bird hide for visitors to enjoy the wildlife that surrounds the facility. The image o the right hand page shows the lorry arrival facility where they deposit household waste plastic into the system, and also where it is cleaned before returning back to the main facility.
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60 VISUAL VISUAL 1 PLASTIC ARRIVAL AND DISTRIBUTION
61 VISUAL EDDING VISUAL 2 SORTINGSHREDDINGAND
LORRY PLASTICCLEANINGDELIVERYPLASTICANDOFWASTE
VISUAL 3
VISUAL 4
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MANUFACTURE OF RECYCLED SHOPFROMCLADDINGPLASTICVIEWEDSHOWROOM/
VISUAL 5 COLLECTION OF RIVER PLASTIC USING AIR BARRIER
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RECYCLED PROMENADEPLASTIC
VISUAL 6 VIEW DOWN THE
VISUAL 7 VIEW FROM THE PETER SCOTT WALKING ROUTE
VISUAL VIEW FR WALKING ROUTE
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66 PRESENTATIONFINAL
AssemblAges - Thesis sTudio
A walk along any part of the UK coastline will show evidence of this growing plastic problem. Plastics are supposed to be a solution but have led to greater problems as they are now having a negative effect on our oceans and rivers, mostly due to mismanagement of plastic waste and irresponsible attitudes towards recycling. This plastic pollution is most vis ible along the coastlines and riverbanks.
PROCESSING THE PLASTIC TIDE Yasmin KellY
OCEAN CURRENT & RELAT ONSH P TO UK COASTAL PLAST C POL UT ON
Quite often, plastics that can’t be recycled or that are con taminated go to landfill (e.g. Crisps packets). The ideal scenario for a solution to plastic pollution is a ‘closed loop system’, where no new plastic is produced and the existing plastic goes through a cycle of recycling and reuse, however this is a policy that would take many years to ever be consid ered by government. If there were more specialised facilities within in the UK to process more various types of plastics, more plastic could therefore be recycled and reused, pre venting plastic from ending up as pollution.
Being so lightweight, plastic travels along the ocean currents and unlike many other materials, can take hundreds of years to decompose. When plastic starts to degrade, it creates mi croplastics (plastic pieces less than 5mm) which scientists have now found to be located within the fish we are eating. By mapping plastic pollution around UK coastlines, a link can be seen between the ocean currents and where the plastic pollution meets the land. One current major issue is that the UK exports some of its plastic waste to other countries and due to China no longer being an option to export to, there is now ever-growing stockpiles of plastic waste left in the UK.
CH NNE G T E P A T PAMPHLET
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SPACES WITHIN THE PLAST C PROCESS NG PLANT
Plastics by Yarsley & Couzens (1945)
Within the assemblages studio I have been looking into a solution to the mismanaging of plastic by creating a closed loop system to prevent plastic entering the sea, and there fore aims to address the ever-increasing plastic problem affecting our marine ecosystems. . The most common way plastic enters the sea is through rivers. Located in The Fens, on the mouth of the River Nene, the facility will act as a plas tic barrier between the river and sea by bringing the waste plastic from several sources into the building to be recycled; from the river using an air barrier, plastic bales via cargo ships and household waste plastic brought in by lorries. The intervention will allow for this waste plastic to be re-used, developing further components of the building on site and result in processing the plastic tide
“Let us try to imagine a dweller in the ‘Plastic Age’ that is already upon us. This creature of our imag ination, this ‘Plastic Man’ will come into a world of colour and bright shining surfaces... he is surround ed on every side by this tough, safe, clean material which human thought has created.
Outside the home, the same universal rule of plastic holds. Even the tennis racquets, golf clubs and fish ing tackle which employ the leisure of the ‘Plastic Man’ will be entirely made of plastic, and when he comes to travel he will find it everywhere.”
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MEMORY AGAINST HISTORY: RETURN OF THE REPRESSED
StAge 5 SeMeSter 1 2017/2018 locAtion: viennA, AUStriA
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The flak towers and several other sites/structures within Vienna have been made invisi ble to the public eye through the development of the cities identity. This project aimed to force confrontation of Vienna’s past within the city centre and bring the repressed back to the Innere Stadt.
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During Semester 1, I worked in the studio ‘Memory Against History: Return of the Repressed’, in which we looked into the key theories of the found of psychoanalysis, Sigmund Freud, Vienna’s dark past and the idea of Vienna as a Potemkin city.
The project aimed to force confrontation of Vienna’s past within the city centre and bring the re pressed back to the Innere Stadt. Its past that Vienna would like to forget includes sites within the Innere Stadt which were related to the occupation during the second world war and have links with anti-Semitism. These have now become repressed memories of the city.
Freud’s theories on repressed memory and the return of the repressed were key in allowing us to have a psychoanalytic approach to Vienna and its history. A key text to aid the understanding of key Freudian and psychoanalytical terms was the ‘Critical Dictionary of Psychoanalysis’ by Charles Rycroft. Using theory challenged us to look at architecture through a different perspective and allowed us to be critical of the city and not be drawn in by the Potemkin façade Vienna currently Asportrays.afocus
To allow the repressed to return, the city must be confronted with its past even if it attempts to reject it as it does at present. It will be confronted with the enormous presence of the flak towers and it will no longer be able to ignore the ‘dark Vienna’ of its anti-Semitic past. The city will no longer be hard-wired into thinking them away.
71 INTRODUCTION
of the studio during the study trip to Vienna, we started by looking at the Ringstrasse development and the Flak towers which surround the city. The flak towers offered protection in a triangle formation surrounding the city becoming a significant defensive mechanism in the second world war. There are three pairs of flak towers that surround the city, however within the Innere Stadt you are unaware of the concrete giant’s existence.
The flak towers in Vienna have been made invisible to the public eye through the development of the cities identity. This can be seen in the way Vienna portraits itself in tourist maps and brochures, which exclude the Flak towers and other key sites of interest. The only acknowledged tower is the one which houses an aquarium and is therefore a ‘tourist attraction; it is acknowledged for its function and not its historical identity. Another key example of the exclusion of the flak towers is on the Giant Ferris Wheel where above the windows all around each cabin there are images of Vienna’s skyline with the important and significant sites and buildings clearly labelled. However, even though the flak towers cannot be missed as they are one of the most prominent structures along the skyline, they are not mentioned nor labelled and are ignored. This represents how the city is ‘thinking them away’.
Through the project, the architecture constructed within Vienna imagines a city which confronts its history head on and accepts its role and involvement in its destructive past. The project would provide a steep learning curve to the inhabitants of the city, as well as its many tourists. This would allow the city to move forward and learn from its past decisions, which is not currently happening in present day politics in Vienna.
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Another key site which I will explore is Heldenplatz (Heroes Square). This is where the balcony from which Hitler did his famous speech is located. Even though there is a vast amount of empty space, there is no evidence of this nor memorial on this site.
Middle images: Flakturme VII (L-tower) and Flakturme VII (G-tower) both in BottomAugarten.image: Haus des meeres (aquarium Flakturme V (L-tower) and Flakturm V (G-tower located within military base).
The images to the right are as follows from top to bottom: Holocaust Me morial by Rachel Whiteread located at Judenplatz, Memorial to the vic tims of the Gestapo at Morzinplatz and Heldenplatz.
The Memorial to the victims of the Gestapo is located next to where the Gestapo headquarters once stood on Morzinplatz which I will explore fur ther and the plaque on the small monument reads: “Here stood the House of the Gestapo. To those who believed in Austria it was hell. To many it was the gates to death. It sank into ruins just like the ‘Thousand Year Reich’. But Austria was resurrected and with her our dead, the immortal victims.”
As previously mentioned, the flak towers play no role in the current iden tity of Vienna. The city is seen to be thinking them away and excluding them from tourist maps and brochures as though they wish to forget their destructive past. The Holocaust Memorial by Rachel Whiteread is the only example of Vienna accepting its past however there was very strong op position during the design and construction process.
The monument itself seems forgotten and is situated opposite an un pleasant area of the square surrounded by a petrol station and bus depot. This shows the reluctance again of Vienna to acknowledge its past.
Top left: Flakturme VIII (G-tower) and Flakturme VIII (L-tower) both within Arenburgpark in Vienna.
The images to the left-hand side on this page show the 3 pairs of flat tow ers which surround Vienna.
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‘Utopian consciousness means a consciousness for which the possibility that people no longer have to die does not have anything horrible about it, but is, on the contrary, that which one actually wants’ (T.Adorno)
The ensuing world war tore Vienna apart and left scars irreparably deep in the culture, population and psyche of the Today,city.the
scar of fascism runs deep in the visual language of the city, meanwhile Vienna attempts to write its legacy in the pages of history as the first victim of the war.
The images on the opposite page were self- produced for the symposium
‘DARK VIENNA’ SYMPOSIUM
In 1938 Vienna committed suicide.
‘A liberated humanity would be able to inherit its historical legacy free of guilt…..aesthetic truth content and history are that deeply meshed’ (‘Black as an Ideal’ in ‘Aesthetic Theory’. T.Adorno)
Without a thorough assessment, the city will not heal from the trauma of war. Although much of the society operates behind closed doors, at night we glimpse the true city be hind the Potemkin façade. Ultimately, Vienna comes alive when the light of day fades, offering us hope that cultural salvation is still possible.
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The crystallization of this ideology is most clearly seen in the abandoned Flaktürmes protectively circling the Ringstrasse. As the legacy of Nazi occupation, they are defen sively buried by the damaged psyche of Vienna. But as the problems of the city are continuously repressed (S.Freud) the warnings of history go unheeded and barbarism threatens a dramatic return.
The photos on this page show ‘Dark Vienna’ on the day of the symposium.
Dark Vienna explores a Freudian approach; asking questions of Vienna to allow for a free associative symposium. Emancipated from its cycle of denial, the city will be able to progress towards an environmental and architectural authenticity. Our challenge is to accept that ‘architecture arouses moods in people, so the task of the architect is to give these moods concrete expression’ (A.Loos).
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78 ‘THINKINGAWAY’THEM
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The flak towers offered protection in a triangle formation surrounding Vienna, becoming a significant defensive mechanism during the second world war.
From left to right:
Image from sketchbook showing triangle formation of flak towers with Gestapo HQ in the centre.
Image from sketchbook using wax and ink, with wax on inside of triangle and covering page in wax, with the wax protecting the inside of the triangle.
Image from symposium titled ‘Fading memory’ depicting how the flak towers are fading from Vienna’s memory, showing that they are ‘Thinking them away’.
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‘THINKING THEM AWAY’ Vienna Tourist Map
Illustration shows exclu sion of flak towers from tourist map.
The images on this page show the key sites of ‘Erased Memory’ I want to incorporate into the final project. These are all sites which are located within the innere stadt and have links with anti-Semitism or were affected under the Nazi Imagesregime.from
top left to bottom Stephanplatzright: - showing St Stephans MorzinplatzCathedral- former Gestapo Headquarters Dr Karl Luegar Platz - An ti-Semitic major inspired RathausHitler - Nazi occupation Heldenplatz - Also known as Heroes Square
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TRAIL MEMORYERASEDOF
Eachplatz.
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Image shows the trail I want to create starting from the former Gestapo HQ at Morzinplatz, then to Dr Karl Luegar Platz, then Stephanplatz, Rathaus and finally ending at Helden
site represents a different element that I believe Vienna needs to confront about its past re garding the Nazi occupa tion and/or anti-Semitism which are as follows:
RathaustionHeldenplatzOccupation-Power
Morzinplatz - Control Dr Karl Luegar Platz - An Stephansplatzti-Semitism - Destruc
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MORZINPLATZ
Morzinplatz was the home to the Gestapo headquarters during the occupation of the Nazis in Vienna which makes it a ideal site for the headquarters/main base for the ur ban project. The image above shows the former square on Morzinplatz with the former hotel before it was taken over during the regime.
The image to the right shows the destruction of the hotel which had been used at the time of destruction as the Gestapo Headquarters.
The image above shows the Memorial to the vic tims of the Gestapo on site at Morzinplatz. The above-right and bottom-right images are both montag es, self produced showing the former Gestapo HQ on modern day Morzinplatz.
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The images on the right shows various process work from my sketchbook and additional work.
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The table below shows my interpretation of various key Freudian terms from the Crit ical Dictionary of Psychoanal ysis by Charles Rycroft. These terms then equate to a symbol which then becomes an archi tectural analogy.
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MORZINPLATZPALIMPSEST
The image to the right shows a palimpsest of the old wall and bombed buildings and structures on the site at Morzinplatz. I overlayed the shapes to produce a form from which I can work from.
Images on left hand side of page of sketch es from sketchbook use the architectural anal ogy depicted on pre vious table to create forms on the site.
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The below section sketch shows the idea of underground ele ments to represent the ‘unconscious’ as well as a viewing tower to rep resent the ‘conscious’.
The image above is a representational drawing showing an initial idea of the journey through the site and what a visitor would encounter as they move through the site.
Each emerging structure would contain a different ele ment of the trail. Eg. The first structure picture with the Gestapo HQ on Morzinplatz, would contain a space con fronting Vienna about ‘Control’ relating to the Nazi occu pation and also the control with regards to the flak towers.
The diagram to the left shows the order in which you would journey through the site.
The sketch to the left shows an idea of what the final elevation could look like with the idea of the re pressed structures emerg ing from the ground and the viewing tower simply being the dagger/shard at the end of the site allow ing views out only to the flak towers.
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ImageNTS
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Site Plan
to the right shows the final site plan on Mor zinplatz showing the lo cation of each emerging structure and the viewing tower looking out to each of the three pairs of flak towers at the end of the site.
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The left-hand images from top to bottom show each site in the order of the jour ney through the Museum of Erased Memory.
The above diagram shows the movement through the site (red line) leading to the Illumination tower (viewing tower) at the end.
within Projec tion Pod at Heldenplatz.
Projection Pod Plans and VisualNTSElevationsfrom
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94 Section B OriginallyNTS shown at 1:400 on final boards.
Floor Plans
95 BB AA B AA AA BB AA B B AA AA BB AA B B AA AA
OriginallyNTS shown at 1:500 on final boards.
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Section A OriginallyNTS shown at1:200 on final boards.
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98 TRAIL TOURISTMEMORYERASEDOFMAP
Tourist
map showing the sites to visit along the tour ist trail. Sites are as follows: 1. Morzinplatz 2. Dr Karl Luegar Platz 3. Stephansplatz 4. Rathaus 5. Heldenplatz 4. 5.
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Visual of Museum of Erased Memory and the Illumina tion Tower
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Top image: Visual overlook ing Haus des Meeres Flak Tower from Illumination Tower were only the towers can be
Bottomseen.left image: Visual overlooking Augarten Flak towers from Illumination
BottomTower.
right image: Visual from pathway within the Museum of Erased Memo ry.
The group work aspect at the start of this se mester with the whole studio working together for the ‘Dark Vienna’ symposium worked really well and as a group we were able to discuss and analyse what we thought of Vienna and how to move forward with the project. Due to the somewhat radical and set views our studio had with regards to how to present our work and what themes to focus on, it helped having the whole group work in tandem expressing these themes and views in various presentational styles throughout the semester. This allowed us to freely explore different media to work in such as paintings and charcoal.
I was pleasantly surprised how quickly you can take in a new city and learn numerous interest ing facts within a week. However, the challenge I found was to try and look at Vienna with open eyes rather than look for the darkness I had come to find through research prior to the trip. It was clear whilst on the study trip that Vienna has at tempted to disguise its destructive past through the Potemkin façade you now see. I would have never been so critical of Vienna without the pri or knowledge of its recent history.
Having ensured that whilst in Vienna and also throughout first semester I thoroughly re searched the city and explored quite a large pro portion of it, I would hope this will help in the near future with the Semester 2 project which will also be set in Vienna.
REFLECTIVE CONCLUSION
The challenge for this project was to focus on key theories by those such as Sigmund Freud. Having found the key books written by Freud himself too complex I turned to more recent day texts such as the ‘Critical Dictionary of Psychoa nalysis’ by Charles Rycroft and also ‘Freud: A Very Short Introduction to Freud’ by Anthony Storr, which both proved useful in allowing me to gain an understanding of the theories of Freud.
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StAge 5 SeMeSter 2 2017/2018 locAtion: 16th diStrict, viennA, AUStriA
This project aimed to provide living accommodation for a group of people in need of physical or social care, with associated theraputical and/or educational facilities as a vehicle for their rehabilitation. Within the 16th District of Vienna, Ottakring, there are a series of urban blocks with a series of spaces defined in this project as ‘antiSpaces’. The site for this project will be located in an antiSpace and will have a positive relationship with the surrounding buildings.
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ANTISPACES
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During Semester 2, I worked in the studio ‘antiSpaces,’ in which we explored pocket spaces within urban block located in the 16th district of Vienna, called Ottakring. These pocket spaces which we explored were lost, undesirable spaces in need of redesign were titled antispaces.
107 INTRODUCTION
The first three weeks of the project involved each member of the studio choosing from a list of buildings, ‘ghosts’, and carrying out intensive research and analysis of the chosen ‘ghost’. The build ing chosen by myself was the Cité Manifeste, located in Mulhouse, France. The social housing scheme was designed and built by Lacaton and Vassal as part of a larger social housing develop ment consisting of five architects altogether working on separate schemes on this development. By exploring the materials and structures of these ‘ghosts’ we were able to gain a better understanding of not only the building, but also how it was constructed. By placing these models of the ‘ghosts’ on the 1:200 site model produced. These tectonic artefacts would then be able to be used for site exploration and to influence the design of the project.
As previous mentioned, the site is located in Ottakring, the 16th district in Vienna, Austria, and neigh bours the Gurtel road and Thaliastrasse U-Bahn station. This area of the city adjacent to the Gurtel was once known as the red light district, linked with crime and marginalisation, in addition to an abundance of undesirable ‘antispaces’. These antispaces are often located between dwellings and within the typical Viennese block with courtyard centre. These antispaces often link streets through the courtyards within the blocks and create interesting routes through the typical Viennese block.
The project aimed to provide living accommodation for someone in need of social or physical care and/or rehabilitation in addition to associated education and/or educational facilities as a vehicle for their rehabilitation. With the population increasing and people living longer, care facilities for the elderly are in constant need, and with a growing aging population the number who are being diagnosed with dementia are increasing significantly. With very few specialist facilities for dementia patients in Vienna, there is a need for appropriate accommodation and treatment centres. Studies suggest dementia patients are positively affected by both interaction with children, and reading books. The aim of this project is to combine these factors and create a centre where the book is the vehicle for rehabilitation, and where children can help dementia patients to engage in reading; a Centre for Intergenerational Care.
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ANTISPACES
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The studio ‘antiSpaces’ will focus on the value of antispaces and their process of decay and neglect. These antispaces are typically found between buildings, within the typical Viennese urban block.
Extract from ‘What is Lost Space?’ in Trancik, R. (1986), Finding Lost Space: Theories of Urban Design
‘Generally speaking, lost spaces are the undesirable urban areas that are in need of redesign — antispaces, making no positive contribution to the surroundings or users. They are ill-defined, without measurable boundaries, and fail to connect elements in a coherent way. On the other hand, they offer tremendous opportunities to the designer for urban redevelopment and creative infill and for rediscovering the many hidden resources in our cities.’
These antispaces have much to offer with some linking through the court yard space found inside the typical Vi ennese urban block. The images on this page are site photos showing several antispaces in the district of Ottakring. Many are infills between buildings, how ever some are located on street corners or within the urban block itself.
[G]HOST
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There were 5 architects involved in the development with 61 dwelling alto gether, with Lacaton and Vassal design ing this scheme for 14 of these. On the ground floor there is a post/beam struc ture in concrete supports and a platform at a height of 3m, upon which horticul tural greenhouses are fixed. The frame is in galvanized steel, and the walls are transparent polycarbonate.
The Ghost building chosen my myself was the Cité Manifeste, located in Mul house, France, by architects Lacaton and Vassal. I was initially interested in the scheme due to the materials chosen and the space saving design of the 14 dwellings within the development.
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Part of the greenhouse is isolated and heated with the other part constituting winter gardens, largely ventilated via the roof and facade. A horizontal sunshade unfurls inside the greenhouse. The greenhouse principle, with its automated climate-control devices, has enabled solutions to the bioclimate to be developed.
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Each apartment has been designed to save as much space as possible with 14 dwelling fitting into the small site. The materials were chosen due to the low budget however they work well with the concrete plinth and the polycarbonate above.
113 FIRST FLOOR PLAN SCALE GROUND1:200FLOOR PLAN SCALE 1:200 CITÉ MANIFESTE, MULHOUSE, FRANCE LACATON AND VASSAL FIRST FLOOR PLAN SCALE GROUND1:200FLOOR PLAN SCALE 1:200 CITÉ MANIFESTE, MULHOUSE, FRANCE LACATON AND VASSAL
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After choosing the ghost building, we then had to thor oughly research the scheme and produce 1:200 models of the chosen scheme. These were to show materiality and some exterior structure if possible at that scale. To show the materiality in the social housing scheme by Lacaton and Vassal I chosen to make the concrete plinth out of plaster with grey colouring and then used polycarbonate for the top half to mimic the existing building.
As an exercise these models were then placed on the 1:200 group site model of the site in Ottakring. We were then able to start visualising and understanding the antispaces and their sizes. The images above show this exercise and show the site I became interested in using a grey model. I looked at using this site because of how it linked two streets. I was also interested in bridging across the street using another antispace site. The image to the left is the 1:200 model of Cite Manifeste produced by myself.
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These three weeks working on the ghost building culminated in the ‘Catalyst’. The Cat alyst was an opportunity to present our work and findings to others and also discuss how this project could influence my own.
A 1:50 sectional model of Cite Manifeste was then produced by myself showing best the structure within the roof. I was able to show the concrete based using grey board, and show the post beam structure.
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Images from left to right show 1:50 Sectional Model of Cite Manifeste and the Catalyst pres entation.
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Asrequired.thenumber
of dementia patients has grown rapidly, the number of people with the condition is expected to almost double every 20 years, and experts are now calling for a renewed and concerted effort to address the “dementia epidemic”.
With an ever increasing population, and people living longer, care facilities for the elder ly are starting to reach full capacity. Dementia is starting to become a common diagno sis with approximately 10.5 million Europeans living with dementia and an estimated 2.5 million new cases arise each year. Patients with dementia require more care than most elderly patients found within a residential home and so many dementia patients end up living out their final years in hospital to receive the round the clock, constant care
‘130.000 PERSONS WITH 104.000DEMENTIA,(80%)LIVEATHOME,20-35%HAVEAMEDICALDIAGNOSIS’
Statistics from the First Austrian Demen tia Report
CENTRE FOR INTERGENERATIONAL CARE
New research also suggests that the interaction with children positively affects elderly patients with dementia. ‘The Toddlers that took on Dementia,’ as shown on BBC Wales 23rd May, shows an uplifting study of children visiting dementia patients. They found that this study worked so well because people lose confidence with dementia and the children were honest, not judgemental, individuals able to be themselves; something opened up in the residents, like a light shone. The study found that the study had a sig nificantly positive impact on the dementia patients.
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‘WE WOULD LOVE FOR TIONALINTERGENERACENTRESTOBESETUP.’
Research suggests that although there is no definitive treatment for dementia, reading is one factor that can positively impact patients. Reading can improve memory, enter tain, and overall engage dementia patients. Therefore, the book will be the vehicle with in this project to help the dementia patients have a better quality of life and prolong the effects and symptoms of dementia for the patients.
as said by, Dr Nia Williams, Child Psy chologist from Bangor University, on Victoria Derbyshire. (2018).
BBC Television,TWO23rd May.
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SITE
The site is located in Ot takring, the 16th district in Vienna, Austria. It is lo cated adjacent to the Gur tel road and is a series of urban blocks with several businesses, church and a school within the site boundary. I have decided to work on the upper mid dler block of the six due to the abundance of street linking antispaces within its Theblock.images on these pag es show antispaces within the 6 block site area in the district of Ottakring.
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CHOSEN ANTISPACE SITE
Within this urban block there is a church and several residential dwellings. There is also a kindergarten opposite the block. One key feature which stood out for me is that the antispaces are mostly disguised from the road with decorated boarding or gates, so to not see into the courtyard of the typical Viennese block.
images on these pages show the chosen antispace site with each relating to the numbers shown on the plan to the Imagesright.from left to right:
2. Taken from gate on 3.KoppstrasseTakenfrom Koppstrasse
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1. Taken from Hippgasse
4. Taken from gate on Koppstrasse.
Theed.
The specific site chosen within this block is situated along Hippgasse and links to Koppstrasse. Initial thoughts were to link two blocks over the road, however due to the protagonist being elderly de mentia patients this would seem to exposing and noisy for their care requirements and so this idea was discount
INITIALEXPLORATIONMASSING
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The images of this page from top left to bottom right show the design development from initial massing ideas, to starting to bring in the idea of the balconies and terraces, to then exploring how the bedroom units would be situated throughout the building.
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INTERNAL LAYOUT AND
Images on left from top to bottom show massing explo ration of bedroom units and sketch of how these bedroom units could work in plan. Images above show massing exploration using plaster of different colours to show the ‘plinth’ idea influence by my analysis of Cite Manifeste tak ing shape.
SKE
126 GANISATION
DSDDDDD M PPPMSP PDSPDSS LDLMPS
FURTHER MASS ING EXPLORATION
INTERNAL LAYOUT AND SKET
The book is core to the building and have these dif ferent spaces to read are essential for the patients. Pri vate spaces within the bedroom for private readings, communal balconies and pocket spaces throughout the building are for residents to read together. Then the library space is where residents can not only read together, but also with people from all ages, mostly children, which has been shown to positively impact dementia patients.
The images below show the final massing model on site. The image to the bottom right shows the indent into the facade which is predominately for shading for the residents but also to stand out and show the direction of the main entrance way through to the li brary.
KETCHES
The sketches to the left show the design development of the bedroom units within the building. The book is the vehicle of rehabilitation and so having a bookcase as structure through the building shows how integral the book is for the patients and the building.
DESIGN DEVELOPMENT
INTERNAL LAYOUT AND SKETCHES
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Site footprint mass
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Balconies repositioned to orientate towards sun to maximise solar
The dementia care room design was largely designed around the movement of a wheelchair and ensuring there was adequate space for a person of limited mo bility to move around.
I used different materials on the facade to test which material would be more suitable for the dementia care unit.
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DEMENTIAROOMSCARE
Further design develop ment of the dementia care rooms were designed with the intention for the exteri or to be clad in timber with exposed concrete book case inside each room. Two rooms would then share a balcony allowing for interaction between neighbouring residents, combating loneliness in the elderly.
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SITE PLAN SCALE 1:1000
The site plan shows the final design located within the antispace site. The building shown in grey to the left of the final design is the kindergarten. This shows the close proximity of the Centre for Intergenerational Care and the kindergarten, allowing easy access for the children to visit the library facilities and interact with the dementia patients regularly.
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SCALE 1:200
The ground floor plan shows the layout of the key spaces within the Centre for Inter generational Care. The core of this building is the library and this is the heart of the space, and brings lift to not only the resi dents but the young visitors.
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GROUND FLOOR PLAN
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B, showing the dementia care unit.
A, showing entrance way into Imagecourtyard.toleft: Elevation
Image to right: Elevation
FOURTH FLOORELEVATIONSFACADEPLAN
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SCALE 1:125
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SECTIONINTEGRATEDA
originAllY Shown At 1:50
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INTEGRATED SECTION A SCALE 1:50
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INTEGRATED SECTION A SCALE 1:50
All rooms allow for natural venti lation. Where cross ventilation is not possible, there will be both a window and door on one side allowing air to pass through one, circulate the room and out through the other.
4.within.
Wintergardens:
3. Acoustics:
1.Key:
This section shows the light ing, environmental and acoustic strategies used within the design.
Lighting and Atmosphere: The lighting and atmosphere is clearly shown for each room. Each space must be well lit for the care requirements of the demen tia patients.
Acoustic panels are seen hang ing from the ceilings in the larg er ground floor rooms where acoustics may become an issue if a large group of people were to be in the space at once. These are free hanging acoustic panels made of sound absorbing foam, which can also have light fittings
1
2. Natural Ventilation:
The wintergardens allow for a balcony with a difference. IF the resident chooses they can open it up and be exposed to the ele ments, or close it and allow it to act like a conservatory.
143 2 3 4
144 SECTION A SCALE 1:20
1. CONSTRUCTION:40MMLAYEROF GRAVEL
3. FLOOR CONSTRUCTION: NON-SLIP RHINOFLOOR WOOD-EFFECT FLOORING
SUPERGRIP
INTERNAL
POWDER-COATED SHEET METAL CLADDING TO ROOF PARAPET
TWO-LAYER POLYMER-BITUMEN ROOF SEAL POLYPROPYLENE WATERPROOF MAT 180MM THERMAL INSULATION VAPOUR BARRIER
ROOF
325MM REINFORCED CONCRETE ROOF 15MM PLASTER CEILING
2.
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60MM CONCRETE SCREED WITH UNDERFLOOR HEATING PIPES SEPARATING LAYER 20MM ACOUSTIC INSULATION 225MM REINFORCED CONCRETE (75MM THERMAL INSULATION ABOVE WINTER GARDEN BALCONIES) 15MM PLASTER CEILING
+ 18MM CAVITY + 5MM TOUGHENED GLASS IN ALUM. 6.FRAMEFIREBREAK SECTION A SCALE 1:80
originAllY Shown At 1:20
GLASS
4. VERTICAL 5.TWO-PARTSUNBLINDSLIDINGWINDOW:5MMLOWETOUGHENED
146 7.WALL 8.WINTERGARDENCONSTRUCTION:30MMCEDARCLADDINGTIMBERBATTONS140MMTHERMALINSULATION16MMAIRGAP135MMINSULATION15MMPLASTERFLOORCONSTRUCTION:HARDWOODTIMBERDECKING40MMCONCRETESCREEDSEPARATINGLAYER40MMACOUSTICINSULATION225MMREINFORCEDCONCRETE75MMTHERMALINSULATION15MMPLASTERCEILING
9.FIRST FLOOR INTERNAL FLOOR CON STRUCTION:NON-SLIP RHINOFLOOR SUPER GRIP WOOD-EFFECT FLOORING 60MM CONCRETE SCREED WITH UNDERFLOOR HEATING PIPES SEPARATING LAYER 20MM ACOUSTIC INSULATION 225MM REINFORCED CONCRETE 75MM THERMAL INSULATION SUSPENDED CEILING WITH 410MM AIR
11. GROUND FLOOR CONSTRUCTION: NON-SLIP RHINOFLOOR SUPERGRIP WOOD-EFFECT FLOORING 80MM CONCRETE SCREED 100MM THERMAL INSULATION 5MM DAMP PROOF MEMBRANE 250MM REINFORCED CONCRETE 5MM DAMP PROOF MEMBRANE 50MM SAND BINDING HARDCORE
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10.GROUNDGAPFLOOR
12. REINFORCED CONCRETE RAFT FOUNDATION
WALL CONSTRUCTION: 100MM PRE-CAST CONCRETE PANELS - 95MM INSULATION15MMAIRGAP135MMTHERMAL INSULATION 15MM PLASTER
Heaters placed to strengthenovernightconcrete Tunnelremovedformwork
New smaller tunnel formwork used for upper levels
Process repeated for new level Tunnel formwork complete for structurebuilding
CONSTRUCTION METHOD
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Tunnel formwork construction would be used for this design. Due to the layout of the rooms, this construction produces and strong and stable structure of cast in situ concrete. The images to the right depict other buildings where this construction method has been used. The diagram below explains how this construction process works.
Pre fabricated form work placed Tunnels bolted together and ties added, then pouredconcrete
VENTILATIONSTRUCTURAL
TUNNEL FORMWORK BALCONY ORIENTATION TOWARDS SUN
LIBRARY CONCRETE THERMAL MASS
ENVIRONMENTSTRATEGIESAND
NATURAL
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The materiality choice of concrete for the structure of the entire building, and exposing this concrete within the library is a deliberate way of using concretes thermal mass qualities to heat the space without having to rely too great on mechanical elements. The concrete on the library spaces would be exposed however the dementia units would be clad in sustainable timber cladding. The dementia care room units would be natural ventilat ed. By having a window to the top and window or door below allows the room to ventilate efficiently. The balconies are orientated towards the direction of the sun path. This ensures the balconies receive the max imum amount of sunlight and ensures they receive the warmer afternoon sun also.
WALLS
DEMENTIA CARE ROOM UNITS
2. Wintergarden balconies - These spaces, influence by Cite Manifeste, are able to be opened up to the elements, or closed and treated like a conservatory, ensuring maxi mum comfort for the residents.
1.Key:Cast in situ concrete bookcase - exposed concrete bookcase in most dementia care rooms as the book is integral throughout the building including the structure.
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The dementia care room units are mostly all identical with the layout of the rooms changing on each floor. Although every other room in this drawing to the right have been pushed back, allowing for a balcony in front, the corridors and spaces are still quite linear as this is important for navigation for dementia care patients.
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EXPLODED AXONOMETRIC
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This drawing shows the core structure of the concrete tunnel formwork and how the facades attach onto the outside of this structure. The balconies, made offsite, would then be attached. The balconies could not be formed during the tunnel formwork construction pro cess as this would create cold bridging and so this is the reason the balconies would be constructed off-site and attached on later in the construction process.
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VISUAL A
Visual of balconies to the rear of the De mentia Care Unit, facing the courtyard. Balconies orientated to face sun, allow ing residents to enjoy outdoors from the confinements of the care unit.
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VISUAL B
Residents are able to enjoy the library facilities with children from neighbour ing kindergarten. Reading books and interacting with children has a positive impact on the dementia patients.
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157 FINAL PRESENTATION
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The design process consisted of looking at both the 1:200 scale of the entire building in tandem with looking at a bedroom unit at 1:50. This ensured the accommodation spaces were not an afterthought and were carefully thought about, which I found to be a productive way of working.
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The challenge for this project was to work at different scales of enquiry from the start. The design process started by analysing the ‘ghost’ building, Cite Manifeste. Producing a 1:200 model of the exterior of the scheme and also a 1:50 sectional model aided my understanding of the building and how the structure worked. This then influenced my final design and allowed me to design the building and think about the structure in Attandem.first,using a site which you have not visit ed in person seemed quite challenging how ever after intensive research and taking part in producing a group site model at 1:200, allowed for a much greater understanding of the antispaces within the site boundary, as well as learning where the businesses, school and religious facilities were on site. This site model then allowed us to explore designs in 3D model form first before we started looking on plan.
REFLECTIVE CONCLUSION
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TOWN PLANNING
The Reflexive Practitioner - Assessment - Essay 2500 words
Planning, Power and People- Assessment - Essay 2500 words
StAge 6 SeMeSter 1 2018/2019
Economics of development - Assessment - Essay 2500 words
Planning Frameworks - Assessment - Essay 2000 words
StAge 5 SeMeSter 2 2017/2018
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ECONOMICS OF DEVELOPMENT
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PLANNING, POWER AND PEOPLE
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PLANNING FRAMEWORKS
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ASSeSSMent extrAct
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THE REFLEXIVE PRACTITIONER ASSeSSMent extrAct
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171 TOOLS FOR THINKING StAge 5 SeMeSter 1 2017/2018 Tools for Thinking - Essay 2500 words
TOOLS FOR THINKING ASSeSSMent extrAct
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ARCHITECTURE & CONSTRUCTION: PROCESS & MANAGEMENT
Submission 1 - Plan of Work for Stage 6 Thesis Project - 1000 words
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StAge 6 SeMeSter 1 & 2 2018/2019
Submission 2 - ‘antiSpaces’ Project Case Study - 2000 words
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ASSeSSMent extrAct
SUBMISSION 1 - PLAN OF WORK
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SUBMISSION 2 - CASE STUDY
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181 ARB CRITERIA
MEMORY AGAINST HISTORY: RETURN OF THE REPRESSED STAGE 5 SEM 1
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TOWN PLANNING STAGE 5 SEM 2 & STAGE 6 SEM 1
ARCHITECTURE & CONSTRUCTION: PROCESS & MANAGEMENT STAGE 6
TOOLS FOR THINKING STAGE 5 SEM 1
ASSEMBLAGES theSiS StUdio StAge 6
ANTISPACES STAGE 5 SEM 2
the cultural, social and intellectual histories, theories and technologies that influence the design of build theings;influence of history and theory on the spatial, so cial, and technological aspects of architecture; the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.
Ability to create architectural designs that satisfy both aesthetic and technical requirements.
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develop a conceptual and critical approach to ar chitectural design that integrates and satisfies the aesthetic aspects of a building and the technical re quirements of its construction and the needs of the user.
The graduate will have knowledge of: how the theories, practices and technologies of the arts influence architectural design; the creative application of the fine arts and their rel evance and impact on architecture; the creative application of such work to studio de sign projects, interms of their conceptualisation and representation.
The graduate will have knowledge of:
prepare and present building design projects of Di verse scale, complexity, and type in a variety of con texts, using a range of media, and in response to a understandbrief;
the constructional and structural sys tems, the environmental strategies and the regula tory requirements that apply to the design and con struction of a comprehensive design project;
Adequate knowledge of the histories and theo ries of architecture and the related arts, technol ogies and human sciences.
GC3GC2GC1.1.2.3.1.2.3.1.2.3 1 2 3 4 5 6
Knowledge of the fine arts as an influence on the quality of architectural design.
The graduate will have the ability to:
The graduate will have an understanding of: the nature of professionalism and the duties and re sponsibilities of architects to clients, building users, constructors, co-professionals and the wider society; the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; the potential impact of building projects on existing and proposed communities.
GC6GC5GC4.1.2.3.1.2.3.1.2.3 1 2 3 4 5 6
Understanding of the profession of architecture and the role of the architect in society, in particu lar in preparing briefs that take account of social factors.
The graduate will have knowledge of: theories of urban design and the planning of com themunities;influence of the design and development of cities, past and present on the contemporary built currentenvironment;planning policy and development control legislation, including social, environmental and eco nomic aspects, and the relevance of these to design development.
Adequate knowledge of urban design, planning and the skills involved in the planning process.
the way in which buildings fit in to their local con text.
Understanding of the relationship between peo ple and buildings, and between buildings and their environment,and the need to relate build ings and the spaces between them to human needs and scale.
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The graduate will have an understanding of: the needs and aspirations of building users; the impact of buildings on the environment, and the precepts of sustainable design;
strategies for building services, and ability to inte grate these in a design project.
the need to critically review precedents relevant to the function, organisation and technological strate gy of design proposals;
The graduate will have knowledge of:
1 2 3 4 5 6
The graduate will have an understanding of:
Understanding of the structural design, con structional and engineering problems associat ed with building design.
the physical properties and characteristics of build ing materials, components and systems, and the en vironmental impact of specification choices.
Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of com fort and protection against the climate.
principles associated with designing optimum visual, thermal and acoustic environments;
The graduate will have an understanding of: the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design;
the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and thecontext;contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.
Understanding of the methods of investigation and preparation of the brief for a design project.
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strategies for building construction, and ability to in tegrate knowledge of structural principles and con struction techniques;
systems for environmental comfort realised within relevant precepts of sustainable design;
control mechanisms which op erate during the development of a project;
prepare designs that will meet building users’ re quirements and comply with UK legislation, appro priate performance standards and health and safety requirements.
the professional inter-relationships of individuals and organisations involved in procuring and deliver ing architectural projects, and how these are defined through contractual and organisational structures;
The graduate will have knowledge of:
The graduate will have the skills to:
critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on ar chitectural understanddesign;thecost
Adequate knowledge of the industries, organi sations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.
the fundamental legal, professional and statutory re sponsibilities of the architect, and the organisations, regulations and procedures involved in the negotia tion and approval of architectural designs, including land law, development control, building regulations and health and safety legislation;
The necessary design skills to meet building us ers’ requirements within the constraints imposed by cost factors and building regulations.
1 2 3 4 5 6
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the basic management theories and business prin ciples related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.
problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circum stances; and
ability to identify individual learning needs and un derstand the personal responsibility required to pre pare for qualification as an architect.
understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation;
ability to generate complex design proposals show ing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and abilityspeculations;toevaluate
1 2 3 4 5 6
and apply a comprehensive range of visual, oral and written media to test, analyse, crit ically appraise and explain design proposals;
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ability to evaluate materials, processes and tech niques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals;
critical understanding of how knowledge is ad vanced through research to produce clear, logically argued and original written work relating to archi tectural culture, theory and design;
With regard to meeting the eleven General Cri teria at Parts 1 and 2 above, the Part 2 will be awarded to students who have:
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