Urban Ecology and Cultural Landscape Centre

DESIGN STRATEGY THESIS

Urban Ecology and Cultural Landscape Centre EXPLORING THE NEXUS WHERE ACADEMIA, RESIDENTS AND LANDSCAPE CONVERGE.

Zoë Latham |

MARCH YEAR 1

Contents METABOLIC RIFT HEALING THE LANDSCAPE TO HEAL PEOPLE CASE STUDY

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BELFAST AND THE FALLS ROAD PROBLEM STATEMENT THE HEALED RIVERS

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W H E RE W AT E R F ALLS URBAN STRATEGY SYNOPSIS M A S T E R P L A N D E V E L OP MEN T

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RE SE ARCH QUE ST IO NS

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URB AN E COLOGY AND CULTURAL LANDSCAPE PRO JECT

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SIT E CONT E XT ANALY SIS - THE NEXUS

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B UILDING B RIE F AN D PRO GRAMME

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B UILDING E XPLORATIO NS THRO UGH MO DEL MAKING

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M AT E RIAL ST UDY

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F INAL PROPOSAL PERSEPCTIVES FLOOR PLANS

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T H E SIS RE F LE CT ION S

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B IB LIOGRAPH Y

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APPE NDICIE S APPENDIX APPENDIX APPENDIX APPENDIX

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F u l l Br i efing D ocument C l ow n ey River I nformation N a t i v e Pl anting Res earch C os t A s s es s ment

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METABOLIC RIFT HEALING THE LANDSCAPE TO HEAL PEOPLE

The term ‘metabolic rift’ identifies the existence of an issue between man and the land he inhabits. We are no longer aware of the health of living systems as building over the land has rendered us cognitively blind to it’s presence. Although this ‘rift’ exists, “there is a latent passion” to reconnect with local landscapes and this opportunity and investigation into reconnecting with the natural world “can unleash tremendous social, cultural, and design energy”. (Thackara, 2015:18)

The following design project explores using the process of rebuilding a cultural landscape around a newly revealed river to strengthen relationships between an established network of actors and their natural surroundings. “Restoration of desecrated lands to a wild and healthy landscape along a still-resilient river promises transformation of both people and place through the process. The plan both reflects and develops the idea of restoration and education working together to make a place valued by the community.” (Landscapes of Place [2011]) Charles Birnbaum of The Cultural Landscape Foundation suggests that like the historic buildings and districts, cultural landscapes reveal aspects of a city’s origins and development through their form and features and the ways they were used (Birnbaum, 1994: 1).

The rejuvenation of a cultural landscape could reveal much about our evolving relationship with and deeper understanding of the natural world and the positive links between green space and health and well-being (Miller. D et. Al., 2012: 1). “Urban acupuncture doesn’t always have to involve bricks and mortar. Sometimes it follows the introduction of a new custom or a change of habit that suddenly clears the way to transformation. (Lerner, 2014:5)

This project suggests instigating the reconnection of cities to landscape and urban ecology, and proposes a strategy to connect local people with the process of healing their native landscapes, and in turn, improving their own wellbeing and urban fabric.

Throughout the proposal the watershed and landscapes, that constantly move and flow under and through our cities, have been considered an integral design tool and element of the design. ‘Water embodies social, cultural and spiritual dimensions within cities, and has long held a central role in religion, literature, art, medicine and recreation.’ (Barker and Coutts, 2016:8) It is believed, that within this proposal the landscape could align competing social constituencies. “Landscape may still embrace naturalistic and phenomenological experience but its full efficacy is extended to that of a synthetic and strategic art form, one that aligns diverse and competing forces (social constituencies, political desires, ecological processes, program demands, etc.) into newly liberating and interactive alliances.” (Corner, 1999:2)

Flooded Westlink Motoryway: near the Falls Road, Belfast. Credit: Alan Lewis, 2009

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METABOLIC RIFT HEALING THE LANDSCAPE TO HEAL PEOPLE CASE STUDY

The threat of flooding in our cities has never been greater.

In 2012, it was reported by the Centre of Expertise for Waters that in an average year, worldwide, floods kill 13,000 people; make 30 million people homeless, and affects 60 million people.

Within the UK, 10% of people (1.7 million homes) live in a 100-year flood zone. According to the River Agency’s Flood Risk Management Plan (2015) these numbers are only set to rise as a result of the changing climate.

All over the world, examples of cities restoring hundreds of miles of culverted rivers are emerging. In 2005, the Cheonggyecheon, a seven mile stretch of river in Seoul, Korea, was reopened to the public as a large scale urban renewal project.

Similar to the rivers of Belfast, the Cheonggyecheon was culverted to make way for major infrastructure and was deemed an example for successful industrialization and modernization.

Since then, the Seoul Mayor, initiated the river renewal project in order to provide flood prevention, reintroduce nature to the city, and to restore the history and culture of the region. Cheonggecheon has subsequently aided in the revitalization of Seoul’s economy through increased land value, and prompted new business opportunities (Landscape Architecture Foundation [online].

Top Left: Cheonggyecheon River at night with art installations.

Credit: Ying Ying travel, 2016 Bottom Left: Cheonggyecheon River Masterplan. Credit: Landscape Architecture Foundation, 2016 Above: Cheonggyecheon River as a public green space and river corridor. Credit: Daniel Korn, 2016

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BELFAST AND THE FALLS ROAD Problem Statement

BELFAST, NORTHERN IRELAND

Significant Flood Risk Belfast is identified as a Significant Flood Risk Area (SFRA) by the Northern Ireland Agency. Official figures from the NI Rivers Agency show that 46,000 properties in Northern Ireland are at risk from flooding from rivers, tidal or surface water flooding.

Mental Ill - Health Professor of Mental Health Sciences at Ulster University, Siobhan O’Niell observed 40% of people in Belfast have been affected in some way by traumatic events linked the Troubles. alcohol and drug consumption. (Tomlinson, 2013: 8) Segregated Communities According to the Belfast City Report of 2007, the most difficult and critical task for the decision-makers of the city is to find a way to bring social cohesion to a divided city. The divisions are still ‘written’ into the territorial layout of the city and the engrained patterns of division within the neighbourhoods.

Loss of Heritage The ancient Celts of Ireland always thought of themselves as caretakers of mother earth and rural people by choice (Kingston, 2014). Since the Industrial Revolution and subsequent urbanisation, ancestral relationships with the landscape have become lost.

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BELFAST AND THE FALLS ROAD The Healed Rivers

A timeline of Belfast’s lost rivers and Urban Strategy Proposal.

URBAN STRATEGY RESEARCH QUESTION

How can the lost rivers of Belfast heal the scarred landscape and its surrounding communities?

Belfast During the 17th Century

Belfast Before the Industrial Revolution

Belfast During the Industrail Revolution

Belfast Today

Belfast After Where Water Falls Urban Strategy Implementation

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URBAN STRATEGY SYNOPSIS WHERE WATER FALLS

Where Water Falls is a cultural regeneration project revealing the hidden rivers and punctuating the urban fabric of the Falls Road, Belfast with socially progressive healing proposals to address issues of flooding, mental health and insular, segregated communities.

By discovering, retracing and the revealing the lost rivers of Belfast, it is proposed that the local landscape and community is restored and revitalised.

Where Water Falls Urban Strategy visualises regenerating parts of the city, as a tool or instrument for providing better well-being. ‘Health no longer identified primarily with the absence of illness, but with a stage of general well- being, concerning all types of functioning, from physical to biological to social and cultural (...) City is not only a place of concentrated social, environmental and health problems, but also an instrument of well-being.

(Borasi, G. and Zardini, M.,2012)

Urban Strategy Developmental Models and Diagram

Conceptual Urban Strategy Model: Revealing the lost rivers of Belfast.

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URBAN STRATEGY Masterplan Development

All over the world, rivers have sustained communities for centuries. When amid the urban fabric, rivers guide the built form of city streets and their corridors usually attract opportunities of urban regeneration through the development of the landscape in relation to changing urban life. The most successful symbiotic relationships offer various manifestations of economic, environmental and social wellbeing.

Where Water Falls Urban Strategy aims to set a framework that inspires an extraordinary opportunity for healing the wider City of Belfast through celebrating the cultural roots of its hidden natural assets. It will provide the backbone for extensive regeneration and revitalize the relationship across communities and reconnect people to their magnificent hills and rivers. It aims to help people rediscover their shared heritage through nature by improving the access to places of interest as well as providing alternative sustainable modes of transport between community facilities, schools, places of work and services.

In time, the river corridor will link elements of Belfast’s natural, historical, ecological and cultural resources for future generations. It will become a beacon hope by providing a positive cultural regeneration and economic model for implementation in other appropriate areas.

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RESEARCH QUESTIONS

Can providing a building that explores the process of healing the cultural landscape align divided communities through their shared ancestral relationship with the landscape?

How can an architectural language and space, that reflects the coming together of ecological processes, social constituencies and an academic programme, be developed?

How can the complexities of building on a riparian topography be used to enhance the coming together of the three elements whilst honoring the river?

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URBAN ECOLOGY AND CULTURAL LANDSCAPE PROJECT REVEAL. CONNECT. HARNESS.

The masterplan addresses the large scale relieving of the rivers of Belfast by proposing new river corridors connecting divided communities and the city to the surrounding landscape. The masterplan also foresees the rivers as a hub for cultural activity and social interactions - later bringing economic well-being to surrounding areas.

The following key design principles outline the explorations and design tools used to drive the design of the Urban Ecology and Cultural Landscape Centre.

KEY PRINCIPLES OF DESIGN EXPLORATION

REVEAL the healed cultural landscape of The Falls by providing a platform of research and sharing of knowledge of the local bioregion and it’s ecological processes.

Explore the design of a ‘nexus’ to facilitate academic, residential and the social environment of the river corridor to CONNECT.

CULTURAL LANDSCAPES There exists a great variety of Landscapes that are representative of the different regions of the world. Combined works of nature and humankind, they express a long and intimate relationship between peoples and their natural environment.

NEXUS (noun) 1. a connection or series of connections linking two or more things.

2. a central or focal point.

HARNESS the water. Design with nature to embrace the natural water cycles to relieve the pressures of living in a flood risk area, becoming a symbol of resilience.

“Cultural landscapes . . . testify to the creative genius, social development and the imaginative and spiritual vitality of humanity. They are part of our collective identity.” http://whc.unesco.org/en/culturallandscape/

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SITE CONTEXT ANALYSIS Introducing The Nexus

The initial site context analysis of actors and their existing ‘effective circuits’ (Sola-Morales Rubio,Terrain Vague) became a focal point for further explorations in this proposal.

The potential of one relationship in particular, that between academia and residents was particularly exciting. Through Actor Netowrk Mapping a clear interdependency was made visible.

Not only did residents support the betterment of the local schools and universities, but the universities facilitated community gatherings, cultural events and further education for local residents, thus being a key social environment.

Having proposed to reveal the lost rivers of Belfast in Where Water Falls Urban Strategy, the prospect of this new found landscape becoming an expression and epicentre for the exploration of a Nexus - where academia, residents and landscape unite was exciting.

Actor Network Diagram

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SITE CONTEXT ANALYSIS The Nexus CONNECTING ACTORS TO THE LOST RIVERS

Where Water Falls Urban Strategy researched and mapped existing actors, within the Falls Road community and their roles within it.

With the proposed presence of rivers, opportunities arise for the connection of existing actors along the Falls Road - with the rivers and each other, to provide a shared platform, strengthening the sense of community while projecting the richness of positive activities already occurring back to the Strip.

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SITE CONTEXT ANALYSIS

Fal ls R

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Residential

Academia

ACTORS AND THE ‘IN-BETWEEN’

Landscape

The Nexus

PROPOSED SITE St. M

ary

’s U

nive

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1:2500 Concept Model: Connecting academic actors with the Falls Road and key principles of proposal - Reveal, Connect and Harness.

“The threshold provides the key to the transition and connection between areas with divergent territorial claims and, as a place in its own right, it constitutes , essentially the spatial condition for the meeting and dialogue between areas of different orders. “

Analytical Diagram: Overlapping Thresholds (greenlandscape, orange - residents & blue - academia, the purple areas illustrate convergence of actors/ thresholds)

The Falls Road area is largely comprised of academic institutions and residential neighbourhoods. Mapping actor networks in the area revealed St. Mary’s University as a key facilitator for residential and local community needs. This proposal aims to explore this fruitful relationship and expand the focus of the two constituencies into the landscape.

Hertzberger, H. Lessons for students in Architecture. p 32.

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SITE CONTEXT ANALYSIS The Nexus

Clowney River

Beechmount Avenue Residents

St. Mary’s University

RE-APPROPRIATING THE CLOWNEY RIVER: HISTORIC CONTEXT AND PROPOSAL COLLAGE

HISTORIC MAP - 1906

COLLAGE

Historically the Clowney River acted as a focal point for various actors in the Falls Road area. Not only was the river used for the linen and clay industries but the landscape surrounding the river was closely integrated with the building functions surrounding.

Mapping actors and their connectedness made apparent seemingly invisible relationships between the local community of the Falls Road and St. Mary’s University.

Cultural Ground as Common Ground proposes exploring the above actors re-appropriating the ‘terrain vague’ (riparian zone) of the Clowney River.

The ‘non-space’ of terrain vague, as defined by the author: “Empty, abandoned space in which a series of occurrences have taken place seems to subjugate the eye of the urban photographer. Such urban space, which I will denote by the French expression terrain vague, assumes the status of fascination, the most solvent sign with which to indicate what cities are and what our experience of them is.”

- Ignasi de Sola-Morales Rubio. 1995. Terrain Vague.

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SITE CONTEXT ANALYSIS

Key forces acting on the site:

The Nexus

1. River corridor as a public realm encouraging social wellbeing..

RE-APPROPRIATING THE CLOWNEY RIVER:

2. Proposal to facilitate needs of existing ‘effective circuits’ of Actors (Local residential community groups & St. Mary’s University)

FORCES AND CONTRADICTIONS

3. Proposal to consider built form and landscape as interdependent elements

Contradiction: Proposed built form encroaching into newly revealed river corridor as opposed to ‘revealing’ it

Photographs and Site Plan: illustrating the urban fabric around the site.

Conceptual Collage Site Plan: Exploration of ‘revealing’ the river through built form.

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PROJECT BRIEF AND SCOPE BRIEF SYNOPSIS: URBAN BIOPHILIA

Community driven healing proposal reconnecting people with the landscape.

‘The biophilia hypothesis proclaims a human dependence on nature that extends far beyond the simple issues of material and physical sustenance to encompass as well the human craving for aesthetic, intellectual, cognitive, and even spiritual meaning and satisfaction.’

- Wilson, Kellert. 1993. The Biophilia Hypothesis. (p. 21)

COLLAGE

BRIEF AIMS

Depicting conceptual proposal model within the context of the Falls Road community in relation to Where Water Falls Urban Strategy.

A platform of research and sharing of knowledge of the revealed river as a ‘Cultural landscape’ of West Belfast.

A cultural and physical connection between the landscape and the ‘effective circuits’ (Falls Road) connecting West Belfast to the city and to the Divis Hills.

A platform for local residents to connect with each other through immersive learning experiences along the river.

Explore forms of biophilic design. Utilise nature as an environmental, mental, cultural and social design tool.

Provide a resilient architectural response that addresses the needs of actors and relieves the pressures of flooding.

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PROJECT BRIEF AND SCOPE BUILDING PROGRAMME

CULTURAL LANDSCAPE CENTRE Facilitating the research and exploration of the bioregion and sharing new knowledge of the ‘healed’ cultural landscape with local residents.

REVEAL the healed cultural landscape of The Falls by providing a platform of research and sharing of knowledge of the local bioregion and it’s ecological processes.

Explore the design of a ‘nexus’ to facilitate academic, residential and the social environment of the river corridor to CONNECT. HARNESS the water. Design with nature to embrace the natural water cycles to relieve the pressures of living in a flood risk area, becoming a symbol of resilience.

Annotated Model Photograph: Building Programme Diagram Territory

Room Type

Community

Reception Security Office Workshop 1 Workshop 2 Workshop 3 Workshop 4 Workshop 5 WC's Storage Administration Staff room & kitchen

Research

Integrated

Immersive

General

Size (m2)

Public / Private

15 10 40 50 60 60 70 30 10 15 60

public private semi-­‐private semi-­‐private semi-­‐private semi-­‐private semi-­‐private public private private private

Staff WC's, showers & changing

50

private

Offices Conference Room Meeting Room Laboratory Classroom Flexible Exhibition Space Kitchen Dining Hall / Café Key Circulation Axis Library WC's Storage Therapeutic/reflection space Greenhouse Classroom Circulation -­‐ 20% Plant Room -­‐ 10% Refuse Storage

130 40 70 150 50 150 40 200

private private private private private public public public public public public private public semi-­‐private semi-­‐private public private private

Total total before circulation

Building Programme

100 30 20 50 30 30 320 160 30

2070 1560

Qualities

Throughout this inquiry, the buildings and the landscape are understood as interdependent elements – where the proposed building and context provide an opportunity to investigate, reflect on and communicate the uniting of territories and their relation to context.

relaxed open organic in nature

formal enclosed inegrated with university

SITE STRATEGY & PROGRAMME PRECEDENT Beautour Museum and Biodiversity Centre

open atrium crosspoint layered

immersive quiet relfective open

COST ASSESSMENT: Using a figure per sq/m of £1379.87 an estimated cost for the proposal is £2,989,483.49. Considering the nature of the project, it is imagined the construction could be phased and largely funded by Belfast Country Council - with invested interest from the Environmental Agency and Rivers Trusts.

For a more detailed break down of costs and funding see Appendix 4.

Sketch Floor Plan: Beautour Museum Programme working with existing conditions and preserving landscape.

The project aims to develop educational and scientific supports themed on biodiversity, as well as a management strategy and evolution prospectives for the whole area. Beyond the thematic gardens, composting, and using rainwater for watering, that are some obvious actions, the project aims to help new forms of biodiversity to regenerate this site, abandoned for 30 years.

This really is a site-specific project, inspired by the local biodiversity, the topography, and the other qualities that are proper to Beautour. The visit itinerary is drawn by this logic, scientific purpose leading the visitor down to the fields and the valley, where the wild nature meets both Beautour historical and newly designed gardens and meadows.

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G

‘The task of architecture is to make visible ‘how the world touches us’.

Concept Model - Revealing the River

Maurice Merleau-Ponty, ‘Cezanne’s Doubt’, in Maurice Merleau-Ponty, Sense and Non-Sense, Northwestern University Press, Evanston 1964, p19.

The following models are explorations of an evolving architectural language that speaks of permanence and durability, making space for an ever changing landscape whilst supporting the reconnection of local residents to the land and facilitate immersive local bioregion research.

Development Model - Armature and nodes

1:500 Form Model

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G Initial Concept

How can a building reveal the river whilst bridging / connecting communities?

Concept Diagram: Connections & Revelations

Concept Model: expressing the river through built response.

SusCon Architectural and Programme Precedent

Sustainable Construction Training and Research Centre (SusCon) delivers a public/private partnership. “SusCon offers accredited courses for both building trades and professions - as well as for members of the local community.�

James Nicholls, Stephen George + Partners LLP. As a result of the integrated programme, the key space reveals where actors come together.

Diagramtic Ground Floor Plan: Feature walls reveal a central break out space where actors come together.

Concept Model: Plan and sectional built form revealing the river.

Corresponding Envelope Diagram

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G Initial Concept ‘Pushing the boundaries between water and buildings’.

Carlo Scarpa allows water to flow through the buildings.

Water is invited into the iron gates into an ante room in the building to create an audible presence throughout the palace.”

Aquatecture: Buildings and cities designed to live and work with water. Robert Barker and Richard Coutts. RIBA Publishing: New Castle, UK. 2016 (p.14)

Site Sketch: Concept for structure that would allow water within a threshold.

Carlo Scarpa’s Venetian Acqua Alta

Site Sketch: Concept for structure that follows river topography.

Concept Model: Revealing, and making space for water (perspective view).

Concept Model: Revealing, and making space for water (plan view).

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G SITE STRATEGY: RESPONSE TO ST. MARY’S SITE CONDITIONS Privacy gradient, active thresholds and site conditions

Privacy Gradient Diagram: “Privacy is the claim of individuals, groups, or institutions to determine for themselves when, how, and to what extent information about them is communicated to others.”

Westin Alan F., (1967), “Privacy and Freedom”, New York: Atheneum (p.7)

“The Carre d’Art is what we call an intelligent building; but it must also become a builder of intelligence a space that belongs to everyone, removing institutional and cultural barriers.” - Jean Bousquet

Active Thresholds: Diagram of proposed responses to facade thresholds

Site Strategy: Diagram of proposed responses to site conditions

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G SITE STRATEGY: Key Internal Space Responding Site

Sketch Section: Interior Nexus Space

Sketch Perspective: Interior Nexus Space

“The project has created a unified series of enclosed and open-air spaces, pulling the relatively private world of scholarship into the public realm.” - Museum of Modern Literature Museum of Modern Literature, Chipperfield Architects: Exterior Space

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te t

Plan Diagram: ‘Pulling’ the public and private realms together through key circulatory and axial routes crossing at the river.

oF

alls

Ro

ad

Museum of Modern Literature, Chipperfield Architects:

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G SITE STRATEGY: Key Internal Space Response To Site Modelling the Nexus & Riparian zones.

2 Developmental Model: Highlighting massing of nexus space crossing into the riaprian threshold.

1.

1

2.

3.

Analytical Model: Mapping contours of the riparian zone on site to explore how the built form and landscape converge to 24 influence the future development of key spaces.

BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G

In the 1920’s the modern artist Robert Delaunay broadened his scope of work to architectural space and landscape design.

Invisble Aves Crossing The Clowney River

His 1934 masterpiece ‘Rhythmes sans fins’ explored the concept of ‘endless rhythm’ whereby an invisble axis led the viewer’s eye beyond the canvas.

Diagrams Exploring Invisible Axes Crossing the River

Rhythmes sans fins

Photograph of development model: Collage of proposed axes, one connecting the community to the Falls Road, the other connecting landscape elements to the Divis Hills.

Duke University West Campus. Grimshaw Architects “For us, there is an important relationship between the academic, residential, and social environments. West Union is the nexus — where these three circles overlap.”

- Larry Moneta, Vice President for Student Affairs, Duke University

Photographs of Duke University West Campus. Credit: Grimshaw Architects, 2017.

Through models and diagramming, a key space within the proposal has been highlighted.

Similar to the ‘nexus’ Grimshaw Architects, talk of in relation to the Duke Campus, this space is where the actors converge, the functions collide and the chance for an exciting overlapping of circles is a focus further exploration.

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G

“Landscape may still embrace naturalistic and phenomenological experience but its full efficacy is extended to that of a synthetic and strategic art form, one that aligns diverse and competing forces (social constituencies, political desires, ecological processes, program demands, etc.) into newly liberating and interactive alliances.�

Recovering landscape: Essays in Contemporary Landscape Architecture.

James Corner. 1999. Princetown Architectural Press: United States. (p.2)

Perspective Sketch: Exterior of key space

1:500 Diagramatic Model Collage of key space and emerging architectural response to riparian zone.

Interior Perspective Collage: Nexus where actors and functions converge.

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G SCHEMATIC DESIGN DEVELOPMENT Process 1:500 Model

In preparation for the schematic design review, I developed the following model, sketch section and plans at 1:500 scale.

This allowed me to communicate where I was with my thinking at this early stage.

Upon review with piers, I came to the realisation that a key part of the design revolved around the ground floor plan and its connectedness with the river and landscape.

Therefore, I took apart this model and reworked it in many iterations responding to the topography of the site and river in different ways.

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G SCHEMATIC DESIGN DEVELOPMENT Initial Floor Plans Sucessful insights from this initial scheme: - Discovery of key axes and their potential for connecting programme.

- Early ideas for connection / giving space to the existing university building.

- In depth analysis of existing programme of St. Mary’s University in order to ‘plug-in’ to their existing framework and departments.

Areas for immediate further investigations: - Ground floor plan (connection to landscape and integration of inside / outside elements) - Bridging of the river Diagrammatic Section

Diagrammatic Ground Floor Plan

Diagrammatic First Floor Plan

Diagrammatic Second Floor Plan

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G Designing With Nature: Responding to the Clowney River

Richard Serra - Matter of Time : Curvaceous forms forming a river-like rhythym.

Exploration Model 1: Proposed built form countering the flow of the Clowney River in a continuous gesture.

Exploration Model 2: Proposed built form following the flow of the river carved from it’s meandering path.

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G Designing With Nature: Responding to the Clowney River

Explorations of ground floor gestures that respond to the riparian topography but also connect to the key axes.

1:500 Exploration 1: Circular voids within a rectangular outer form

1:500 Exploration 2: Circular forms along an axes with topographical gradation towards the river.

Diagramatic Plan: Connecting ground floor plans to the axes whilst responding to the Clowney River Topography

1:500 Exploration 3: Curved gestures enclosing spaces and welcoming site access points.

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G 1:500 Proposal Model

SIMPLIFIED FORM FOR WORKSHOPS AND MATERIALS PRECEDENT

House Amoung Trees - Martin Fernandez de Lema and Nicolas Moreno Deutsch connecting with landscape through concrete plains.

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G 1:500 Proposal Model

1:100 Walkway Model - Raising structures above the ground - making space for the ever shifting landscape.

SIMPLIFIED FORM FOR WALKWAYS AND MATERIALS PRECEDENT

Hedmark Museum - Sverre Fehn’s ‘testing ground for his speculations on human nature and material history’.

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G 1:500 Proposal Model & Collage

NATIVE LANDSCAPES “Restoration of desecrated lands to a wild and healthy landscape along a stillresilient river promises transformation of both people and place through the process.

The plan both reflects and develops the idea of restoration and education working together to make a place valued by the community.�

Landscapes of Place [2011]

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G 1:100 Development Model & 1:500 Concept Model

In a bid to progress the design I focused on a key area of the proposal where all three elements collided. This corner point connected with the existing façade of St. Mary’s University, crossed the river and had both ground floor communal functions and second floor academia functions.

Attempting to design this space in more detail resulted in a model that was confused. They key ideas of revealing, connecting and harnessing seemed lost in the detail.

As a result of this I quickly modelled the model to the right, a bare bones model at 1:500 - that reminded me the key principles behind the design.

This step was instrumental in directing further investigations and developing the architectural language of the final proposal.

1:100 Development Model: Beginning to design interior spaces at greater detail but losing the essence of the proposal.

1:500 Concept Model: Illustrating to myself the bare bones and key elements of the design.

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G 1:200 Final Proposal Model

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BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G 1:200 Final Proposal Model

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HARNESS THE ENVIRONMENT

BUIL DI NG EX P LOR A T I ON S : THR O UG H M OD E L M A K I N G 1:50 Technical Section Model

The 1:50 model to right forced me to resolve the coming together of the main elements of the proposal.

Reveal, connect and Harness.

West Belfast has been prone to serious flooding in recent years, with water culverts being overwhelmed.

Therefore it was key for this proposal to consider how it manages and harnesses the water. Roof gardens will cover the plains formed by the roofs of the proposal, offering a chance to collect rainwater, minimising run off. This proposal sits within a riparian zone; prone to pluvial flooding therefore portions of proposed built form are above the predicted flood level - forming a ‘safe haven’. Materials for the proposal were also chosen on how they withstand flood conditions.

CONNECT PEOPLE AND NATURE Sprawling covered walkways connect landscaped routes and buildings. The layering of walkways frames views towards the surrounding Divis Hills.

The materiality of the built form connects people with nature at varying scales. Externally, simple concrete canvases are sculpted by layers of native clay and basalt infused concrete - mimicking the gently undulating form of the Divis Hills. Internally, representing a deeper connection to nature, intricate reliefs, inspired by those of the native willow trees cover the walls.

REVEAL THE LANDSCAPE The structure of the building responds to the desire to reveal the landscape, river and surrounding hills. Steel posts raise walkways and built forms above the newly revealed cultural landscape, making space for nature and revealing a shared landscape and public realm at ground level.

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MAT ERI A L S T U D Y BLACK RIDGE INSPIRATION Having established a structural strategy that celebrates concrete as an expressive canvas I set about re-presenting some local building materials within concrete mixes to connect the material to the landscape.

Belfast from Divis Hills. Credit: belfasthills.org [2017]

The iconic landscape surrounding Belfast is being made increasingly accessible to the public through large scale partnership projects with The Ulster Wildlife Trust and Belfast Hills Partnership. These groups are beginning to work towards enhancing regional biodiversity by linking areas of landscape with existing protected sites.

Belfast Landscape. Credit: belfasthills.org [2017]

http://www.wildlifetrusts.org/living-landscape/ schemes/belfast-hills-living-landscape-slievenacloy ‘Divis and the Black Mountain rest in the heart of the Belfast Hills and provide a backdrop to the city’s skyline. Divis or Dubhais, meaning ‘black ridge’, refers to the dark basalt bedrock.’ http://belfasthills.org/

This backdrop can be seen from the site, therefore a strong reference for expressing our growing connection to the surrounding landscape.

Divis Hills from Beechmount Avenue. Credit: Zoe Latham [2016]

38

MAT ERI A L S T U D Y LANDSCAPE INSPIRED CONCRETE PRECEDENT

“Dyed Stamped Concrete” Walls of Giardin Housing Complex designed by Kurt & Mierta Lazzarini Architekten.

INSPIRATION

DETAIL OF STAMPED CONCRETE

FACADE FINISH

39

MAT ERI A L A N D LA N D S C A P E ANTRIM, NORTHERN IRELAND BIOREGIONAL BUILDING MATERIALS§

Shankill Terrace Credit: More Than Bricks: Housing Executive 2011 [Available online: Accessed 2017]

CLAY Clay has been heavily quarried along the river banks of Belfast for over one hundred years. Bricks made from clay pits around Belfast are often a bright red or a burnt purply red, the latter weathers to a very deep shade. Clay was also used as a mortar for brick chimneys to protect from water. Clay bricks are a key characteristic of the streetscapes of Belfast. (http://www.uahs.org.uk/built-heritage-at-risk-registernorthern-ireland/traditional-skills-directory/advice-andguidance/masonry-stone-and-brick/)

Clay Pits Credit: https://commons.wikimedia.org/wiki/ File:Skourta_clay_pit_15.JPG [2017]

Falls Road Brick Wall Credit: Zoe Latham, 2016

Brick Aggregate Credit: https://www.flickr.com/photos/soilscience/ sets/72157622983226139/ [2017]

BASALT Quarried basalt is also frequently used in construction.

Basalt is most commonly crushed and used as a aggregate in concrete but can also be cut into dimension stone for floor tiles or building veneer. Heating and extruding basalt yields stone wool, said to be an excellent thermal insulator.

Crushed basalt can slo be used as a filter stone. It is also interesting to consider the carbon sequestration of basalt in relation to the industrialisation context of Belfast. The process can remove carbon dioxide, produced by human industrialization, from the atmosphere. Underwater basalt deposits, scattered in seas around the globe, have the added benefit of the water serving as a barrier to the re-release of CO2 into the atmosphere. http://geology.com/rocks/basalt.shtml Exposed Basalt Bedrock Credit: Zoe Latham, 2016

Giant’s Causway Basalt Facade Credit: Zoe Latham 2016

Basalt Sand Credit: http://geogrowers.net/Foundation%20Materials. html [2017]

40

MAT ERI A L A N D LA N D S C A P E “Materials and surfaces have a richly complex language of their own that evolves and changes over time.”

- Hapticity and Time, Juhani Pallasmaa

BRICK AND BASALT CONCRETE LAYERS

WILLOW FORMWORK

41

MAT ERI A L A N D LA N D S C A P E

Crushing brick

Brick Aggregate

Sample Casting

Concrete finishing

Brick sand

Brick aggregate

Colour variations

White cement mix

Grey cement mix

Casting in formwork

Willow formwork

Willow relief

CONCRETE. CLAY. BASALT. WILLOW. The concrete material samples are an exploration utilising local material, clay and basalt, as aggregates and sands within a concrete mix. Combining these elemetns in a variety of ways creates a material deriving inspiration from the cultural landscape and relation to the built environment. By casting the concrete in layers, each varying in its concrete mix, undulating forms emerge - relating to those of the Divis Hills.

In addition, using a willow inspired formwork, creates a relief - referencing the native planting within the proposal. The application of the two concrete samples, making reference to two environment scales, represents the growing connection between people, the built form and nature.

42

FIN A L PRO POS A L EXTERIOR PERSPECTIVE

43

FIN A L PRO POS A L EXTERIOR PERSPECTIVE

44

FIN A L PRO POS A L EXTERIOR PERSPECTIVE

45

FIN A L PRO POS A L INTERIOR PERSPECTIVE

46

FIN A L PRO POS A L 1:1000 FLOOR PLAN

47

FIN A L PRO POS A L 1:500 FOUNDATION AND PLANTING STRATEGY PLAN

48

FIN A L PR O PO S A L 1:500 GROUND FLOOR PLAN

49

FIN A L PRO POS A L 1:500 FIRST FLOOR PLAN

50

FIN A L PR O PO S A L 1:500 SECOND FLOOR PLAN

51

THESIS REFLECTIONS The research questions I set myself broadened my way of thinking and pushed me to explore the potential scope of the project in relation to the wider context. This was exciting but felt infinite / boundless- with a seemingly endless list of areas of exploration. On reflection therefore, I understand the need to establish an initial set of draft research questions and then shape and refine them with further thought and reading, to enable more specific focus, whilst balancing the added value, learning and perspective that wider exploration affords.

RESEARCH QUESTIONS & DESIGN METHODOLOGY Can providing a building that explores the process of healing the cultural landscape align divided communities through their shared ancestral relationship with the landscape?

How can an architectural language and space, that reflects the coming together of ecological processes, social constituencies and an academic programme, be developed?

How can the complexities of building on a riparian topography be used to enhance the coming together of the three elements whilst honouring the river?

I think that the proposed Urban Ecology and Cultural Landscape Centre offers a range spaces that are adaptable to both the needs of the academic institution and the local residents. The proposal offers a range of platforms encouraging a variety of potential social interactions to occur - formal and informal, which are not currently taking place on site.

The majority of design development was achieved through model making. At the beginning of the project I struggled to work in any other way than three dimensional - as I was working closely with varying topography and existing buildings.

I initially approached the river as an element or focal point within the proposal, appreciating the varying qualities it could reflect and add to a building design. I later developed an architectural language that showed resilience to the river as opposed to designing a building that let water in. Instead, the buildings and walkways were raised – making space for the river and landscape to continue shifting.

The concept of ‘biophilia’ explores our innate yet latent connection with the landscape - something that as humans we all have in common.

Therefore, inherently, I think this proposal could attract everyone it could reach, subsequently providing opportunities for more gathering and interactions within a positive, green urban environment. However, the people for whom this building is designed may need time and a sense of curiosity to began their relationship with it, which may in turn take further time to alter behaviours and influence their sense of space.

I had initially planned to develop a ‘crafting device’ as I had worked with in previous design projects. This device could have allowed an in depth study within a set of clear parameters, illustrating a clear progression of a design ideas. Although I had planned to do this, the complexity and array of explorations I undertook throughout the design of the proposal meant I that I did not set myself these parameters and consequently did not work systematically.

Having failed to work in this manner, I took the time to look at the evolutionary progression of models and diagrams to identify key gestures and moves that kept repeating – avoiding erasure. These gestures became my parameters/ key elements which I then considered in greater detail. These elements were the ‘armature’ connecting people and the landscape and the ‘nodes’ facilitating the changing and evolving needs of the local community. I began exploring these two elements and their relationship to one another, the landscape and the connection to the existing buildings.

I think that through my design process I was able to begin to develop a site specific response and an architectural language that reflected the coming together of the above actors and landscape within a city context and I think it could be interesting to apply the process and thinking to another city that is working to reconnect with potential urban ecology and see a different site specific outcome with similar aims. Given that I chose not to develop a crafting device and apply a systematic approach, as I had previously experienced in other work, I believe the more emergent approach adopted has deepened my connection with my design and enhanced my analysis of design implications through the use of models. ( I also wonder if the approach I used complements the use of actor network theory as it could be considered more responsive as opposed to using a systematic approach). Additionally and indeed unintentionally, my model making capability has also improved.

Within the context of a city, previously devastated by flooding, I really appreciated the concept of this proposal demonstrating techniques of designing within a flood risk riparian zone. The final proposal has made space and respected the natural environment – absorbing rainwater in roof gardens, harvesting rainwater run off and minimising its physical presence on the landscape. The raised construction meant the proposal was not vulnerable to the inevitable ebbs and flows of the river.

On reflection, although my research questions inspired me to explore many avenues for the design proposal I believe my questions were not specific enough to allow me to work systematically to find answers.

At times, the possibilities for my investigations seemed limitless and I was unsure which lead to follow – therefore I attempted to explore many routes early in the design process which constrained my time for more in depth studies around designing with the topography of the site which, on reflection, I would have liked to do.

I think the freedom of the questions may have added a somewhat intanginble value to my project - as the lateral thinking process behind the development of the design made many connections to other contextual issues and opportunities.

52

BIBLIOGRAPHY

Barker, R. & Coutts, R. Aquatecture: Buildings and cities designed to live and work with water. RIBA Publishing: New Castle, UK. 2016 Birnbaum, Charles A. (1998) Protecting Cultural Landscapes: Planning, Treatment and Management of historic Landscapes. Issue 36: Preservation Briefs. [online] https://www.nps.gov/tps/how-to-preserve/ preservedocs/preservation-briefs/36Preserve-Brief-Landscapes.pdf [January 4th 2017] Bjorgan, Owen. (2015) The Biophilic World: TEDxGuelphU [online] https://www.youtube.com/watch?v=YnwREmarvcQ Corner, James. Recovering landscape: Essays in Contemporary Landscape Architecture. 1999. Princetown Architectural Press: United States Flooding and mental health: Essential information for front-line responders. Prepared by Extreme Events and Health Protection, Public Health England, February 2014.

http://www.belfasttelegraph.co.uk/news/northern-ireland/warning46000-homes-in-northern-ireland-are-at-high-risk-from-flooding-30320661.html Miller, D., Roe, J., Brown, C., Morris, S., Morrice, J. and Ward Thompson, C. (2012) Blue Health: Water, health and wellbeing, Centre of Expertise for Waters, James Hutton Institute, Aberdeen. Available online at: www.crew.ac.uk/publications Muiro, Pol. O. (2008) Why our city’s secret rivers should be on tourist trail. Belfast Telegraph [online] <http://www.belfasttelegraph.co.uk/ opinion/columnists/archive/pol-o-muiri/pol-o-muiri-why-our-cityssecret-rivers-should-be-on-tourist-trail-28448828.html> Northern Ireland Flood Maps [online] <https://www.infrastructure-ni. gov.uk/articles/what-flood-maps-ni> Thakara, J. 2015. How to Survive in the Next Economy: Designing Tomorrow’s World Today.

Landscape Architecture Foundation. ‘Cheonggyecheon Stream Restoration Project’. [Online] <https://landscapeperformance.org/casestudy-briefs/cheonggyecheon-stream-restoration> [2nd January 2017]

The Committee on Climate Change (January 15 2016) Infographic: Future flood risk in the UK. [online] https://www.theccc.org. uk/2016/01/15/infographic-future-flood-risk-in-the-uk/

Latour, Bruno. Reassembling the Social: An Introduction to Actor Network Theory. Oxford: Oxford University Press, 2005

Stewart, Linda, 21st August 2013. The lost river that gave Belfast its name. [online] http://www.belfasttelegraph.co.uk/news/environment/ the-lost-river-that-gave-belfast-its-name-29511371.html

Lerner, Jamie. (2014) Urban Acupuncture. Celebrating Pinpricks of Change that Enrich City Life. Island Press. Washington Mackel, Ciaran (2009) Impact of the Conflict on Public Space and Architecture – A troubles Archives Essay. Arts Council of Northern Ireland. [online] <http://www.troublesarchive.com/resources/impact_ of_the_conflict_public_space.pdf>

Wilson, E.O. (1984) Biophilia. Harvard University Press Wilson, Edward O. & Kellert, Stephen R. (1995) The Biophila Hypothesis. Washington D.C. Island Press World Health Organization. (201$) Mental Health: a state of well-being [online] http://www.who.int/features/factfiles/mental_health/en/

McNielly, Claire, 2nd June 2014. Warning: 46,000 homes in Northern Ireland are at high risk from flooding [online]

53

APPENDIX 1

Full ‘Urban Biophilia’ Briefing Document

INTRODUCTION

RECOGNISING NEED

‘The biophilia hypothesis proclaims a human dependence on nature that extends far beyond the simple issues of material and physical sustenance to encompass as well the human craving for aesthetic, intellectual, cognitive, and even spiritual meaning and satisfaction.’ (Wilson, Kellert, 1993: 21)

Mental health Northern Ireland (NI) is affected by increasingly high suicide rates, and as research reveals these mainly affect younger generations3. In 2016, suicide rates in NI were the highest in the UK for yet another year.

What is more, ‘..a number of people will have mental health problems related to the violence, and that can be passed on to their children and affect some of them for generations.’4 Currently, over £7m is assigned annually by Northern Ireland’s Department of Health, Social Services and Public Safety towards suicide prevention alone5. Health Minister Michelle O’Neill confirmed suicide rates are ‘unacceptably high’ and reducing these is the department’s chief priority6. She concluded that, ‘high levels of deprivation, the legacy of conflict and high levels of mental ill-health create a very challenging set of circumstances for many people in the North of Ireland’ 7 This implies that issues affecting mental health and wellbeing are a growing cause for concern in Northern Ireland and Belfast in particular.

Outline History Belfast has a long and troubled history, from a city with remarkable industrial development during the 19th century to a highly divided city after the violent sectarian conflict. The loss of employment and increasing problems associated with living in a divided city were mirrored by a sharp decline in Belfast’s population. The population peaked in the late 1940s with 444,000 inhabitants but has been in continual decline ever since.

Current Situation According to the Belfast City Report of 2007, the most difficult and critical task for the future decision-makers of the city is to find a way to bring social integration and cohesion to a divided city. The divisions are still ‘written’ into the territorial layout of the city and the ingrained patterns of division within the neighbourhoods 1.

The divided nature of communities and subsequent effects on the urban environment is a fundamental impediment for the development of West Belfast. Belfast City Council recognised the potential for ‘culture’ as a social healer within regeneration plans in 2007: “Participation in . . . cultural activity enhances the self-esteem of the individual and empowers communities. These are important steps to building the confidence which allows us to recognise and respect others. Cultural activity provides a strong social focus: at its best it can strengthen community networks, help to break down barriers and overcome divisions.” 2

1 Plöger, Jörg. (2007) CASE Report, Belfast City Report.

2 Belfast City Council. (2007) An Integrated Cultural Strategy for Belfast - Culture at the heart of our city’s development., p.37

Deprivation and Employment Deprivation in Northern Ireland is concentrated in Belfast. Nine out of the ten most deprived wards in the province are located in the city (NISRA, online). These ten most deprived wards are mostly in the West Belfast area, with the Falls and Shankill ward being in the top 5. This highlights a serious deprivation problem in West Belfast, with high rate of unemployment and low median wages, that can escalate a cycle of mental health problems:

Connection to Nature The natural environment forms an important part of Northern Ireland’s cultural heritage. For many city-dwellers, however, it may seem mostly concealed, and physically detached from their dayto-day lives. The historic urbanisation of Belfast had a huge impact of the natural landscape; the entire city of Belfast now lies within a ‘Designated Flood Risk Area’8 and large portions of the city ‘live in fear of the rain’ 9. What is more, a recent study revealed that only 25% of children in NI are connected to nature, an alarming figure that suggests an awareness of NI’s natural heritage is gradually deteriorating. 10 3 Author Unknown, ‘Suicide Deaths’, http://www.nisra.gov.uk/demography/default.asp31. htm, Northern Ireland’s Statistics and Research Agency, [accessed on 7.12.2016].

4 Author Unknown, ‘Suicide: Northern Ireland has UK’s highest rate for second year in a row’, http://www.bbc.co.uk/news/uk-northern-ireland-35491402, BBC News, 4th February 2016, [accessed on 7.12.2016].

5 Ibid.

6 Author Unknown, ‘NI suicide rate soars by 19% with six people taking own lives every week’, http://www.belfasttelegraph.co.uk/news/northern-ireland/ni- suicide-rate-soarsby-19-with-six-people-taking-own-lives-every-week- 34924143.html, Belfast Telegraph, 30th July 2016, [accessed on 29.12.2016].

7 Ibid.

8 NI Rivers Agency 9 The Red Cross undertook the following reports on flooding and its health impacts in order to assess the impact of flooding on those who lived in high flood risk areas – Living in Fear of the Rain’ (2010) and ‘Cut off by the Floods’ (2012) 10 RSPB, Author Unknown, ‘Connecting with Nature: Finding out How Connected to Nature the UK’s Children are’, Report by the Royal Society for the Protection of Birds, 2013, p.9 54

APPENDIX 1

Full ‘Urban Biophilia’ Briefing Document What the Proposals should achieve The following proposals will explore the concept of ‘biophilia’, a term coined by Edward O. Wilson to describe what he believes is humanity’s innate affinity for the natural world . With this concept in mind, individual projects will investigate ways of connecting local communities with each other, with nature, and aim to heal the local environment, and socio-economic well being when brought together.

The proposals will provide a high quality, biophilic design of an adaptable space which is flexible enough to suit the changing needs of the local community. The public will have access to areas of the building for a range of functions to aid in their well being. The building functions will form a response to the social needs of of the actors on and around the site, providing cross-community spaces that are shared and resilient.

In order to sensitively work within the existing urban fabric, adaptive reuse of existing buildings will be implemented where appropriate.

BRIEF OVERVIEW & AIMS Wellbeing Issues (Environmental, Social, Economic) The intention of each proposal will be to promote health and wellbeing for the benefit of the community. Aiming to support in a holistic manner people with mental, spiritual and physical issues. It is a priority for each individual agenda to provide recovery and healing methods for the individual as well as the community as a whole.

The proposals will provide opportunities for further research on nature as a tool to tackle mental health issues. Each proposal will take a different approach for rehabilitation purposes. The main idea behind each program is to provide new skills and opportunities through series of workshops endorsing employability and improving mental health as well. It will provide in general activities for environmental, social and economic wellbeing.

Social and Cultural Integration One of the intentions of this project is to stimulate social and cultural integration in the Falls Road district through the rehabilitation and recovery of space for green infrastructure. This will be achieved via the following objectives:

By making use of local materials and resources the project will identify the ‘actors’ who can generate community interaction and local economic development. The project should also encourage the integration of currently segregated ‘actors’.

Green Infrastructure that can provide a shared and flexible space in the community should therefore create a destination for local residents and/or workers that enables them to socialise, giving them a reason to engage in The Falls area. Thereby interaction and integration will be strengthened as well as a sense of community ownership and stewardship.

Providing public green space which improves the environmental appearance of The Falls and reduces the urban streetscape (with soft landscaping, planting, etc.) This will create a more attractive destination for visitors and give them a reason to not only visit but also invite them to stay longer in the area, which can thereby promote local cultural and historical features.

The design of green infrastructure which are accessible to all will increase positive street-level activity and social interaction. The provision of green spaces should encourage outdoor activity for relaxation, exercise and leisure pursuits that is of mutual benefit to the social well-being of the community (as well as having physical and mental health benefits).

Relationship to Context The proposals remain sympathetic to the existing urban fabric of the Falls Road, utilising existing infrastructure and prevailing a good connection with the main arterial route of the Falls Road.

Buildings of historical value on the sites will be re-adapted and reused, where applicable, restoring their outer envelopes to celebrate their presence in the Falls Area once again. Any proposed additions to historic buildings will remain sensitive, both in scale and materiality to their character without detracting from it or imitating it.

The building’s orientation will support a welcoming nature to enable greater public use. Additionally, following a thorough study of existing community opportunities each one of the programmes endeavours to follow a community-inclusive model from inception to completion.

The proposed outdoor environments aim to create a plethora of new, high quality and much needed public spaces for general public use in the Falls Area. The proposed public areas will carefully examine the

immediately adjacent context creating welcoming and safe outdoor spaces.

Finally, all of the proposals will inherit a degree of permeability, projecting activities back to the Falls Road Strip enabling a greater community engagement.

Technical Issues The proposals will take a holistic approach to the design work and consider all aspects in the wider context of society, economics and environment to create an sustainable architecture with minimal environmental impact. This will be done by maximising the efficiency and moderation in the use of materials, energy, as well the the development space. For instance , each design will prioritises the local materials and resources in construction while introduce natural lighting for the indoor spaces.

The proposals seek to reduce consumption of nonrenewable resources, minimize waste, and create healthy, productive environments by different passive and active technique such as introducing solar panel, wind turbine, as well as greywater and rainwater harvesting system. Also, flood preventative design will be applied as flooding is one of the big issues along the Falls.

Nature The proposals aim to utilise nature as an environmental, mental, cultural and social design tool. Each proposal will explore a plethora of ways to integrate community and nature and will take a holistic approach to wellbeing through appropriate built responses connecting people and nature.

The proposals will use their individual connections to nature as a tool for learning, research, storytelling, rehabilitation and healing. By using nature as this tool, the local community will be reminded of nature’s innate value and their shared, cultural ties to the local landscape.

The proposals will provide a range of spaces providing connectivity to nature. Each proposal will draw inspiration from nature and utilise its ability to exaggerate qualities within a space. Nature will be used as a key design tool throughout all inquiries. A spatial exploration of the relationship between indoor and outdoor spaces will be undertaken, in particular, relating to the functions of public, private and semipublic spaces.

55

APPENDIX 1

Full ‘Urban Biophilia’ Briefing Document FUNDING Niamh (Northern Ireland Association for Mental Health) It provides personalised, recovery focused, community-based support for people who have had experience of mental ill-health. It provides also support for people with intellectual and learning disabilities and more complex needs. In addition, it also provides therapeutic support through employee assistance programmes and specialist therapeutic services delivered in a wide variety of organisational contexts. Their vision is wellbeing for all people.

Their values are the following: - To provide high quality, professional & innovative services.

- To engage with and inspire each other.

- To Influence policy and public opinion.

- AWARE (national depression charity for Northern Ireland) AWARE deliver mental health and wellbeing programmes into communities, schools, colleges, universities and workplaces. It is the only charity working exclusively for people with depression and bipolar disorder. These programmes include their suite of Mood Matters programmes, Living Life to the Full, Mental Health First Aid and Mindfulness. Different groups across Northern Ireland are providing regular in person support in communities. The groups are facilitated by highly trained volunteers who are supported to carry out their responsibilities. AWARE has a fundraising department organising fundraising events in schools and communities throughout Northern Ireland.

Mental Health Foundation with action in Scotland, Wales and Northern Ireland The Mental Health Foundation is a UK charity that relies on public donations and grant funding to deliver and campaign for good mental health for all. Their work aims a world with good mental health for all and their mission is to help people to thrive through understanding and sustaining mental health. Their knowledge has been informed by various research and practical based studies. They take care children, young people, families, people with learning difficulties and elderly people.

Department of Culture, arts & Leisure (DCAL) DCAL is a government department with responsibility for Culture and Arts development. Its mission is to ‘protect, nurture and grow our Cultural Capital for today and tomorrow’. DCAL aims to: enable as many people as possible to experience and appreciate the excellence of our cultural assets; to promote creativity and innovation and

lifelong learning; to encourage respect for celebration of diversity; to ensure the sustainable management of cultural infrastructure; and develop and deliver cultural products and services.

Edwin Poots, the Minister for Culture, Arts and Leisure stated in the Integrated Cultural Strategy for Belfast in 2007 that, “I believe that it is important for central government and local government to work collaboratively on funding for the arts in order to maximise the benefits for our citizens. To date my Department and the Arts Council of Northern Ireland have announced investment of over £27m in the arts and cultural infrastructure in Belfast. . . This investment in arts infrastructure will help to regenerate . . . and it will also act as a catalyst to promote cultural tourism and enhance the city environment both for residents and visitors. I fully support and welcome any culture and arts initiative which can help realise the true potential of the citizens of Belfast and contribute to the cultural renaissance of the city and Northern Ireland as a whole.”

Belfast City Council Belfast City Council invests over £1m in grant funding to arts and heritage organisations in the city every year. The Council has introduced 3 year multi-annual funding to 11 flagship cultural organisations and has a forum of Multi-Annual Clients. In addition the Council has a development programme covering areas such as skills and capacity building; development of festivals and public art; and, profiling and celebrating Culture and Arts.

The Council has two principle aims in respect of culture and arts: • To develop the cultural product in the city • To use culture and arts to regenerate the city “Belfast has much to gain from strengthening its cultural provision. It has the creative capacity to take full advantage of the opportunities as both a cultural gateway and a regional driver. There is an opportunity for enhancement and development of the cultural product to respond to both individual needs and to contribute to the economic and social wellbeing of the city.”

“Cultural participation enhances the skills-base and has an important part to play in developing the quality of the workforce.

It does this by developing creative thinking and offering learning opportunities,including engagement in the voluntary sector. It can assist in improving the general educational level, encouraging adaptation to new technologies and providing a pathway to knowledge-based institutions. Targeting and developing key skills for

the cultural sector enhances the cultural infrastructure and develops the cultural product.”

The Big Lottery Fund: Awards for All Northern Ireland/People and Community Schemes A funding opportunity of up to £500,000 is available by the BLF in Northern Ireland, supporting positive change within communities.

Requirements comprise of a community-inclusive project from design to delivery, promoting new as much as reinforcing existing skills, offering a plethora of new possibilities for cultural and knowledge exchange. Ultimately, the scheme will be part of a greater, already operating community network.

Empowering Young People Funding of up to £600,000 is available to support young people between the ages of 8-25 with their everyday challenges.

Requirements include assistance in education, promoting new skills and fostering employability. Support towards health and wellbeing are the most crucial prerequisites for this funding opportunity.

Community Festivals Definition - ‘A community festival is a series of events (or a single event with several elements) with a common theme and delivered within a defined period. It is developed from within a community and should celebrate and positively promote what the community represents.’

The above funding will support a proposal which encourages the cultural revival of an area, enhances the quality of life, boosts the local economy, increases social interaction opportunities, alleviates social exclusion, contributes towards buildings a strong sense of community, enhances social and cultural identities. The proposal will be community centred within the field of arts and culture.

Additional Funding Opportunities Belfast Health and Social Care Trust West Belfast Cultural Regeneration - Belfast City Council West Belfast Partnership Board English Partnerships (Homes and Communities Agency since 2008) Ulster University Queen’s University Landscape Partnerships NI Rivers Agency Conservation Volunteers of NI (TVC) The Department and the Arts Council of Northern Ireland (ACNI) 56

APPENDIX 1

Full ‘Urban Biophilia’ Briefing Document Key Spaces Reception & Security Office – Entry and exit point, general information, booking spaces.

Administration – Direct relationship to the reception, Administration, Organisation and Relevant Office Management.

Staff Support – Eating drinking, WCs, Sitting Additional Office Space Meeting Room – Flexible space, available for community use.

Foyer Exhibition Space – Proximity to main reception area, security.

Front of house circulation area, need for external access.

Kitchen/ Food and Drink preparation – open for community and staff use, including sitting.

Flexible space - Transient or evolving space, available for community adaptation.

Therapeutic space – Connected to nature. Interpreted differently for each unique proposal for individual project.

Workshops and Classrooms - for healing, making, storytelling, learning and skills, childcare [production area - light industrial activities within the arts and crafts].

Storage Public Toilets and Showers and Changing Room Disabled Access Circulation including staircases and elevators.

Plant Room Refuse Storage Common areas – gardens, public space, green gyms

Spatial Programme (2000-5000m2)

Precedents

Territory

Room Type

Community

Reception Security Office Workshop 1 Workshop 2 Workshop 3 Workshop 4 Workshop 5 WC's Storage Administration Staff room & kitchen

15 10 40 50 60 60 70 30 10 15 60

public private semi-­‐private semi-­‐private semi-­‐private semi-­‐private semi-­‐private public private private private

Staff WC's, showers & changing

50

private

Offices Conference Room Meeting Room Laboratory Classroom Flexible Exhibition Space Kitchen Dining Hall / Café Key Circulation Axis Library WC's Storage Therapeutic/reflection space Greenhouse Classroom Circulation -­‐ 20% Plant Room -­‐ 10% Refuse Storage

130 40 70 150 50 150 40 200

private private private private private public public public public public public private public semi-­‐private semi-­‐private public private private

Research

Integrated

Immersive

General

Total total before circulation

Size (m2)

100 30 20 50 30 30 320 160 30

Public / Private

Qualities

Maggie’s Cancer Centre II Manchester, United Kingdom 2013 - 2016

relaxed open organic in nature

Grace Farms Connecticut, New York, USA. SANAA - 2015 Suscon - Sustainable construction training and research centre by Stephen George + Partners LLP (2011 )

formal enclosed inegrated with university

open atrium crosspoint layered

Windhover Contemplative Center & Art Gallery by Aidlin Darling Design Whitworth Art Gallery, Manchester by MUMA 2015 Livsrum – Cancer Counseling Center, Næstvedgade, 2100 Copenhagen, Denmark by EFFEKT 2013

immersive quiet relfective open

2070 1560

57

APPENDIX 2

INFORMATION FROM THE EASTERN REGIONAL RIVERS AGENCY ON THE FLOW OF THE CLOWNEY RIVER.

Sample of the water depth monitoring of the Clowney River from the Rivers Agency.

Proposal Site

Falls Road

58

APPENDIX 3

Native Planting Research Correspondance

59

APPENDIX 4

Cost Assessment

The following cost assessment for the Urban Ecology and Cultural Landscape Centre is based upon the costings explained for a Community Centre project in the SPONS Architects’ and Builders’ Price Book.

This project was large scale, and proposed a concrete and steel construction making it comparable to this proposal.

The total square footage of the classrooms, workshops, cafe and other internal spaces was 1680 sq/m.

Example Projects Secondary School Block Extension Precedent (200m2) p.127 SPONS Community Centre (860m2) p.156 SPONS Concrete slab and steel frame const.

£/m2 1820 1379.87

BUILDINGS

90 50 35 250 150 85 280 440 300

estimated cost of buildings:

1680

WALKWAYS 0.5 x £/m2 for Walkway Construction 689.93

14 14 230 480 115 120

In addition to the internal spaces, the proposal includes a series of long walkways - also made from concrete and steel. In order to provide an estimated cost for this element of the proposal I halved that cost per sq/m.

Although the cost of the project is high, it is imagined that the project could grow incrementally over time - building the workshops that facilitate the community involvement in rebuilding their landscape first.

Funding

It is imagined Belfast County Council would be the majority investor in the project, recognising the wider benefits of the scheme and the potential for connecting it to other city-wide urban renewal and cultural regeneration projects. Other potential investors could be The Environmental Agency, Rivers Trust and the Universities involved.

building m2

£ 2,318,181.60

estiated cost of walkways:

973

£ 671,301.89

estimated cost of construction

2653

£ 2,989,483.49

AECOM, Spons Architects’ and Builders’ Price Book, Boca Raton: Taylor & Francis Group, 2015.

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