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


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


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

8

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

006

007

008

009

010

011

012

013

014

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


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




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


8. External Final Writing Chamber

9. Private Garden Writer In Residence

10 Access To Roof Garden Via Exercise

Room

5th


1. Cafe Roof Garden

2. Room 9

3. Room 10

4. Room 11

5. Room 12

6. Gym Roof Garden



6th






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3

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8

1

2 3

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7 1

2

3

4

5

6

1

2

3

4

4a

4b

4c

4d

567

8

99a9b

9c

9d

1

23

4

56

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891011

1

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8

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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


uca ba architecture tabloid 2016

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