Download - UCA BA Architecture Tabloid 2016
BA (H
ON
S) A
RCH
ITEC
TURE
201
6
Faezeh Fateh, year 3
S H O R T S E C T I O NSCALE 1:100
Faezeh Fathi_Stage 3
Ranked 5th in the 2017 Guardian University
Guide, our School has developed a distinctive
approach to architectural education and re-
search that is informed by its rich Art School
heritage. In particular we emphasise activist
models of teaching, learning and research;
cultures of thinking and making that synthe-
sise traditional techniques with advanced
digital media and workflows: and a pedagogic culture that situates imaginative futures in
clearly articulated critical understandings of
the present. All of our activities consciously
face outwards to the world and engage di-
verse audiences through exhibitions, publica-
tions, collaborations and a strong public pro-
gramme of lectures and events.
Our BA Architecture course is a laboratory for
architecture and spatial design. We explore
the potentials of our discipline through indi-
vidual and collective actions and agency. This
requires a commitment on the part of our
students and staff to take positions in relation to the contemporary condition of the city, to
take responsibility for its transformation and
ultimately to take action. This activist ap-
proach informs all of the design projects that
we set for our students, demanding that they
take responsibility for aspects of the projects
objectives and aims, their development and
trajectory and ultimately their dissemination
and use. We share this mind-set with the wid-
er community of artists, designers and de-
signer-makers at UCA where there is a strong
tradition of valuing professional and creative
practice and agency. This Art School tradition
makes the Canterbury School of Architecture
an ideal place for the exploration and produc-
tion of ideas as things.
Stage 1Convened by Rob Nice
Design Studio:Studio Tutors:Tamsin Landells – Ratliff/LandellsHelen Leask – Leask Architecture Demian Erbar – Erbar MattesRob Nice - UCA
Additional thanks:Heather Newton - Canterbury CathedralAndrew Shedden - Turner ContemporaryHazeleigh Prebble - Film Maker (Resort Studios Margate)Nick Dermott - Conservation Architect (Thanet District Council)Margate Museum StaffResort Studios
Guest CriticsHolger Mattes – Erbar MattesChloe Young – Re:works StudioChristopher Sherlock-Scougall – Clague LLPJon SpencerMarc Williams – Associate Director at AHMM
Stage 2Convened by Kristina Kotov
Design Studio:Rhys Jones – Jestico + WhileKristina Kotov UCA
Studio Engineers & Technical Studies:Diarmuid Healy - Curtins Consulting Engineers UKHocine Bougdah UCAJeffrey Balylock - Curtins Engineers UKSimon Bye- Ellis & Moore Consulting Engineers
Landscape Architecture & Ecology:Eleanor Trenfield - Barton WilmoreJulian Bore - Lloyd Bore Landscape arch & ecologyColin Priest - Studio ColumbaMatt Wilson - UCA
Rebecca Taylor - UCA Archivist
Graghic Design:Aurelian Thomas - Jesctico + Whiles
Studio Critics:Alexander Richards - Clague LLPAllan Atlee UCADaniel Stilwell - Lee Evans PartnershipGabor Stark UCAHannah Sargeant - Holland HarveyJonathan Harvey – Holland HarveyJulian Seagers - Clague LLPNick Green - PublicaOliver Froome-Lewis UCARomey Edwards - redesignRui Vitor Baltazar - Holland HarveySandy Stuchfield MArch UCA
Stage 3Convened by Oliver Froome-Lewis
Design Studios:Tim O’Callaghan - nimtim architectsClaudia Dutson - Royal College of ArtLucy Jones - UCA Oliver Froome-Lewis - UCA
Consultants:Peter J. Corbett - Corbett and TaskerAlexa Lixfeld - Alexa LixfeldGraham Thompson - Ian Simpson Architects
Visiting Critics: Jane Hall - assembleCarrie Bayley - Moses Cameron WilliamsAlan Beveridge - RCKaLuke Butcher - Fielden + MawsonAndy Garton - Stanton WilliamsSiobhan Kelly - Studio UguisuDenitza Moreau - ISGAlmudena Cano Pineiro - Royal College of ArtPenelope Plaza - CoLLECTIVoXLaura Risseeuw - AECOMDaniel Stilwell - UCA MArchAnurag Vema - Latitude ArchitectsSenaka Weeraman - writer/ freelance
and across the years:Creative Practice:Suzanne Gaballa - Universal Design Studio
Technology:Hocine Bougdah - UCATabatha Mills-Harris UCA
Cultural Context:Matthew Wilson - UCA Allan Atlee - UCA
Design & Communications:Edward OliverJJ Brophy UCA
FABlab & modelmaking: Chris Settle
Technical support:Ben Westicott
James White_Stage 3
Nathan Back-Chamness_Stage 3
stage oneapproachA WAY OF THINKING::species of speculation and other opportunities to be playful...
The Stage One curriculum provides a research-intensive learning environment, which encourages students to dive in at the deep end, exploring the social, cultural and political milieus of our region. Whether it’s the construction and testing of Wearable Architecture in Canterbury, the Architectural Graft collages made for Canterbury Cathedral, or the models and drawings produced for the All Gone Margate project; students are always given the freedom and confidence to speculate; to play, to imagine and to take detours, as they explore places previously unimagined. This approach of using research and design as agents for socio-economic and political change is informed by an understanding of, and a response to society’s needs. So let’s be brave for a moment and speculate wildly.
Amare_H, Burton_A, CLayson_A & O’Hare
stage one
Out in the city...
On top of the world at Canterbury Cathedral...
End of year...
bodyscape_b_term 1_five week projectARCHITECTURAL GRAFT::the anatomy, idiosyncrasies + temperament of canterbury cathedral
Architectural Graft focused on the design of a small intervention to be inserted within the Canterbury Cathedral precincts. Inspired by Eugène Emmanuel Viollet-le-Duc’s theory of architectural restoration, students used Canterbury Cathedral as a tool, not only for learning about surveying, but also to enhance their understanding of different approaches to restoration. Viollet-le-Duc believed that Gothic architecture had a didactic value, not as a provider of historic motifs to be replicated, but as a model to be explained, analysed and discussed. He argued that historic buildings should not necessarily be restored as they were, but also be updated.
With horticulture as a point of departure, Canterbury Cathedral became the host, onto which the students proposed the design of a graft(parasite) that functioned as a mediator between the visitor and the Cathedral; drawing their attentions to, as Viollet-Le-Duc suggests, the ‘anatomy’, ‘idiosyncrasies’ and ‘temperament’ of a building. The students’ began the project by surveying an allocated site within the precincts and then produced a set of drawings, plans, sections and elevations, which formed the base for a design proposal. Through the use of collage, they then developed a small-scale intervention which grafted onto the skin of the Cathedral, forming a dialogue between the old and the new. Amongst other things, the students were required to decide whether their graft(parasite) would be either temporary, permanent, heterogeneous or homogeneous, thus determining the way their proposal would bond with the host structure. The graft could be as sympathetic or unsympathetic to it’s context as desired.
synoptic_terms 2+3_seventeen week projectALL GONE MARGATE::the regeneration game
Now in it’s third year, the final design brief required students to investigate the complex issues associated with coastal town regeneration. It evolved over a seventeen week period that was broken down into three phases. The first phase of the unit focused on research, through site survey and analysis; the second phase focused on design development through the use of diagrams and modelling; and finally the third phase required further design development through modelling, drawing and collage.
Culture-led regeneration, through the commissioning and refurbishment of landmark buildings, can be seen taking place across a number of seaside resorts in the South East; the De La Warr Pavillion in Bexhill, extensively refurbished by John Mcaslan + Partners, opened in 2006; followed by the Quarterhouse in Folkestone, a refurbishment by Alison Brooks Architects, opened in 2009; after a number of turbulent years and various proposals, the Turner Contemporary, designed by David Chipperfield Architects, opened it’s doors in 2011; and more recently in 2012 HATprojects Jerwood Gallery in Hastings opened.
The students were required to develop a building on Margate Harbour Arm that could accommodate a live/work space for a skilled professional (long-term occupant), temporary accommodation for an apprentice (local resident aged 18-24) and a public space for both the professional and apprentice to interact with other members of the local community and tourists. The trades were all linked with Livery Companies (Salter / Apothecary / Butcher / Currier / Cordwainer / Vintner / Baker / Clockmaker / Ship Wright / Light Monger / Scientific Instrument Maker / Haberdashers / Girdler / Merchant Taylor / Skinner / Weaver / Furniture Maker / Distiller / Currier / Felt Maker / Distiller & Loriner) and it was therefore essential that the professional occupant should be able to practice his/her profession and at the same time provide a service that would benefit the local community. To add to an already challenging brief, the apprentice had a musical interest that must also be accommodated.
Ultimately, the students’ were given the freedom to construct their own narrative/scenario, to enable them to address the complex issues associated with culture-led regeneration, with the aim of underpinning the long term prosperity of Margate.
bodyscape_a_term 1_five week projectWEARABLE ARCHITECTURE::amplifying the infra-ordinary
Wearable Architecture was the first design brief that encouraged students to develop a deep knowledge and understanding of place and peoples reaction and connection to it. From the beginning, the Stage One students had to work beyond the confines/relative safety of the design studio, exploring the social, cultural and political milieu of the everyday, the ‘infra-ordinary’ (Perec 1973) on Canterbury High Street. Rather than emphasizing the exceptional, the sensational or the spectacular, the concept of the ‘infra-ordinary’ focused the students attention on those everyday things we often take for granted, but that nevertheless inform our perception and therefore our experience of the urban environment; the obvious, the mundane, the habitual, the parts of every day life that go unnoticed.
Working in small groups, students started the project by mapping the ‘infra-ordinary’ themes and patterns encountered on their given site. Following this exercise, they then focused on a single theme observing and recording its qualities and exploring ways of amplifying the perception of those qualities. Based on these investigations, students developed, assembled and deployed; either sanctioned or unsanctioned interventions along the High Street, which allowed them to test their designs in a ‘real life’ situation.
Hyab_AEstillore_AIp_JRusu_C, Lard_A, Odubeko_D, Petterson_I & Ogunbayode_T
DismemberedFor years I sensed my childhooddreams were presagesA yearning for my father’s musicfrom his piano through the wallIt echoed as I went to sleepMemory drains awayA blurred jay ickers just abovethe mirrored surface of lightFaint strips of blue unfurlBirdsong returns dissolving themadness of night into cool silvermorning Bilal HasanEthan Leach
Behiethnesadj. the thrill felt when observing a secret or inaccessible space, which is soon subsumed by introspection about what that space- and your reaction to it -mean.
Hiersynadj. The sense of simultaneous belonging to the place you are in, but also being a separate, completely alien entity.
Mercurialadj. The sense of being a fluid, changeable being, subject to the whims of the immediate environment and your own mind.
3 follies for 3 autonomous landscapes
Connie Latham
Final FolliesThree Landscapes. Three Sites. Three Follies.
Within floating landscapes are wormholes/portholes. One would arrive on a site, with no map or reference point, ready to roam the created world. The disconnection from other forms of life and environmental factors which affect ones psy-chological state will start to deteriorate. One would become disorientated and lost. Once the folly comes into view, the visitor is drawn to the reference point, orientating ones self. Before getting to close to the folly however, they will be sucked into the wormhole which leaves them on another site (Luminal/Void/Surface).The forms of the follies are based on the concept that the familiar shapes are ways of referencing the world. These follies draw people into a false sense of security and therefore disorientate them even more
Munich study trip
stage two
the Kentish Bermuda Triangle
jordan whitewood - neal
FOLLY MODELS
Surface
Liminal
Void
EXPLODED AXONOMETRIC Taking the house icon’s most basic form, my follies will be a tryptych spread between each landscape, the same form Rage Against the Anthropocine
Rage Against the Anthropocine is an attempt at creating an architectural discourse about humans growing influence on this planet, and how our growing globali-sation and disillusion of disconnection from the natural environment is effecting our architecture, and putting at grave risk ours and our planets future. Since man developed on earth one thing which links us all is our fundamental need and desire for shelter, and through history the shelter has developed. Now, in our present day the idea of shelter has evolved into an architectural icon, the recognisable form which we all hold so dear. But it is this very idea of creating shelter which through growing population, has evolved into what is now a new geological layer upon the earth. This project is going to explore the globalisation of this architectural icon, the house, and how, in its most basic and metric of sense has been un-thoughtfully distributed and utilised around the globe.
DIAGRAMDEMOGRAPHICS OF NUNS AND THEIR PROXIMITY TO SITE
Mother Superior
100m 100m
5 mins
5 mins
5 mins
Nun
Sister
Farmland under Nuns care
Existing Religious structures
Possible route to site for nuns
Plum
Radishes
Onions
Cabbage
Lettuce
Caulifower
Carrots
Apple
Canteloupe Melon
Fruit and vegetables Nuns grow
Minster Abbey Nun Demographics
ExperienceTitle
0 Years
9.5 Years
N/A
Fishing Christians - Ayo Rosanwo
Perspectival Collages of ‘Supplimentation’ considering the low wind and controlled dispersal of fertilizer.
the Augury Landscape
connie latham
carla cabrera fernandez
‘Supplementation
a cure for Shell Ness.To rid Shell Ness of pollutants and unwanted chemicals through natural wetland processes and germination.Taking precedence from the dandelion effect, ‘supplementation’ uses sycamore seeds as a nutrient carrier, which is dispersed by the wind.
flux the rope house:: rope
Site analysis _ Topography diagram
Aerial perspective viewAerial plan view
Proposal _ Plan visualisation
N
joshua spitter
Master Plan / Site Flow- Plan of our site, including each of the processes showing the flow of movement throughout the site.
Export
Market
Crops
Grazing
Abattoir / Sheering
Callum Plumb, Daniel Ford, Jason Brooker, Luke Baggott
the Kentish Bermuda Triangle
ground floorminus first floor
scale 1:500
Plans
ground floor
first floor
second floor
third floor
fourth floor
basement
3 2
1
4
5
1. 300x300x2400mm shellac treated walnut blocks2. polished concrete3. 300x150x2400mm o ished nut flooring
4. 1200x2400x40mm polycarbonate sheets5. bespoke warped brass sheet
Elevation Plan
Bilal Hasan
Rueben Tozer
1
2
3
4
1
2
3
4
Memory Palace
ayo rosanwo
laboratory short sectIon 1:100
N
2m 5m 10m 20m
ra al lace300 million years old 10 m
m m m m
m m m m m m
m m m m 5m m m
mm m m mm m m m
moss remembers. It recallsthe touchdown of each larkthe slightness of that weightthe appetites of flock which graze the constant tide and toll of weather and, too, the heavy trudge of boots above all, stores the footsteps of those who are now lost thoseresidents and denizens of moorfor whom moss feels an absence, their drum of feet no longer pounding like a heartbeat any more
Adapted from a poem by Donald S. Murray, from The Guga Stone: Lies, Legends andLunacies from St Kilda (Edinburgh: Luath, 2013)
greg howes
ethan leach
connie
lath
am
Initial Development
The research phase provided parameters,
programs, and knowledge to design around. The concept of the project circled around the idea of Dialogues. Dialogues existing on site, dialogues between programs. For example, there is a conflicting dialogue between the collage streets of Ramsgate and the grided columns on site.
Programmatic Exploded Axo
cro cop c Po e tial
These macro photos show the growth of mushrooms from a mycelium induced substrate, Growing these throughout the pro ect has enabled me to physically e perience the growth process and apreciate the unbelie able potential which sits so subtly in the gills of these mushrooms, the potential to grow and ossify into spaces way beyond its own.
ra pare
jordan whitewood-neal
MARSEILLES15/16
In Castelnaudary, cassoulet is prepared with duck confit, pork shoulderand sausage. In Carcassonne a cassoulet will typically have mutton, and the
Toulouse version has duck confit, Toulouse sausage, and is breaded on top. In Auch, only duck or goose meat is used, and crumbs are never
added on top. And each town believes they make the one true cassoulet.If an apparently simple casserole can be created with so many
variations, generating passions and controls and provoking such heated
opinionation, what about creating a new city?
Cassoulet comes from the word cassole - a conical earthenware container
glazed on the inside. The container for London has been repeatedly broken, re-cemented, extended and adjusted. It comprises boundary lines on maps rather than city walls. Forming a new place is made more complex by not
really being able to tell where the place starts or ends and by the qualities of one location
becoming contaminated, or enhanced, by the flavours and interminglings of another.
Affordability in Hackney Wick, much like other edge lands of the modern city, is becoming elusive, rents continue to
increase, unofficial ‘live-work’ spaces are becoming more and more lived in, land owners are queuing up with their residential planning applications, and this once renowned ‘densest concentration of artists studios’ is looking set to
tread the inevitable path led by market forces.Richard Brown, Affordable Wick.
We started the year considering the possibility of creating a positive symbiotic relationship between light-industrial activities and housing to form a novel whole. Our housing was integrated with the Hamlet Industrial Estate, on the edge of Fish Island at White Post Lane, consolidating the future of the
German Deli, its groaning pallets of firm, pale, cabbages and bold, East Anglian, carrots sheltering in the crinkly-tin shadows - just out of sight of the
QE II Olympic Park.
In the spring we travelled to wonderful Marseille - eating out as a group at
La Friche, chilling at A&E and locating our research close by in edgy Belle
De Mai. The Old Docks, regenerated with a variety of recent arts and cultural
initiatives, had been our starting point for locating a project. We had asked: Why were the docks selected for these initiatives? Who have these regenera-
tion
projects been for? What has been regenerated? Who will occupy the new municiapal spaces at Villa Méditerranée? Who records their passage beneath
the Miroir ombrière? What are the consequences of reinforcing regional cultural history through MuCEM? What are the themes selected for the Parc du 26ème Centenaire? And how do all of these relate, if atall, to Le Corbusi-
ers ‘Unite’ created as a prototype to address a housing shortage of 4,000,000 dwellings in 1950’s France, or to Zaha’s headquarters for the french contain-
er shipping company CMA CGM - ‘A gateway to the city from both land and sea’.
In Belle De Mai we decided to look at the possibility of initiating alternative, perhaps more subtle, identities for the city...
of-l
CASSOULET+
City Context_Wider Context and project aim
Using the Lido, market and theatres withinn a cross programmed link the large area of space becomes a gold mine for artistic inspiration of the flow of human life.
Men in suits crossing paths with women in bathing suits and older gentlemen passing the artistic endevours of the artists create a paradigm of social inter connection to help those with their voice taken away to feel more able to make a change. whether it be film, painting, sculture or writing the arts can flourish in their natural environment: within the midst of humanities currents.
stage three
James White_Stage 3
Nathan Back-Chamness_Stage 3
Structural Diagram, showing frame of structure, suporting circulation space and the stasking of amenities.
Model Of Structure
Stage 4 Living
Bathrooms
Kitchens
Corten Brick Facade
3M x 3M Steel Frame
Circulation
Supporting Concrete Lift Shaft
Glass Roof
Corigatted Metal Cladding
The column is dragged down the slope movement only happening if enough people are visiting the building at once. The stone comes from nearby construction where stone has been excaveted
The column is winched up-right an moves through the rest of the site upright on rails
When in line with the build-ing the column is ready to be carved
Saint barbaras wheat is brought and planted by the locals
The wheat is harvested and malted
The wheat is distilled into whisky
The whisky is stored in vaults under the building where it is flavoured by the marble dust
The barrel is winched through a verticle path in the building
The whisky is drank in the bar as a language barrier aid
Repeats on a 2 year cycle with people of one street coming to the building in their free time
Collectively learning how to work with stone
Design and drawing of col-umn
The carving of the column slowly takes place with nar-ratives of the people carved onto the column
The drawings are archived with previous years drawings
Disscussions and critque of the design and techniques
A festive celebration happens at the end of the two years where the people from the surrounding streets come to celebrate the work that has taken place and consume whisky that was produced over the two years
Nathan Back-Chamness_Stage 3
Emily Martin_Stage 3
ELEVATION 1:200
Initial Concept CollagesProgram Superimposition
Program Superimposition Collage 1 Program Superimposition Collage 2
Flower
Tree-Forest
Water-Irrigation
Water- Irrigation
Soil Types
ProgramBarries
Program Connector
Water- Irrigation
Program Connector(CurvedWalkway)
Boulevard(Linear Walkway)
Program Connector(CurvedWalkway)
Flowers
Exploded AxonometricOverall Project Layers In Context
1
2
3
4
5
6
7
8
9
1011
12
13
14
15
16
17
18
19
2021
22
23
24
1. Overall Masterplan
2. Tree Forest (x2)
3. Glass Tree Pavilions (x3)
4. Flower Pavilions (x6)- Intimate Spaces
5. Main- Large Flower Pavilion-Housing Marseille’s Endangered Species
// Building:
Ground Floor
6. Glazed Roof with Openings
7. Roof Structure
8. Ground Floor Spatial Division
9. Facade Structural Columns
10. Facade Glazing
11. Ground Floor Structural Columns
12. Ground Floor Slab
// Building:
Basement
13. Soil Containers
14. Basement Spatial Division
15. Basement Structural Columns
16. Basement Floor Slab
17. Basement Walls
18. Basement Exterior (Viewing) Garden
// Masterplan:
19. Boulevard Plants
20. Boulevard
21. Flowers
22. Project Base (In-Ground Openings)
23. Project Grid- Soil Type Vs. Flower-Tree Origin
24. Context
Alanoud Al-Radaideh_Stage 3
E X P E R I E N T I A L JOURNEY THROUGH THE PROCESS AND POETRY OF POTTERY MAKINGTHE ENTERANCE OF THE BUILDING IS A STEP INTO THE FIRST PROCESS OF POTTERY MAKING. PEOPLE ARE ABLE TO WALK IN AND AROUND THE CLAY ROCKS WHICH HAVE BEEN UNLOADED INTO THE SITE.
T H E M A K I N G POTTERIES MADED USING THE POTTERY WHEELS INSIDE THE KILN STRUCTURE. THE CURVED STAIRCASE IS A SYMBOL OF CURVED POTTERY AND THE EX-PERIENCE OF WALKING ON CLAY.
T H E F I R I N GTHE LAST PROCESS WHICH IS FIR-ING THE POTTERY. MANY POTTERIES THAT ARE MADE ARE FRAGILE THERE-FORE THEY CAN BROKEN EASILY. ANY BROKEN POTTERY WHICH CAN NOT BE DISPLAYED IS FILLED WITH CON-CRETE AND PLACE ON THE FLOOR MAKING A FLOOR SLAB WHICH THEN ENABLES YOU TO REACH AND VIEW THE DISPLAYED POTTERY CLOSELY.
Faezeh Fathi_Stage 3
C O L L A G E OF KILNS AND THE MIDDLE STRUC-TURE BETWEEN THE KILNS
C O L L A G E S &
D R A W I N G S
North West Elevationscale 1:200
1. Volumes and baths extruded into ground2. 4m2 structural grid
round oor structural concrete walls4. Interior travertine cladding5. Exterior limestone cladding6. Columns and arches to reinforce concrete ceiling
irst oor concrete oor sla8. Copper plates
irst oor in situ concrete structural walls10. Columns and arches to reinforce concrete ceiling
Third oor concrete sla12. Gable roof
mm e osed concrete at roof Third oor structural concrete walls mm e osed concrete at roof
1
2
3
45
6
7
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9
1011
12
13
14
15
c
a
b
Rachel Hiu-Shu Housley_Stage 3
Foundations
A1. Community Garden 5 - 10 mm dia Gravel 200 mm In-situ concrete 150 - 300 mm HardcoreA2. Service Core, Program Core + Cafe/Community Space Concrete Pile
Structure
B1. Service Core 200 mm RSJ Beams + ColumnsB2. Program Core + Cafe/Community Space 200 x 400 mm Glulam Columns 100 x 250 mm Glulam BeamsB3. External Ramp 75 mm CLT Panels 5 mm dia Cable + Cross CablesB4. Main Stair Case 75 - 50 mm Cast Steel
Floors
C1. Service Core - Composite Floor 50 mm Screed Kinetic Energy Recovery pad (hallway only) 150 mm In-situ Concrete CompositeC2. Program Core - Suspended Timber 50 mm Screed 25 mm Sound Insulation 75 mm CLT Panel 50 mm Thermal Insulation (Ground Floor only)C3. Cafe/Community Space -Suspender Timber 50 mm Screed
25 mm Sound Insulation 75 mm CLT Panel 50 mm Thermal InsulationC4. 50 mm Screed 150 mm In-situ Concrete Composite
Walls
D1. Service Core 200 mm Gabion Wall 50 mm Thermal Insulation 200 mm In-situ Concrete Rammed EarthD2. Program Core 25 mm CLT Panel 50 mm Thermal + Sound Insulation 25 mm CLT PanelD3. 25 mm Reinforced Double Glazed GlassD4. Folly Shed 500 mm Stone Wall
Roofs
E1. Service Core Screed Damp Proof Membrane 50 mm Thermal Insulation 150 mm In-situ Concrete CompositeE2. Program Core + Cafe/Community Space Roof Felt Damp Proof Membrane Exterior Plywood 100 mm Thermal Insulation 200 x 400 mm Glumlam Rafters 5 mm Aluminim Finishing (edges only)
Program/Activity
F1. Information DeskF . ounselor ceF3. Stage 2 Group Work Studio Group Painting Group Painting TutorialF4. Public LibraryF5. Specialised art Studio ra ti Spray aint orkshopF6. Public Courtyard Outdoor Folly ConstructionF7. Cafe Outdoor SeatingF8. Folly CraneF9. Completed Folly Leaving SiteF10. Cafe/Community Space Welcome Desk Bar/Cafe Main Public Entrance to Folly ShedF11. Folly She Folly Being Transported by Scissor LiftF12. Service Space
Special
G1. Stage 2 - Chloe and Alexis group painting a landscape.G2. Rainwater Collection TankG3. Simone documenting the construction of the latest folly for the local gazette.G4. Antonio, Jenifer and Claudia watching their folly be lowered to the folly shed display area after 3 months on show in Marseille.
. uca, an an iety sufferer e plains his condition to a local community member.
A1.
A2.
D1.
F1.
F2.
B1.
C1.
B4.
E1.
E2.
F3.
G1.
F4.
F5.
C2.
D2.
D3.
F6.
F7.
G2.
G3.
F8.
F9.
D3.
D4.G5.
F10.
E2.
C2.
B2.
B3.
C3.
C4.
F11.
G4.
F12.
John Andrews_Stage 3
North West Elevation1:200
Tyler Lemmon_Stage 3
1 . F O R M A L L Y L E A R N I N G
A L A N G U A G E
1A . Open air language exchange
1B . Covered language exchange
1C . Group language lessons
1D . Seminar room
1E . Technology room
1F . Sunken language exchange
1A
N
1B
1C
1D
1E
1F
2A
2B
2C
2D
2E
3A
3B
3C
3D
3E
3F
3G
S T R U C T U R E A N D M A T E R I A L S
A . 50 mm Twin wall polycarbonate embedded with
LED's
B . 500\250 mm glulam beams
C . 130\ 160 mm glulam substructure
D . Glulam structural trees, steel connections
E . 500\ 500 mm glulam columns
F . Ball & socket mast plate 30 mm tensile rod
G . Pile foundations, timber raised 250 mm above
ground level
A
BC
D E
F
G
H
I J
K
L
N
O
P
Q
S P E C I A L C O M P O N E N T S
i . Activities notice board
ii . External transitional space
iii . Refreshments lift
iV . Source Villea trailing plant
V . Multi lingual food dispenser
Vi . Tensile hammock
Vii . manual winch
X . Phone chargine power source
Xi. positional language climbing wall
i
ii
iv
v
vi
vii
x
xi
001
002
003
004
005
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015
M
L . 15 mm recycled coloured rubber flooring, 15 mm
pressure sensor switch mat, 15mm CLT board
encasing electrics, 60 \ 50 mm timber beams
M . 50 \ 60 mm glulam framework supporting
30 \ 50 mm tyre strips
N . Timber trellis lift facade for planting,
1500\ 2000 mm concrete lift core
O . 15 mm recycled rubber flooring, 70 mm screed,
polythene separating layer, 200 mm concrete floor,
foil separating layer, 75 mm thermal insulation
2 . L E A R N I N G T H R O U G H
E N T E R T A I N M E N T
2A . Comic book reading nook
2B . Local performance space
2C . Film screening
2D . Petanque court
2E . Picture book nook
3 . L E A R N I N G T H R O U G H
N E C E S S I T Y
3A . Coffee stop
3B . Roof terrace
3C . Bar
3D . Maze
3E . Food stop
3F . Seating area
3G . Ice cream shop
H . 10 mm twin wall polycarbonate, 1500\ 2000 mm
concrete lift core
I . 15 mm Single ply membrane, 3mm dpm, 160 mm
mineral fibre insulation, 130\ 60 mm glulam
beams, 35 mm CLT board finish
J . 10 mm twin wall polycarbonate, 90 \ 45 mm
battens , 110 \ 60 mm battens, 68 mm Aluminium
frame, 100 mm translucent polyester fibre
insulation, 10 mm twin wall polycarbonate
K . Timber 50\ 20 mm timber hand rails,
re-purposed tyre and timber balustrades
P . 3 route meeting point 150\70 mm timber columns
70\50 mm timber beams
Q . 1480 mm Cantilevered platform
C O N V E R S A T I O N T O P I C S
001 Arabic Lesson timetables
002 Descriptive words for the palace in French and
English
003 Greeting a friend on the necessary route
004 Activities to do whilst on holiday
005 Local French wine
006 Climbing advice using hand gestures to overcome
a language barrier
007 Asking directions to the coffee stop
008 Explaining the tradition of Bouillabaisse using
the dish
009 polite conversation Asking to pass by
010 Arranging a date for a French/Italian language
exchange
011 Climbing advice using hand gestures
012 Explaining French words for the weather
013 Repeating an audio tape
014 Pointing to the train line, learning words for
transport
015 Ice cream flavours 1 - 50 L O N G S E C T I O NL A V O I X D E M A R S E I L L E
J1C J1DJ1B J1J2M J2C J2B J1A
Emily Watts_Stage 3
Section A-AScale 1:50
A Structure
1. Concrete Pile Foundation Supporting a 650mm Concrete Transfer
Slab
2.Tapered Structural Calvin Truss , 250 mm Rectangle Section steel
3. 1m Radius Reinforced Concrete Column
4. 600mm x 300mm Reinforced Concrete Beam
5. Reinforced Concrete Waffle Transfer Slab 450mm 6. Reinforced Concrete Waffle Transfer Slab 450mm
B Construction
1. 150mm Concrete, 5mm Damp Proof Membrane, 45mm Tied Air
Gap, 210mm Block,
150mm Concrete,3mm Wall Finish
2. 18mm Plywood, 30mm Tiber Batten, 250mm Concrete,
150x50mm Timber,
150mm Insulation, 30mm Acoustic Mat, 20mm Acoustic Underlay,
18mm Plywood
3. 150mm Concrete Wall, 50mm Rigid Board Insulation 3mm Wall
finish 4. Interior Single Glazing
5. Interior Bifold Doors
6. 10mm Plaster Board, Steel Studs at 600mm centres, 100mm
Rigid Board Insulation
7. 5mm Exterior Finish, 50mm Rigid Board Insulation, 150mm C
Section Steel, 18mm Plywood,
18mm Acoustic Underlay, 5mm Tile Finish 8mm
8. 150mm x 50mm Square Section Steel, 50mm Steel Grate Flooring
9. 3mm Wall Finish, 18mm Plywood, 300mm Rigid Board Insulation,
18mm Marine Plywood,
1.5mm Damp Proof Membrane, 10mm Timber Batten, 30mm Batten,
Dust Catching Tile Facade
10. 18 mm Plywood, 150mm x 50mm Timber, 150mm x 50mm
Timber, 18 mm Plywood
11. 200mm Concrete, 50mm Rigid Board Insulation, 30mm Acoustic
Matting, 3m Floor Finish
12. 3mm Ceiling Finish, 18mm Plywood, 300mm Rigid Board
Insulation, 18mm Plywood, 1.5 mm DPM,
5mm Lead Standing Seam, Tile Roof
13. Insulated Joining Plate 4 Bolt Compression Unit
C Spaces
1. Vestibule
2. Childrens Library
3. Public Library
4. Concrete Park
5. Forum Theatre
6. Theatre Toilets
7. Theatre Cafe
8. Casting Workshop
9. Accommodation 1
10. Writer in Residence Housing
11. Writer in Residence Seminar Space
12. Writer in Residence Lecture Space
13. Staff Room/ Surveillance room
14. Writing Chamber 1
15. Parisian Style Cafe/ Diner
16. Exercise Space
17. Accommodation 12
18. Writing Chamber 12
19. Roof Garden
20. Exterior Cafe Space
21. Exterior Theatre Space
D Stage 1 Writing Chamber
1. 200mm Concrete, 50mm Rigid Board, 3mm Floor Finish
2. 3mm Wall Finish, 18mm plywood,100 mm Rectangle Section
Steel, 100m Rigid Board insulation, 18mm Plywood 3mm Wall Finish
3. 3mm Ceiling Finish, 50mm Rigid Board Insulation, 250 mm
Concrete
4. 250mm x100mm Structural Steel Framework
5. 200mm Tapered to 100mm Concrete Exterior with Ribbed Slanted
floor For Drainage 6. C Section Steels 100mm -150mm x 50mm, 18mm Perforated
Steel
7. 30mm Vertical Steel Battens, 18mm Perforated Steel
8. Toilet
9. Utility Room including Washing Facilities
10. Bedroom including Bed, Wardrobe and Storage Facilities
11. Writing Chamber including Desk, Chair, Removable Bookcase
and Books
12. Water Drainage System Connecting to Grey Water Tank
13. 150mm Drainage Pipe
14 Toilet
15 Washing Machine
E Stage 3 Forum Theatre
1.Lighting Rig
2 Motor Controlled Door Lift
3 200mm x 50mm Door Structure
4 18mm Steel Door
5 Door Slide Recess
6 Staff Podium
7 Exterior Theatre Space
8 Door Winch
9 External Entrance for Theatre Use
10. Internal Entrance for Forum Theatre
11 AV Room
12. 30mm Sound Baffles 13. Exterior Staff Podium
F People
Green People/ Resident
Grey People/ Staff
Red People/ Staff
A1
A2
A3
A4
A5
A6
B1 B2 B3
B4
B5
B6
B6
B8
B9
B10
B11
B12
B13
C1
C2
C2
C4
C5
C6
C7
C8
C9
C10
C11
C12
C13
C14
C15
C16
C17
C18
C19
C20
C21
D1
D2
D3
D4
D5D6
D7
D8D9 D10
D11
D12
D13
D14
D15
E1
E2
E3
E4
E5
E6
E7
E8
E9
E10
E11
E12
E13
Floor Plans 1-200
-1
Public Library
1. Main Entrance
2. Secondary Entrance
3. Secure Entrance
4. Security Zone
5. Sign In Area
6. Quiet Area
7. Park
8. Concrete Park
Ground
Public Library And Forum Theatre
1. Children Library
2. Classroom A
3. Classroom B
4.Thearte Cafe
5. Theatre Toilets
6.External Theatre Space
7 Internal Theatre Space
1st
Forum Theatre And Casting
Workshop
1.Forum Theatre
2. Exterior Entrance For Theatre
(Show Use)
3.Interior Entrance
4. Av Room
5. Concrete Book Casting
Workshop
6. Exterior Port For Casting
Workshop
2nd
Writer In Residence Lecture Hall
1.Entrance Via Lift / Fire Stairs
2. Lecture Space
3. Stairs To Private Roof Garden
4.Accomadation 1
A. Bathroom
B. Utility Rooms
C. Bedroom
D. Ladder Access To Writing
Room
5. Accommodation 2
6. Accommodation 3
7. Accommodation 4
8. Casting Workshop Shoot
9. Writer In Residence Accommodation
A. Kitchen
B. Living Room
C. Toilet
D. Bedroom
A
B
C
3nd
Writer In Residence Lecture Hall
1. Entrance For Stage 1
2 Writer In Residence Lecture Hall
3. Entrance Office 4. Monitor Room/ Staff Room
5. Accommodation 5
6. Accommodation 6
7. Final Writing Pod Entrance
8 Writing Chamber Room 1
9 Writing Chamber Room 2
10 Writing Chamber Room 3
11 Writing Chamber Room 4
4th
Exercise Room And Cafe
1. Plant Room
2. Parisian Style Cafe
3. Exercise Room
4. Accommodation 7
5. Accommodation 8
6. Writing Chamber Room 5
7. Writing Chamber Room 6
8. External Final Writing Chamber
9. Private Garden Writer In Residence
10 Access To Roof Garden Via Exercise
Room
5th
Writer In Residence Lecture Hall
1. Cafe Roof Garden
2. Room 9
3. Room 10
4. Room 11
5. Room 12
6. Gym Roof Garden
7. Writing Chamber Room 7
8. Writing Chamber Room 8
6th
Writer In Residence Lecture Hall
1. Writing Chamber Room 9
2. Writing Chamber Room 10
3. Writing Chamber Room 11
4. Writing Chamber Room 12
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N
James White_Stage 3
1 2 3
4 5 6 7
8 9 10
11 12
14 1513 16
1. Marseilles crime pandemic has led to the prisons overcrowding with repeats offenders 2. Un Prophete provides example of the seclusion of gang members from there average setting, The plane scene provides bases for the stage 1 rooms 3. The second city of Columbia, Medellin, is somewhat a microcosm of Marseilles, dealing with the same issues of poor public realm, gangs and attempted regeneration 4. Baumettes prison lays on the outside of Marseilles, it has very little integration with the city after closing down 3 smaller inner city units5. The James Terrel inspired stage 1 rooms provide the seclusion and affin t t t e c t e ane cene fr n r ete atte t to portray 6.The stage Room, with accommodation below and the writing room on top . e rar ar f e e n a e ec e eac n f c ace
providing high quality space and a public site 8. The vertical village idea and the subject of objectivity will decay down the building with the deconstruction of the house form, still acting as a recognisable symbology for prior occupants of the building . ta e t n t ar er ca e ta an a ca e
teaching 10. Stage two will host a writer in residence, they will help to provide basic education and classes to previous occupants of stage 1 11. Writing which is cased in concrete will be opened placed within the library once the stature of limitations is over on the crimes written about inside (5-10 Years) 12. Stage 3 will be a multi use theatre. The primary purpose for the theatre will be for the use of forum theatre as a tool for rehabilitation. This will allow for intergeneration of public and the rehabilitated
. e c are e te fr t e fina r t n e n e ca t n c ncrete an e e a nf r a f rn t re n t e ar 15. Stage 4 will act as a public library providing education for the area as well as high quality public space
. n e a e f t e ca t n c ncrete 17. The building will occupy the bottom half of the site acting as a bridge f r t e c rea an t e n cc e arrac . n e t n n high quality public space the building will act as a symbol investment to the north
(PROJECT MAP)
thanks to this year’s Multistory Guest Lecture Series Contributors
Carving structure for carving upright
Towers to direct the movement and
carving
Stone column liftingstructure
Winches to pull column down slope
Bar structurewith views down onto
process
Nathan Back-Chamness_Stage 3