City TerroirIntegrated Design Audit

IDA DiaryStudio One,

Caveh Bahreyni Toossi

2

Content

4Introduction to the IDA Diary 7Brief One: Food And The City 11Brief Two: Sketching As thinking 29Brief Three: Civic Water 41Study trip: Cahors , France 57Brief Four: Public City Voids 77

Drawing 78Filming 92

Case Study: Nottingham Contemporary 95Introduction 96Basic information overview 98

Legal, contract and cost 98Client, constructor and contractors 98Material principles 98Site history 98

Design Process 100The concepts, precedents and the public 102Design details 104Structural Engineering 106Constraints 108The poetic exploration journey 110Material 112Sustainability 114Energy management 116

&DVHVSHFLFVLWXDWLRQ Integrity of design 118Design Flow 120Visual illustrations of structure 121Environmental Protection 122Extra lighting features 122

%ULHIYH7KH$UWRI&LW\0DNLQJ City Trroir 128The Art of City Making 134The initial mass models 1467KHUVW&ULW Bermondsey Spa Terminus Tour 170The concrete factory 174Visiting Cambridge Architectural Pre-cast 174Precedents Studies 178Good Rooms 186Second Crit 188Structural engineering session and lectures 196Post second crit Alterations 202Tutorials and structural engineering feedback 202

Bibliography 205

6

Introduction to the IDA Diary

8Introduction to the IDA diary

The third year of PART I of BA of Architecture includes a written content of the experience and practice done during the academic year, illustrated with the drawings and pictures taken while on the journey of the tasks of this year.

The following will try to illustrate this pathway as I went through and the process of the work.

The studio which I have been allocated at my third year is STUDIO ONE, presented by tutors Alex Banks and Sam Casswell (with Florian Beigel, Philip Christou & ARU).

There will be several briefs throughout the year and the destination for the study trip will be South of France with the aim of visiting several of the medieval Bastides around the city of Cahors, and also the monastery at Moissac.

The focus of the studio is on City Terroir, and WKHLQXHQFHRIPHDORQWKHFLW\DQGWKHXUEDQdesign followed by the creation of a drinking fountain in Arnold Circus, a landmark in one of the oldest Council Estates in London, or to EHPRUHSUHFLVHWKHUVWRQH7KH%RXQGDU\Estate - which will both help the students to EHSUHSDUHGIRUWKHLUQDOGHVLJQRIWKH\HDU

Through sketching, looking, observing and exploration of the visited structures and the help of the earlier briefs and the smaller scale GHVLJQVZHZRXOGWKHQIRFXVRQWKHQDO\HDUidea and integrate all the knowledge to create RXUQHVWSLHFH

'XULQJRXUQDOEULHIVZKLFKDUHDOOIRFXVHGon the idea of food and gathering in the essence of city terroir, in an area which appears to have a potential for growth and more vibe to it - although seemingly less known these days- within the vicinity of the busy Bermondsey underground station of

London, we will try to produce and design a proposal which hopefully incorporates all the knowledge and experience we gathered through the previous briefs, to create a public city space which can bring the crowd together for some moments of joy and pleasure while the focus might be food.

The design process will be then documented KHUHLQWKLVGLDU\XSWRWKHQDOVWDJHVDQGwould be evaluated through a series of crits which will help the students to understand the weaknesses and the strengths of their design and to help them move through the phases to LPSURYHWKHFRQFHSWWRLWVQDOVWDJH

NOTE:All the Design Briefs shown here are those given to the students by the tutors and are presented here solely as a reference.opposite page drawing is taken from:Http://www.thecass.com/courses/studios-units/architecture/undergraduate/studio-1-2014-15-brief

On the right:The Fight Between Carnival & Lent Pieter Bruegel, 1559

10

Brief OneFood And The City

12

The comments here are the writers understandings from the lectures we had with Carolyn Steel, architect and author of Hungry City later in the year.This brief includes at least two pieces of work, a coherent presentation of the meal and our personal recreation of it, through model making, drawing, sketching, etc.

Brief OneFood And The City

7KHUVWEULHIRIRXUGHVLJQVWXGLRLVRQWKHconcept of Food And the City and how a meal, its course and sequence, its start, end and arrangement could be a representative of DFLW\RUFLW\VSDFHRUDFRQJXUDWLRQRIDQurban area. The theme of our design studio LVDURXQG&LW\7HUURLUDQGWKHLQXHQFHRIfood and its dynamic on city spaces, urbanism and culture.

Through this brief we will sketch the moments of a meal which we have experienced or have attached memory to, and by placing the objects used in the course of that meal and the way that the scene will change and arrange itself through the time, a space will be created and a concept will be born.

From the oldest cities to the modern societies, the importance of food and how it was LQXHQWLDORQWKHFUHDWLRQRIFLYLOL]DWLRQVRU

H[SDQVLRQRIFLWLHVRUHYHQKRZLWLQXHQFHGthe large Empires to invade their territory, or create walls around their cities, or in the modern era how it became an important part of urban design, all not only shows the LQXHQFHRIIRRGRQWKHFLW\EXWLQWKHKLVWRU\of mankind.

In early stages food and the supply of it, or the place it was stored, sold or produced was where the city expanded from, and not only acted as the central point to the city but also dictated the possible limits for its expansion. Later on in other cities, or kingdoms, the borders were extended to the limits where the food was produced or cultivated, which in some instances would be places overseas and thus the invasions to neighbouring countries was because of the demand for food supply.

7KHVHDOOVKRZKRZIRRGKDVLQXHQFHRQWKHcity or even it can be said that the city grows as big as it can provide its food, which later was changed by the invention of railway, as

it changed many other aspects of human life.

Food also is a part of many rituals and ceremonies, which again can bring people together. In some countries like Iran the season of harvest is also celebrated as a good harvest means the abundance of food for the next year so food not only is celebrated itself, but is a cause for celebration.

he challenge this year is to explore both the architecture of the city and the theme of food in public space. In this initial project you will combine the timing and spatial order of a meal with the idea of city. The challenge is to draw, model and possibly cook an expression of this relationship.

We want you to consider a memorable meal that has special meaning to you. The cuisine and setting for the meal may or may not be from your own culture. It could be an everyday meal or a special feast that youve experienced perhaps only once. Either way, it must be personal to you. We want you to produce drawings that describe this meal and allow you to demonstrate your ability to make beautiful representations. This exercise is an opportunity to introduce yourself to the studio.

The architecture that inspires us makes good conversations and positive interstitial spaces rather than stand-alone objects. The space between is at the heart of enjoyable city spaces. For us the table is a social space like the city, full of spatial relationships. Examples of good urban relationships can be found at even the smallest of scales in bottles and pots on a shelf that forms the horizon in a painting by Giorgio Morandi. One can look to passionate little urbanisms such as these for inspiration when designing spaces in the city.

You will need to carefully consider all the elements that make up the meal and think how they are structured within the meal both in their placement and timings. You could start by considering the table where the meal takes place. What is

Week 1Tuesday 30th Project Launch + Seminar

Friday 3rd Group Tutorial. Initial presentation of info photos, drawings on proposed meal.

Week 2Tuesday 7th Pin Up of drawings/information describing meal and initial concept sketches/drawing of for main meal/city drawing/model/image.

Friday 10th Tutorials

Week 3Tuesday 14th Final Pin Up. Drawings/information on meal and final meal/city drawing/model/image.

Suggested Reading:Barthes, R.: MythologiesBeigel, F. + Christou, P.: Baukunst 01, The Idea of CityBrillat-Savarin, J-A.: The Physiology of TasteFisher, M.F.K.: Consider the OysterGray, P.: Honey from a WeedJacobs, J.: The Death and Life of Great American CitiesRossi, A.: The Architecture of the CityRowe, C.: Collage CitySennett, R.: The Fall of Public ManSinclair, I.: Lights out for the territorySteel, C.: Hungry CityTanizaki, J.: In Praise of ShadowsTulloh, J.: The Modern PeasantVisser, M.: Much Depends on DinnerZola, E.: The Fat and the Thin

Suggested Viewing:Babettes Feast - G. Axel The London Nobody Knows - G. FletcherLa Grande Bouffe - M. FerreriThe Cook, the Thief, the Wife + her Lover - P. GreenawayTampopo - J. ItamiLondon - P.KeillerCaro Diario - N. MorettiThe Bakery Girl of Monceau - E. RohmerBig Night - C. Scott + S.TucciPlaytime - J. Tati

the physical extent of this surface and its materiality? You should then consider the objects that are added to the table. How are they arranged? What role do they perform? What hierarchies are created and how do they define areas on the table? Is there a centre to the meal or more special elements? What are the infrastructural pieces? Every element should be considered from the thickness or thinness of the place mat or napkins, the material of the plates or bowls, and the type of utensils used - knives and folks, chop sticks, breads, fingers? Finally you should think about the changing landscape of the table over the course of the meal. How is the eating paced? When does the different food arrive, and how is the food shared out? Dont forget how the food and drink - their colour and form - affects the visual feast!

Wed like you to produce two pieces of work. The first piece should describe the meal in a coherent way. Imagine someone needed to recreate the meal exactly without you being there. What sketches, measured drawings, photos, models and documents would be needed to allow it to be reproduced accurately? Try to avoid using words if possible.

The second piece of work should be your own representation of the meal with a focus on the spatial relationships between things. The final output should be an imaginative piece - a special perspective drawing or model of the tablescape - that could be interpreted at a number

of scales. In order to give space for the imagination the articles on a set table should be simplified - abstracted to a degree - so that the space between is the focus of the work.

Fly over the table like a bird in the city sky, zoom in on a small intense spatial moment, consider a section in isolation, make new drawings that identify the compositional order of spaces. In this way a place mat becomes an open square in the city, candlesticks could be columns and a mound of rice a mountain on the horizon of the city.AB + SC 30.09.2014

14

The sketches and the drawings try to demonstrate the feeling and atmosphere of a traditional Persian meal which is usually served on a low bed-shaped platform covered by a rug or carpet, and ornamented by large cushions to lean against for comfort.

Through these drawings and the pattern, a spacial understanding was acquired and the elements set in the drawing, and later the model, somehow started to represent an urban structure.

In the meal there are some elements which are stationary and do not generally move, these include the platform itself, the rug and usually the cushions (which might move slightly) and there are elements which are WKHPRVWVLJQLFDQWSDUWVRI WKHPHDOZKLFKalthough have the ability to move, such as the plates, the tray or kebab, and so, but these mainly have a very little motion and mostly stay as they are put.

On the contrary there are some pieces which DUHPRVWO\ VPDOOHU LQ VL]H \HW LPSRUWDQW LQthe meal experience, but contrary to the other WZRPRYHDURXQGVLJQLFDQWO\7KHVHDUHWKHadditions such as pickles, condiments, herbs, nuts, fruits, yoghurt, drinks and spices.

Without these, the structure would not be complete but yet these they are not the most LPSRUWDQWSLHFHVDQGWKXVGRQRWKDYHD[HGplace and blend in the bigger components. They are needed but not essential.

Next page image sources:

An Introductory representation of an Iranian meal shown like the menu of a restaurant.

Http://friendlyiran.com/iran-traditional-house/Http://www.pbase.com/hmssusan/image/105647709https://uk.pinterest.com/sara4323/teahouses-and-picnics/

16 Pictures above and on the right:Some traditional style Persian Restaurants serving food on the bed-like platform.

The same principles just discussed regarding the parts of a meal, apply to any urban design or area. Each space has some main structures which are the essence and the focal blocks. These are connected by some adjacent elements which will not necessarily IROORZWKHDOLJQPHQWVL]HVKDSHRUOD\RXWRIWKHELJJHUFRPSRQHQWVEXWDOORZWKHGHVLJQWRPRYHDQGRZIURPWKHELJJHUSLFWXUHWRthe details. These all together within themselves create the space which acts as a gathering or terroir. This space is not necessarily at the centre yet has its own central feeling and property to it. Here are then those smaller pieces which contribute to the human scale recognition . these are the joints of the design as they can be placed according to the needs, desire or use and although they have their freedom in essence but yet can not be left arbitrary in the design and there must be rational thinking on their placement.

KWWSVZZZLFNUFRPSKRWRVFUDLJMHQNLQV KWWSZZZIHVWLYDORIDUWVFRPVLWHVRQWHUHVWSLFWXUHSKS"+WWSZZZDGYULGHUFRPIRUXPVVKRZWKUHDGSKS"W SDJH KWWSZZZKDSS\JROXFN\QRWDJHVIDKDQ

18 http://www.hanifworld.com/Sofreh/Sofre%20Khaneh%20Sonnati%20II%20Ayne-Mirror.htmlKWWSVZZZLFNUFRPSKRWRVEHQNODDVHQ

As we described earlier the way the furniture are placed and the platform is set, they all in essence create a space within a bigger one. The bed is not by its own and has its connections and relations to the others but at the same time it is partially separated and has control over its territory. The elements within also although are free to some extent yet do not have the ability to move to other parts or to move completely free within the area they are placed. Then the plates and the food which will be placed in the central part of the platform will be laid on it and this placements continues.

Looking closer to the sequence we can see the initial design of a public space, a city, or an urban structure follows the same principle. There will be borders and limits which exclude the site from the surrounding, which will separate it from the rest of the context yet within a wider and bigger one which might be the neighbourhood, the council, borough or the city, and etc. and then there are blocks and structures which are the essential parts and the founding elements of every city terroir and passing to a smaller VFDOH WKHUHDUH WKH HOHPHQWVZKLFKOO WKH VSDFHV WKH YRLGVDQGreduce the emptiness.

A traditional Persian restaurant

Image source:http://www.joaoleitao.com/motivation/travel-reasons-visit-iran/

20

At the tutorials making a 3D model of the illustration was suggested, with each part made out of layers to be stacked up on the top of each other. In this way the model would have a solid texture yet presenting the layers as the meal is an ongoing process and not stagnant. The pictures on the following pages DUHWKHUHVXOWVRIWKLVDWWHPSW6RPHRIWKHFRQJXUDWLRQVZHUHselected and the layers were cut and laid on the top of each other to create the desired height. The sequence of a meal as it is served, from the beginning when rice is served (1) to the time that the meal

is eaten and everything is gathered to be taken back (6), in a traditional Iranian restaurant.

1 23 4

5 6

22

The elements of the model each are a symbolic representation of the pieces seen on the previous drawings. They are stripped off of their details and created in a minimalistic way thus they can show their essence and character in the space.

Looking closely and having in mind the discussion mentioned earlier on the role of the elements and how their interactions are similar to those of any urban space, a glimpse of an urban design and the initial idea of a city space could be seen.

There are several variation presented here. All of these have the base (the platform they are built on) and the central space (which is marked black here).

The margin produced between the platform DQGWKHFHQWUDOSODFHLVWKHVWDEOH]RQHZKLFKthe lingering structure, those which act as the anchors of the space are put in. These are the stationary elements previously we mentioned.

Pieces forming this part are mostly the same in every model, with very subtle differences.

The other elements as we see, not only have been placed differently in each model, but WKHLUVL]HZLGWKKHLJKWDQGVKDSHLVGLIIHUHQWin every model. These are the essential but not fundamental parts of the urban design. They could be placed based on the requirements, the need, the purpose and etc..

These simple and layered models originating from a meal and the sequence it follows, can be e representation of any city space with their own unique design.

The line drawings on the following pages are showing the space in its simplest form to illustrate the concept in an architectural way.

24

These sketches represent the elements of the mentioned meal and slightly altered with addition of urban-like structures. They, although from a different context, but yet induce a feeling of a public or urban space.

26

This illustration shows the sequence of the meal in motion. As seen the elements will change place during the time (two to three of the movements are shown in different shades of grey here) which altogether resemble a vibrant city space with the blocks and structures of it. The heights of some parts also have changed which LVVKRZLQJWKHXVDJHRIWKHIRRGGXULQJWKHPHDO7KLVFRQFOXGHVRXUQDOVWHSLQXQGHUVWDQGLQJWKDWHYHQDPHDODWLWVSURFHVVFRXOGEHUHHFWHGLQXUEDQGHVLJQDQGDOVRKRZIRRGDQGLWVFXOWXUHKDYHWKHLURZQZD\RILQXHQFHRQGHVLJQDQGFRXOGEHDOVRDVRXUFHRILQVSLUDWLRQ

28

Brief TwoSketching As thinking

30

https://friendsofarnoldcircus.wordpress.com/history/

Brief TwoSketching As thinking

The next brief aims to engage the students in DPRUHYLVXDOHOG)RUWKLVEULHIZHZHUHWRproduce sketches of the Arnold Circus and VXUURXQGLQJ DUHD DV ZH REVHUYH DQG QGspots and locations which we capture the essence of it by our own style sketches.

These sketches are not aiming to capture all the details as we are not producing a photographic image but has to present the context and the feeling of the space.

Sketching not only helps with the drawing ability but also requires a closer look to the objects. It needs the observer to understand the main lines and corners and to avoid which might distract the viewer from the essence of the space.

Looking around for a suitable place to sketch, also allows to explore the area and look beyond the shell and the outer layer of

the area and to see behind the spaces and buildings which are immediately in front of the viewer eyes.

Sometimes the sketch is a representation of the space, other times an illustration of an area, or even only showcasing the height, the grandness, or the clutter, yet each is individually different and a unique scene from around Boundary Estate.

Boundary Estate:

Arnold Circus is located in the Shoreditch area of London, within the Boundary Estate. 7KLV (VWDWH LV WKH YHU\ UVW&RXQFLO KRXVHVmade in London during the Victorian era, and thus the buildings have the glamour and characteristics of that period with the red bricks, high ceilings and tall sashed windows, gabled roofs and other ornaments of the time. Boundary Estate was built on the slums of Shoreditch in late 19th century. It was RULJLQDOO\WKHHOGVEHORQJLQJWRDQGSDUWVRIthe Nunnery of St John the Baptist, Holywell

but the expansion of the east end resulted in the area changing into housing and later with WKHQDQFLDOSUHVVXUHFKDQJLQJLQWRPXOWLSOHliving-working slums, and one of the poorest areas of London with crime and poverty and poor living conditions. Later as the situation turned to worse and the area was in need of a change, then it was Reverend Osborne Jay who had raised some money for the construction of a new church, a social club and a sport centre, persuaded the London County Council - a newly established organisation of the time - to demolish the slums and rebuild the area completely in 1890.

Arnold Circus is a large roundabout-like structure which has one raised walkway and an elevated central circle with a bandstand at the centre. This was built upon the rubble and remains of the demolished slums of the time which were all destroyed. The circus is at the centre of the Estate allowing almost all the residents to have a view on it and enjoying the scene.

ou will spend the next few days filling a sketchbook with sketches made on site. This is an opportunity to take a close look at a very special place in the city with its own strong sense of city terroir The Boundary Estate and Arnold Circus in Shoreditch. Later this month you will develop proposals for a small architectural intervention on the circus.

For now, the purpose of your sketches is to look for the city space of the Boundary Estate. Sketching is unlike an illustration or a photograph in the sense that it is a type of spatial thinking. Make a series of drawings searching for the figure of the buildings in the city. When doing this, you should explore the character of the buildings and the street spaces between them that converge on Arnold Circus. Ask yourself why is this a memorable place in the city. Consider the scale of the streets and how they are knitted into the existing fabric of the area; how many buildings make up a block? Explore their internal courtyards - remember that the Boundary Estate is not just the circus.

Your sketchbook should be approx. A4 in size so it is an easy companion. By Tuesday, we expect that you will have made so many quick or slow sketches that you will be a real expert on the place, and its role in this part of the East End. There is no need to take photographs, we only want you to make sketches close up sketches and zoomed out sketches from imaginative vantage points. There is no right or wrong way to sketch - try to develop your own personal way of drawing.

At times when it is raining or too dark to sketch outside, you could read up on the history of the design of the Boundary Estate. Its a very interesting story.

On Tuesday, 21 October you should bring in your sketchbook, scan and print your favourite 10 sketches from your sketchbook, and pin these on the wall of the studio space.AB + SC 17.10.2014

""!""""!""""""" """"""

32Sources of the maps: Digimap

The map on the top left shows the street pattern and layout of east London at 1870-1880 which demonstrates how the expansion of the east end and the slums resulted in poor living conditions and the increase of crime and health problems.

7KHPDSRQWKHWRSULJKWLVWKHDUHDZKLFKZDVVHOHFWHGIRUWKHUVWFRXQFLOKRXVLQJLQ/RQGRQ7KHBoundary Estate - requiring the demolition of the area coloured on the map and the evacuation of the residents.

For its own time this was a very ambitious project with its scale and design and thus the high price RIWKHQLVKHGSURSHUWLHVUHVXOWHGLQWKHIDFWWKDWWKHSUHYLRXVUHVLGHQWVZHUHQRWDEOHWRPRYHEDFNagain in, therefore almost all left the Estate to some cheaper neighbouring areas.

The lower right map of this page is from 1910. If compared to a current map (the lower right map on the opposite page), it could be seen that although the surrounding of the Estate has changed VLJQLFDQWO\EXWWKH(VWDWHLWVHOIVWLOOUHPDLQVDVLWZDV%XLOW

Sources of the maps: Digimap

34

Opposite page:Top, the view of the Boundary Estate and the

Arnold circus from Northwest.Picture source: Apple map

THE ILLUSTRATION PRESENTS THE ROAD LAYOUT AROUND THE SLUMS (LATER TO BE BOUNDARY ESTATE) AND HOW THIS LAYOUT HAS CHANGED AFTER THE ESTABLISHMENT OF THE VICTORIAN ESTATE. THIS ILLUSTRATION ALSO REPRESENTS THE WAY THAT ROADS PASSED THROUGH THE SLUMS WITH THEIR VERY SIMPLE PATTERN OF STRAIGHT LINES.

THE ILLUSTRATION PRESENTS THE ROAD LAYOUT AROUND THE BOUNDARY ESTATE AND HOW THIS LAYOUT HAS CHANGED FROM THE ORIGINAL ONE AT 1860. THIS ILLUSTRATION ALSO REPRESENTS THE WAY THAT CURRENTLY ROADS ENTER THE ESTATE AND HOW THE DESIGN OF THESE ROADS HAS INFLUENCED THE PLANNING OF THE ESTATE ITSELF.

The drawing on the left shows the street layout of the slums region around 1870-1880. The area had grown without any future planning, with no real OD\RXWRUSULQFLSOH,WKDGFKDQJHGIURPHOGVDQGgardens due to the demand and poor conditions of the people who lived there and thus the buildings were just additions to the existing structure growing along the alleys and narrow streets with ORZ FRQGLWLRQV $V VHHQ WKHUH ZHUH QR VLJQLFDQWconnections to the main city transport network and it appears as e secluded area isolated form the surrounding.

The drawing on the left shows how the design and layout of the new Boundary Estate changed the area dramatically. With the new centre -the Arnold Circus - the estate has became vibrant and well connected to the surrounding and long wide streets are now running through the area. Also this new design although has changed the whole area yet it did not totally depart from the existing street pattern. The new plan for the housing also provided spaces in between buildings and a luxurious space with a great vision for its time was built.

To create the Estate the street layout and the urban structure of the area which used to be the poorest slums of London were all demolished in the late 1890s and by the early years of the next century the Estate was welcoming its new residents.

This massive project needed a major change in the layout to make way for the new streets all leading to the Circus at the centre. As we see on the pictures on the right the area of slums had no pattern in its structure.

$W FXUUHQW WKH DWV RI %RXQGDU\ (VWDWH DUHGrade II listed buildings and protected.

Bottom left: A plan of the Arnold Circus and the Band Stand at the centre. (Source: Digimap)Bottom right: the location of the Boundary Estate in the wider context in Shoreditch London. (Source: Digimap)

16.1m

16.0m

36

Sketching

These sketches are all produced on site within the few days allocated to this task. It was suggested to walk around the Estate and understand the space and induce the understandings in our sketches. The purpose was to look beyond the details without neglecting them and trying to understand where to give the priority to the smaller features and when to the bigger picture.

The sketch on this page was drawn from a little playground hidden between the tall buildings. The emphasis here was to show how these tall structures create a space at the centre and also giving the feeling of isolation and connection simultaneously. From outside they appear as the towers of the old castles but stepping inside the visitor is welcomed by this big and spacious mysterious area.

On the next page the aim of the sketches are to show the depth of the streets and how the

sides are elegantly built. It illustrates the view of the streets seen from the Arnold circus and portraying how all the buildings on the side

FUHDWHDKDOOZD\ZLWKDIDUYDQLVKLQJKRUL]RQleading forward or merging into the other main street.

The four sketches on the opposite page illustrate how the streets extend from the Arnold Circus and how they run outward from this central point. Some follow a very straight path while others bend very sharply. They are mostly surrounded by tall buildings except from the street which starts with Rochelle School and Club Row (drawing number 3 on the opposite page).

1

23 4 5

3

42

1

5

38

3

2

1

1

2

The top left sketch of this page is also an illustration of the streets emerging from Arnold Circus with a curve which hides the end of the path.

The other two sketches show the wall-like feeling that the buildings create (opposite page) and how they act together to provide a civic space within them just by their placement (bottom left).

3

40

Brief ThreeCivic Water

42

Brief ThreeCivic Water

The third brief takes place in the same area we sketched through the previous task. The Boundary Estate mentioned earlier was provided with a drinking water fountain but has been removed. As the Circus has been renovated and in a better condition, and as the surrounding area has improved, the residents have asked for the return of the drinking fountain.

In this brief Mr Finn Williams was introduced, who has been involved in the changes and improvements made recently at the Arnold Circus. Brief knowledge about the history of the Estate was mentioned and the changes which had happened around the neighbourhood, the challenges the Estate had faced and some unique moments of the history were discussed, which was followed by a tour of the Circus and pointing out some issues and also showing the placement of some of the infrastructure to be considered through the design process of the brief.

Now that you have explored the unique spatial conditions of the Boundary Estate through sketching, Studio 01 will embark on a live design research project carried out with the friends of Arnold Circus. The challenge is to design a place for a public drinking fountain on the circus and to speculate on how this setting might evolve into a small inhabitable piece of architecture over time. We want you to understand how a small architectural intervention can influence and even hold a much larger public space.

Until relatively recently there were many public drinking fountains dotted throughout the public spaces of our cities. Providing refreshment for people in the city is an act of civility that has become increasingly rare. Curious vestiges remain today in the form of occasional public pumps or water troughs - retained but no longer functioning. In London past, even livestock on their way to the central markets were catered for! Sources of water are often focal points for communities or found at the centre of divine gardens such as Eden or Islamic representations of Paradise. Fountains or wells continue to have profound associations with life, purity, wisdom and innocence. The community of people using Arnold Circus want a new public drinking fountain built on the circus and have asked us to contribute ideas.

Week 1Tuesday 21st Oct. Project launch + into. from Finn Williams, FOAC Pin-up of site sketches Friday 24th Tutorials (Including review of final meal drawing)

Week 2Tuesday 28th Tutorials Friday 31st Group Pin Up - Initials Ideas

Week 3Tuesday 4th Nov. Tutorials Friday 7th Tutorials

Week 4Tuesday 11th 2nd Year CritFriday 14th 3rd Year Crit

Wednesday 19th Depart for Study Trip

Minimum Outputs:- Location Plan of the Boundary Estate in the wider fabric of the city- Site Plan and Section Existing + Proposed- A few good site photos- Site Sketches + Design Sketches- References that have given inspiration (these could come from any source)- A set of final proposal drawings (plan, section, elevation, axo @1:5 / 1:10) - Images showing how the proposal evolves over time (collages, perspectives etc.)

Extra Outputs:- Physical Models - Concepts for construction details (expected from 3rd Years)- A simple palette of materials

References:- Arnold Circus Conservation Strategy - The Secret History of Our Streets - Series 1, episode 6, Arnold Circus. BBC 2 - Londons existing water pumps, metropolitan drinking fountains / cattle troughs- Quiosque de Refrescos, Lisbon, Portugal- On Certain Possibilities for the Irrational Embellishment of a Town: Ten Urban Artefacts, Eric Parry + Peter Carl, Sep 2001

Your first consideration should be the siting of the drinking fountain in relation to the surrounding city space. Define a place or domain for the drinking fountain to inhabit - like a little, empty stage. There will also be some technical issues such as access, achieving an appropriate level of robustness, maintenance and making connections to existing mains water supplies / drainage systems on site. However, this is not an exercise in industrial design or sculpture. The drinking fountain should be thought of as a diminutive piece of architecture, perhaps with the character of a building. Encountering unexpected scales in architecture is often a memorable experience.

We want you to address in a precise way exactly what the user will see, touch and hear when they use the fountain. One can create a lot of delight in a brief encounter such as taking a sip of water or filling up a bottle. You will make proposals for the materiality of; the ground surface and any seating; the type of tap or fount from

which the water will flow; and the basin. How does the pipe come out of the ground and waste water drain away? You will also consider how the drinking fountain could develop into a small, habitable piece of architecture over time. This kiosk - perhaps only large enough for one person to inhabit - might be a permanent fixture or a more celebratory, ephemeral construct for temporary events only. It will be fruitful to consider together the following three aspects when designing; the setting; the fountain; and the kiosk.

The relationship your proposal with have with the other architectural figures, benches and trees that make up the circus is important. How can your design contribute to this ensemble and enhance the existing qualities of the place? You might want to think of the journey someone takes when visiting the circus. Consider what you see and experience as you move through the space. This route should start from afar when you first glance the circus. AB + SC 21.10.2014

44

PROPOSED LOCATION OF THE FOUNTAIN

The map showing the initial placement selected for the design proposal of this brief on Arnold Circus, Boundary Estate, London.

Original source of the map: Digimap (with alterations)

On this page:The introduction and tour meeting held with Mr Williams on Arnold Circus (TOP), the compost collection unit on the circus (BOTTOM LEFT) and the water mains (BOTTOM RIGHT)

46

7KHUVWSURSRVDOZDVQRWZHOOUHFHLYHGDQGWKHUHZDVFRQWURYHUV\DERXWLWVDFFHSWDQFHE\WKHSHRSOHDOWKRXJKWKHUHZHUHGLVDJUHHPHQWVWKXVWKHQH[WLGHDZDVLQWURGXFHG$WWKLVVWDJHLWZDVUHDOLVHGWKHGHVLJQKDVWREHVWURQJGHOLFDWHEXWEHDEOHWREHUHFRJQL]HGE\SXEOLFMXGJPHQWDQGSHUFHSWLRQDVSURSHUVLQFHthe criticism came from the opinion that people will not accept having a bathtub in public and as a drinking fountain) and all these considered, it lead to the next proposal.

Source of the map: Tower Hamlet Council websiteKWWSZZZWRZHUKDPOHWVJRYXNLGRFDVK["GRFLG FEHDIDGHEYHUVLRQ

Above:The map of the conservation area and listed buildings of the Boundary Estate.

)RUWKHSXUSRVHRI WKLVEULHIZHKDGWRQGa suitable location for a drinking fountain which could later evolve into a more elaborate structure such as kiosk with the ability of providing small snacks and drinks.

Another concerning factor is the context of the area and a design which would nicely W RQ WKH FLUFXV DQG ZRXOG QRW ORRN OLNH Dunrelated piece of furniture.

Boundary Estate is an extraordinary place DVLW LVDOOFDWHJRUL]HGDVFRQVHUYDWLRQDUHDand almost all the buildings of the Estate are OLVWHG7KLVQRWRQO\VLJQLHVWKHLPSRUWDQFHof the area but also requires the design to be able to well adjust itself to this unique VXUURXQGLQJ7KHDUHDKDVDVSHFLFFKDUPand character which lead to the opinion that a rigid, vigorous and box shaped design would not suit the area and furthermore will become en eyesore if placed within the circles of the Arnold Circus. The piece should be elegant, delicate yet strong and have some

connections to the era and the glamour of the time the Estate was built, the Victorian time.

In the initial proposal it was suggested to simply use a Victorian bathtub, with pipelines from underneath coming on the top which were terminated by Victorian faucet on the top, all placed on a wooden platform. This simple idea was a representation of the era which the Estate was made as the Victorian bathtub was introduced during this time as prosperity grew and people became richer.

The suggested location of the fountain in the design is on the southeast part of the circus. There are several reasons for this choice. The axial street (Calvert Avenue and Rochelle Street) which run through the Estate and meet the circus through their path, together are a feature of the Estate which was tried to be unobstructed and thus the fountain was not located along these streets. On the other hand, all around the Circus there are residential buildings which enjoy the view of

the Circus, except from the southeast section which the only building facing to it is the building of Rochelle School and Club Row which have the least view and windows on the Circus.

Top left picture shows the difference of the context of the Boundary Estate with the surrounding, and emphasising on that by the different drawing texture. On the top right the city street around the Estate and how the enter they area has been shown and the urban layout has been presented.Bottom left is the view of the proposed location from Rochelle school and Club row and on bottom right is the view from the Circus (from the proposed location) on Rochelle school and Club Row.

48

This proposal was criticised as being symmetrical and having unused spaces on either sides. Another point was the shape of the fountain which more looked like a wash basin rather than a drinking fountain, which will make it less appealing.

The next proposed idea was a combination of arches in a minimalistic design, only including a symmetrical curved roof, four holding steel columns and a drinking fountain in the shape of an old water basin and a pair of Victorian water taps. This will also be accompanied by the wooden panels and the connecting panels joining the two layers of the structure resembling the circular layers of the circus.

The initial ideas for material were based on those used in the area and had connections to the Victorian architecture and time, thus beside the plinth for the platform and the foundation which was considered to be concrete (cladded and covered with timber), the weight-bearing parts would be steel, the panels from plywood or sheets of timber, the steel or cast iron railing, similar to the existing ones, Brass faucets (the second choice chrome-plated taps) and the basin from tinted and rusty appearance steel to avoid a shiny new look. The roof was proposed to be transparent thus Perspex was considered.

SOUTH VIEW (RIGHT) AND SECTION VIEW (LEFT)1:100 @A3

SOUTH VIEW (SEEN FROM CLUB ROW)1:100 @A3

N

ARNOLD CIRCUSPROPOSED LOCATION

1:200 @ A1

The different views of the proposal, including a perspective view and two sections.

PERSPECTIVE VIEW (NORTH VIEW)

SECTION BB-1 (EAST TO WEST) VIEW1:50 @ A3

SECTION AA (WEST TO EAST) VIEW1:50 @ A3

FRONT/NORTH VIEW (RIGHT) AND BACK/SOUTH VIEW (LEFT)1:50 @ A3

50

This design was also criticised of being improper and the external critics were more in favour of the symmetrical design and the idea of the Victorian bathtub on a simple stage which will be more in harmony with the Victorian atmosphere and also with the hipster culture of the current Shoreditch area. It was said that this design has an unpleasant roof and the dimensions of it is far too big for the purpose. In response, the future design will be smaller with a partial roof, covering the drinking fountain and some of the rest. The kitchenette will be designed as a portable box which upon request could be moved in.

The third proposed design was an alternative to the previous one by changing the roof and an asymmetrical layout. The elements resembling the Victorian structures were kept as much as possible and the space for the future kiosk was also included.

The use of materials in this proposal were almost the same as the previous design. A concrete foundation and plinth (the latter cladded and covered with timber), cast Iron rectangular columns as it was used during the Victorian times or alternatively steel weight-bearing structure, steel or cast Iron railings similar to the existing ones, timber panels with steel joints and bolts, clear Perspex roof, Victorian style brass faucet or chrome-plated as the next option, heavy duty steel connectors and bolts, for supporting the columns, tinted basin with a rusty appearance.

The back view (South elevation) of the proposed structure on the Arnold Circus (Top) and its side view (West elevation) on the proposed location (Bottom).

SOUTH VIEWVIEW FROM CLUB ROW

1:100 @A2

WEST ELEVATION (SIDE VIEW)1:100 @ A2

52

The brief had stated the design of the drinking fountain has to have the ability of changing and expanding to a more complex yet simple structure as it might be used to incorporate a facility for serving drinks and possibly snacks and small meals if the outcome and acceptance of the fountain is satisfactory. In this page on the WRSWKHUVWVWDJHZKLFKRQO\KDVDGULQNLQJDUHDLVVKRZHGZKLOHRQWKHERWWRPWKHDGGLWLRQRIDNLWFKHQHWWHDQGKRZWKHVHWZRVHJPHQWVLQWHUDFWDQGDOLJQQH[WWReach other has been illustrated.

On the right:The third proposal in the context (the Arnold

Circus) has been presented.

NORTH (FRONT) VIEW1:50 @ A2

FRONT VIEWADDITION OF KIOSK AND KITCHENNETE

1:50 @ A2

SOUTH (BACK) VIEW1:50 @ A2

NORTH (FRONT) VIEWSEATS ADDED TO THE STRUCTURE

1:50 @ A2

PLAN SEATS ADDED TO THE STRUCTURE

1:50 @ A2

PLANADDITION OF KIOSK AND KITCHENNETE

1:50 @ A2

EAST VIEW (TOP) AND WEST VIEW (BOTTOM)1:50 @A2

54

$VPHQWLRQHGHDUOLHURQHVSHFLFDWLRQRIWKHGHVLJQZDVWKHDELOLW\WRKRXVHDVPDOONLWFKHQHWWHLQVLGHWKHVWUXFWXUH7KHVHFWLRQGUDZQKHUHVKRZVKRZDOOWKHQHFHVVDU\HTXLSPHQWIRUSUHSDULQJVLPSOHPHDOVKDYHEHHQWKRURXJKO\WKRXJKWDQGSODFHGKHUHDQGWKHGHVLJQDWHGVSDFHKDVHQRXJKH[LELOLW\DQGVSDFHIRURQHperson to walk in and move around doing the required tasks.

A

A

A

A

1

2

1- SECTION AA: EAST-WEST VIEW2-SECTION AA: WEST-EAST VIEW

1:50 @ A2

56

Study tripCahors , France

58

d>

Above: an old map of Cahors

Source of image:http://commons.wikimedia.org/wiki/File:1847_Levasseur_Map_of_the_Dept._Du_Lot,_France_-_Geographicus_-_Lot-levasseur-1847.jpg

On the right:Top left: the location of Cahors

Top right: an aerial view of Cahors City and the enclosing river

Bottom row: pictures taken of some architectural features of the city during

our visit

Study tripCahors - France

The study trip of Studio One this year was to the City of Cahors at Southwest France, which is the capital of the Lot province.

The purpose of the trip was to visit the Bastides of the area. These Bastides are the cities of the medieval time based on the central market square of the city. The city was built from JURXQG]HURXSRQDQDJUHHPHQWEHWZHHQWKHlandowner and the sovereign governor of the region and designed on a grid system which at the centre of it the market square would be built.

These cities were to attract people by offering advantages such as less or no tax on goods and by offering pieces of land to live and work on. The market squares although all look very similar as if they are siblings of a family, yet each have their own uniqueness LQVWUXFWXUHGHVLJQPDWHULDOODQGVFDSHVL]Hand height, orientation and etc. and most of them are very active and attractive even in

the recent time, though some have declined IURPWKHLURXULVKLQJVWDWHDQGKDYHEHFDPHless favourable and left alone. We started our journey every day from Cahors to a few of

these market squares and tried to capture some scenes and angles from each, through our sketches, pictures and drawings.

Sources:Top left: http://www.map-france.com/Cahors-46000/road-map-Cahors.html#base-map-CahorsRight: http://www.frenchentree.com/holidays-in-france/regional-holiday-guides/cahors-from-mont-stcyr/

60

Above: Left: an old map of Cahors

Image source:Lib.utexas.edu, (2015). Baedekers Southern France 1914 - Perry-Castaeda Map Collection - UT Library Online. [online] Available at: http://www.lib.utexas.edu/maps/historical/baedeker_s_france_1914.html [Accessed 3 Apr. 2015].

Right: one of the towers of the famous bridge crossing over the river which embraces the city of Cahors (taken on the trip)

During the study trip numerous Bastides and the famous monastery of Moissac were visited.

Each of the Bastides had its own character and style, from a single storey building to a WZR RRUHG DOO WLPEHU VWUXFWXUH 5RPDQlike stone columns, or masonry columns, small in scale or massive and huge, but all had the same purpose of providing space for a market.

Some of these Bastides were left unoccupied and seemed to be abandoned while the others had a very vibrant life and a lot of activity was happening in and around them.

The interesting feature was the extensive use of columns and timber in creating such a building. They had many layers of interlocking timber beams and rafters, columns and supports holding the roof and the entire structure. This was more complex in those with higher ceilings or with wider spans

in dimension, although in some instants, as mentioned before, masonry or stone was an addition to the supporting structure.

Top left: an aerial view of the city of Cahors and the enclosing river at night Top right: the railway bridge crossing over a road and the river of CahorsBottom left: the pavement of the bridge and an opening in the towers on the bridge Bottom Right: a modern building (a cinema and youth centre) in Cahors

Pictures all taken on the trip

62

7KHVWXG\WULSLQFOXGHGYLVLWLQJPDQ\%DVWLGHVLQFOXGLQJ%HOYHV9LOOHUHDO0RQSD]LHU%HDXPRQWGH/RPDJQH0DXYH]LQLQ*HUV'HSDUWPHQW*LPRQW*UHQDGHSur Garonne, Villefranche du Perigord, and the Monastery of Moissac. During each visit about an hour was spent on observing the market square and drawing various sketches and taking pictures. At Moissac due to its larger scale and rich history a longer time was spent and a joint tour of the Monastery with London Met Studio Two was organised, as they were also visiting this monumental building.

Coat of arms:&DKRUV0RLVVDF*UHQDGH6XU*DURQQH%HDXPRQWGH/RPDJQH%HOYHV*LPRQW0DXYH]LQ0RQSD]LHU9LOOHIUDQFKHGX3HULJRUGand 10- Villereal (Source: wikipedia)

Above:The entrance of the Moissac monastery

Coat of Arms

Each of the visited places were inspiring and fascinating but aside from the architecture and the structure, the coats of arms were another topic which was decided to look into and the followings are almost all the coat of arms from the places visited during the study trip, including Cahors itself, and the monastery at Moissac.

1 2

3 4

7 8

9 10

5 6

Sketches drawn from the inner courtyard of the Moissac Monastery (above left) and drawings of and from the void in front of the Monastery.

64

The word Bastides denotes a new town, that is, a town created ex nihilo, and founded between 1222 (Cordes, Tarn) and 1373 (La Bastide dAnjou, Aude) in the VRXWKZHVWRI)UDQFH7KHKRXVHVRQWKHPDUNHWVTXDUHKDYHDUFDGHVFRXYHUWVXQGHUZKLFKWKHSULQFLSDOLQWHUVHFWLQJWKRURXJKIDUHVGHQLQJWKHVTXDUHSDVV7KHstandard measuring units and the documentary evidence implying the sovereign founders mediated control of the surveying (arpentage) strongly suggest that the sources for the regular plan are to be found in Paris, London, and Toulouse.

Source: The Bastides of Southwest France, AdrianRandolphAbove:

Pictures of the stone columns of the Gimont market square

Left: sketches from the Gimont market square (pictures on the opposite page)Right: sketches from Belves market square (pictures on the following pages)

66Pictures of the Belves market square and a window with an interesting wrought iron protective blade, in the vicinity of the market square.

7RSURZWKHSLFWXUHVRIWKH0RQSD]LHUPDUNHWVTXDUH+HUHWKHDFWXDORQJRLQJDQGDFWLYHPDUNHWZDVRXWVLGHRIWKHRULJLQDOEXLOGLQJRIWKHPDUNHWDQGLQWKHRSHQDLUDUHD%RWWRPURZVNHWFKHVRIWKH0RQSD]LHUPDUNHWVTXDUH

68

Above:Pictures taken from the Grenade Sur Garonne market square. A very vibrant and lively example.

70

Above are the pictures of the Villefranche du Perigord. This market square was built on a slope and thus the entrance from one side was above the street level and DSSHDUHGWREHEXLOWRQDUDLVHGSODWIRUP7KLVPDUNHWVTXDUHKDGVRPHUHVHPEODQFHWR5RPDQDQG*UHHNWHPSOHVEHFDXVHRIWKHVWRQHFROXPQVDQGWKHLJKWRIVWDLUVOHDGLQJWRLWDWWKHHQWUDQFH7KHUHZDVDOVRDVHWRIF\OLQGULFDOFRQWDLQHUVDWWKHFRUQHURIWKHPDUNHWZLWKYDULRXVVL]HVIURPELJWRVPDOOOLQHGXSEXWLWcould not be understood or found out the purpose of these. The other difference of this market square was the fact that the church was the adjacent building, neither in front or around the market.

On the right: the sketches of the Villefranche du Perigord market square (top) and the

pictures (bottom)

72

Above: pictures and sketches of the Villereal market square.7KLVPDUNHWVTXDUHKDGDVPDOOHUVHFRQGRRUZKLFKZDVUHDFKHGWKURXJKDZRRGHQVWDLUFDVHV,WDSSHDUHGDVWKLVRRULVFXUUHQWO\XVHGDVDQRIFHDUDGLRstation). At one corner of the market square there was an old mechanical water pump. The church here was placed at the adjacent street with a 5-10 minutes walking distance.

Pictures taken from around the Villereal market square, and its wooden structure, and a sketch from a far distance

747RSURZWKH0DXYH]LQPDUNHWVTXDUHSLFWXUHDQGVNHWFKBottom row: the Solomiac market square picture and sketch

Pictures from the Beaumont de Lomagne market square. This one was built on a slope thus the columns in the front were taller than those at the end. It had produced an interesting view and the platform was not completely raised and followed the natural slope of the area.

76

Brief FourPublic City Voids

78

The information above is obtained from:

Weinreb, B. and Weinreb, M. (2010). The London encyclopaedia. London: Macmillan, p.420.MANAGEMENT PLAN 2012 - 2017 HOXTON SQUARE. (2012). 1st ed. [ebook] Hackney Council. Available at: http://www.hackney.gov.uk/Assets/Documents/Hoxton_Management_Plan.pdf [Accessed 9 Dec. 2014].Hackney, L. (2014). Hackney Council - Hoxton Square. [Online] Hackney.gov.uk. Available at: http://www.hackney.gov.uk/hoxton-square.htm [Accessed 9 Dec. 2014].Wikipedia, (2014). Hoxton Square. [Online] Available at: http://en.wikipedia.org/wiki/Hoxton_Square [Accessed 9 Dec. 2014].8QLYHUVLW\RI3RUWVPRXWKL%RPE6LJKW0DSSLQJWKH/RQGRQ%OLW]>2QOLQH@%RPE6LJKW$YDLODEOHDWKWWSERPEVLJKWRUJ>$FFHVVHG'HF@6SLWDOHOGVOLIHFRP -DPHV 3DUNLQVRQ 3K\VLFLDQ RI +R[WRQ _ 6SLWDOHOGV /LIH >RQOLQH@ $YDLODEOH DW KWWSVSLWDOHOGVOLIHFRPMDPHVSDUNLQVRQSK\VLFLDQgeologist/ [Accessed 1 Apr. 2015].

Brief FourPublic City Voids

Drawing

Through this brief a group of the students were supposed to concentrate and focus, each on a pubic space - a void - which for a UHDVRQ KDV D VSHFLF YLEH RU FKDUDFWHULVWLFto it. Exploring the area and drawing a map ZLWK HPSKDVL]LQJ RQ WKH EXLOGLQJV ZKLFKwere found to be important in the area and showing the space and this void and its impact on the surrounding. This will be FRQWLQXHG E\ D VKRUW OP EULH\ GHVFULELQJthe key elements and moments of the space with a few statements and facts.

The space which we were assigned to is the Hoxton Square, a green area near Shoreditch, adjacent to Old street and within the active parts of the central London.

This square has been built around 1863 and KDVEHHQ WKHUHHYHUVLQFH ,WZDVUVWEXLOWas a retreat for rich people as it was at the

suburbs of London but later with the growth of industry and factories the rich people left and may houses to accommodate the workers were built.

The square was heavily bombed and damaged during WWII but the house of the famous physician James Parkinson has (partially)remained up until now. At the moment there are a few buildings from the Victorian time and older but most of the buildings are recent and some have tried to connect to the essence of the area by using bricks or other similar methods.

One of the buildings , as mentioned, which still partially some of its original structure exists, is the home and practice of Doctor -DPHV 3DUNLQVRQ WKH SK\VLFLDQ ZKR UVWwrote an essay on the shaking palsy - later known as Parkinsons Disease - at number One Hoxton square. This is the house that he and his wife Mary had their six children.

As another part of the brief a short video of the space was shot capturing the life of the

square as it is, in daily motion.

In the time remaining before the Christmas break you will study existing public voids in London with a very specific set of spatial characteristics. You will be searching for your own understanding of the term City Terroir. What is it that makes these spaces unique? What are the aspects and influences that combine to create the character of these places?

To remind you, the word terroir intrigues us because its rooted in a sense of place and time. Our sketching tour of market squares in the Bastide towns of Aquitaine showed you first hand the meaning of this French term- used to describe the particular qualities of a wine through reference to the effects of local climate and geographical context but also the traditional know-how of the local people. The London pub, the Parisan caf and the Roman trattorias are all examples of urban terroir. The spatial qualities and atmosphere; the food and drink are all a result of their specific location and culture. You will now expand this idea of terroir to think about city scale spaces.

The public places weve selected are not necessarily perfect architectural examples of city space. In many cases they may not have been planned or had any input from an architect. However they are all spaces people remember fondly and wish to return to. In their own way they are small gifts of public space contributing something positive to the experience of being in city. These are spaces people purposefully take detours to pass through or arrange to meet friends in.

''#!'''''!$ '"#%

' ''#%'!'!'!'! '''!& '#'#'!'# ''"'$'"!''''$' '!'''!' '$'!%'$'"'''!'! ''# '"'$'''!' '!"''' '!"''''! ''!"%'''$'!' !'!"!%' ' 'INEVITABLEASTHEmOWOFTHE4HAMES

4HIS/UR,ONDON2ONALD#ARTON,ONDON

Week 1Tuesday 25th Nov. Project launch, seminar + screening of Patrick Keillers film London, 1994Friday 28th Tutorials in pairs to review sketches and initial impressions of sites

Week 2Tuesday 2nd Dec. Visit to London Metropolitan ArchivesFriday 5th Tutorials in pairs to review status of drawings

Week 3Tuesday 9th Pin Up with drawings and proposed sketch films with possible statementsFriday 12th Tutorials in pairs

Week 4Tuesday 16th Final Crit

Cleaver Sq, Kennington - Emanuele + Nelli

The Economist, St James - Salah + Thalis

Clerkenwell Green, Islington - Iza + Naile

Pond Square, Highgate Village - Cindy + Shyukriye

West Yard, Camden Lock - Leon + Delia

Flat Iron Square, Southwark - Lauren + Thomas

The George Inn Yard, Borough - Jelena + Alexia

Wapping Pier Head, Wapping - Alastair + Hannah

St James, Piccadilly - Kinga + Luke

Hoxton Square, Shoreditch - Adam, Caveh + Niyazi

We want you to go beyond a surface understanding of these places. Research the forces - natural, political, economic and cultural - that have influenced and shaped your site over time. Understand the story behind the creation of these spaces (some stories will be longer than others). You might want to consider the following themes:

Pivotal moments in its creation; the weight of the public void space in the fabric of the city; connections between void and surrounding city; the memory of landscape; proximities to infrastructural spaces or larger open spaces; good conversations between buildings from different times; fine pieces of architecture of public character key players in the space; absences / missing elements that were once there (incompleteness); the tension between the incidental and formal planning.

You are making these studies to equip yourself with methodologies and techniques to identify and understand particular qualities of public spaces. This will allow you to approach your final design project with a greater awareness of the variety of factors influencing the character of public city spaces.

You will work in pairs and produce two pieces of work together. The first is a large composite drawing on a good quality paper consisting of a plan with folded down elevations and key sections. This drawing might include a small site plan locating the public void in the surrounding city, a north point and a scale bar. The idea here is to

be measured and precise with your drawing whilst still revealing the unique character of the place. A sense of the materials deployed on the ground surfaces and building facades should be evident as well as any significant planting or trees etc.

You will not need to necessarily draw everything, or to the same level of detail (key players in the space could have more detail whilst shop signs for instance or cluttered street furniture might be omitted completely). A fine line exists between communicating the intent of a drawing and what can be edited to make that intent more powerful. It is anticipated that all of the finished drawings will be printed on approx. A0 size paper at 1:200 scale. We will confirm this in due course and make arrangements for printing.

For the second piece of work you will make a short film recording of the space. This recording will capture a moment in the life of your public space. The vantage point will be fixed and remain static for the duration of the shot. The film will pick up the quotidian life and sounds of the city over which a spoken narrative will be laid. This concise narrative will be distilled from your research of the space (the studio will visit archives together). It should take the form of three or four statements that tell the story of these places. When viewed together these pieces of work should reveal the City Terroir of your public void in the context of the surrounding city fabric of London. AB + SC 25.11.2014

80

The historical maps of Hoxton square and Hoxton market place.Top row from left: 1870-1880-1900Bottom row from left: 1910-1950-1960Checking these maps in the duration of a century shows that the square itself has not changed, or has remained constant with minimal alterations, but the surrounding on the other hand has been through some reconstruction phases.

Source: Digimap

On the left: The early sketches done on the site for better understanding of the area, the architecture and the space. This sketch consisted of three segments which were attached to each other to create this as a whole.7RS5LJKWWKHVN\OLQHRI+R[WRQ6TXDUHVXUURXQGLQJ7KLVGUDZLQJLQLWLDOO\ZDVGRQHE\REVHUYDWLRQDQGKDQGGUDZQ/DWHULWKDVEHHQPRGLHGWRDGLJLWDOYHUVLRQBottom Right: an aerial view of the Hoxton Square with indication of the square in the picture (source: Apple maps)

N

82

The No 1 Hoxton Square is one of the oldest buildings of the area. It is a Blue Plaque building which belongs to the physician James Parkinson who had written An Essay on the Shaking Palsy later knows as Parkinsons Disease.

Sources:Http://www.parkinsons.org.uk/content/dr-james-parkinson+WWSZZZJXWHQEHUJRUJOHVKKKWPHttp://www.hackney.gov.uk/ep-james-parkinson.htmHttp://en.wikipedia.org/wiki/Hoxton_Square

Above: location of the Hoxton square on the map. The map is not drawn to any scale.

Source: DigimapOpposite page: the buildings drawn and

textured for the purpose of the brief.

No. 1

Left: The church located on the North side of Hoxton square. An outstanding building with a noticeable height and decoration which stands out from the rest of the buildings.Centre: The Geller House building. A building currently used as a design company.Right: The former White Cube Gallery building with its modern addition to the old building creating a unique structure and very particular view. This building also has a great impact on the view of the area.

84

These drawings are a continues process of creating the map of the area selected for this brief. In these pages the sketches are not scaled and have been adjusted to WWKHSDJHVEXWSURSRUWLRQDOO\

Above:7RSWKHUHVLGHQWLDOEXLOGLQJZLWKDUHVWDXUDQWDWWKHJURXQGRRURQWKHVRXWKVLGHRIWKHVTXDUHDQGWKHVFKRRODW+R[WRQVTXDUHDWWKHERWWRP

Above:/HIWDUHVLGHQWLDOEXLOGLQJZLWKDUHVWDXUDQWRQWKHJUDQGRRURQWKH1RUWKVLGHRIWKHVTXDUHRQWKHZHVWRIWKHFKXUFK&HQWUHDQHZUHVLGHQWLDOEXLOGLQJZLWKFRPPHUFLDOVSDFHDWWKHJURXQGRRUDOVRRQWKH1RUWKVLGHRIWKHVTXDUH5LJKWDQROGDQGQDUURZEXLOGLQJRQWKHHDVWRIWKH&KXUFKRQWKH1RUWKVLGHRIWKHVTXDUH

86

The work in progress:Once the buildings around the square are drawn they will be laid out around it and all the faades will be placed. The more important buildings such as the church on the North, the physicians house which is a Blue Plaque building (the last southern building on the West side), the former White Cube gallery on the South, the Lux building north to the physicians house, the village hall on the east and the old building on its right, all these will be distinguishable by adding texture or colour. Another two buildings which will be added to the map are the Magistrate Court and the former Shoreditch Town Hall on the Southeast corner of the map.

Top left: 1767 - Top right: 1868 - Bottom left:1863 - Bottom right: 1901Source: Digimap, Historic Roam

88

Continuing the latest brief, in a group the map of the designated public square will be completed. As seen above and compared to the earlier drawing the number of buildings have increased and some texture and rendering has been added. This brief is completed by a group creating the map and followed by shooting and SURGXFLQJDVKRUWOPDERXWWKHVLWH+R[WRQ6TXDUHLQWKLVLQVWDQWIn the map above the East, West and the buildings on the lower right corner, the hatching behind the buildings and the fountain in the centre are produced by group-PDWHV$GDP$VSLQDODQG1L\D]L$NHU

The base map source is Digmap.

Above:The map of Hoxton Square produced and

drawn by students.

Old buildings vs. contemporary and recent buildings.7RSURZIURPOHIWWRULJKWWKHFKXUFK-DPHV3DUNLQVRQV5HVLGHQFHFXUUHQWO\%LOOVUHVWDXUDQWDWWKH*URXQGRRUDSUREDEO\9LFWRULDQWLPHEXLOGLQJWKHROGEXLOGLQJZKLFKZDVpreviously used as a vicarage.Bottom row (from left to right): the Village hall which is a building standing at the square from 1973, the Lux main tower, the Lux north section.

90

N

On the left:7KHQHDUO\QLVKHGGUDZLQJRIWKH+R[WRQ6TXDUHPDSFRPSOHWHGE\RXUJURXS$GDP$VSLQDO1L\D]L$NHUDQG&DYHK%DKUH\QL7RRVVL

Above:The newer drawing for the site plan, as the work in progress for the Hoxton Sqaure map, to be completed.

92

Brief FourPublic City Voids

Filming

As part of this brief a short video was captured to understand the life and the livelihood of this city void in reality and through the video.

Several angles and locations were selected and from each one a few minutes were captured. In the video the focus has not been the passers, the stores, the cars and bikes, and the other objects as isolated parts but they are all treated as fragments of the city void the same as the buildings, the trees, the church or even a window have been.

7KHLPDJHVRQWKLVSDJHDQGWKHRSSRVLWHDUHVWLOOIUDPHVFDSWXUHGIURPWKHVKRUWOPUHFRUGHGDW+R[WRQ6TXDUH6KRUHGLWFK/RQGRQRQ'HFHPEHUIURPthe early morning before sunrise until afternoon.

94

Case StudyNottingham Contemporary

96

Sources:$UXSFRP1RWWLQJKDP&RQWHPSRUDU\_$UXS_$JOREDOUPRIFRQVXOWLQJHQJLQHHUVGHVLJQHUVSODQQHUVDQGSURMHFWPDQDJHUV>RQOLQH@$YDLODEOHDWKWWSwww.arup.com/Projects/Nottingham_Contemporary.aspx [Accessed 1 Apr. 2015].Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner.co.uk/2011/02/box-of-delights-nottingham-contemporary.html [Accessed 26 Dec. 2014].Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottingham-contemporary-007494.html [Accessed 26 Dec. 2014].

Nottingham ContemporaryIntroduction

Nottingham Contemporary was built upon the request of the Nottingham City (as the Client), by Architects of the Caruso St John, completed in 2009 . the civil, structural and electrical engineering was provided by ARUP as well as geotechnics and specialist services, and the contractor was ROK-Sol company. The project was publicly funded and a high SUROHSURMHFW,WLVRQHRIWKHODUJHVWVLQJOHgallery spaces in the UK. The total area of the building is 3400 m2 used in a variety of purposes including four art galleries, a high ceiling performance area with the capacity of JXHVWVEDUFDIHDQGRIFHV

Nottingham Contemporary is an art gallery built in the city of Nottingham close to the place where the old lace industry once was DRXULVKHGVRXUFHRIZHDOWKIRU WKHSHRSOHand the city.

It was built during 2004-2009 by Caruso St John Architects, and the client being the Nottingham City Council. This idea to create a modern art gallery was a shared idea between not only the city council but also East Midlands Art, and the two universities of Nottingham as the city has an abundance of artistic characteristic and has been mentioned to have the highest number of artists per capita than any other place in the UK. The Board felt the need of an art gallery where all the art is concentrated on and, on the site owned by the city (the Weekday Cross), the place where all the warehouses used to be the Lace Market!

The site for the project is in the central part of the city and as mentioned it is the used-to-be Lace Market area. For the design of the project a competition was held and the architects Caruso St John won the competition. They defeated many big names of their league, which was not mainly for how they had designed the building, but

rather because of how they introduced a new concept for the galleries, which are the main purpose of the building. In their proposal the geometrical design of the building has its root from the irregular shape of the site and its mixed topography. The building represents the Victorian era that was the peak for the Lace market and the warehouses, but in a subtle way and that is why it becomes interesting.

The site is a unique place and built upon the remains of the old Lace Market on Trent Valley of Nottingham city. It is a wonderful spot but also very challenging as it is rather small and pushed in the surroundings like a wedge. Not only this but also the difference of height on either sides for about 13 metres on the opposite side of the Weekday Cross downward to the Garners Hill and to %URDGPDUVKDQGWKLVSURYHGWREHDGLIFXOWissue which Caruso St John dealt with it very nicely.

The location of the Nottingham Contemporary Art Gallery on the UK map.Source: Google maps

98

Sources:Ajbuildingslibrary.co.uk, (2015). AJBL - Caruso St John. [online] Available at: http://www.ajbuildingslibrary.co.uk/projects/display/id/220 [Accessed 1 Apr. 2015].Chan, K. (2011). NOTTINGHAM CONTEMPORARY MATERIAL RESEARCH. [online] Issuu. Available at: http://issuu.com/keith_chan/docs/materials_researchboards [Accessed 1 Apr. 2015].Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner.co.uk/2011/02/box-of-delights-nottingham-contemporary.html [Accessed 26 Dec. 2014].Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottingham-contemporary-007494.html [Accessed 26 Dec. 2014].

Basic information overview

Legal, contract and costThe construction of the building started in January 2007 and was completed about two years later in September 2009. It costed 12.3 million which was funded by the Arts Council with a Joint Contracts Tribunal (JCT 98), local authorities with Quantities procurement between parties.

Client, constructor and contractorsThe client as mentioned was Nottingham City Council and the main contractors were the ROK/SOL Construction. Most of the engineering has been conducted by ARUP, with partnership of Elliot Wood Partnership for structural engineering design. Charcoaleblue has been engaged in the theatre consultation and Timlewers has handled the acoustics.

Material principlesThe main material used in this structure include concrete, both exposed and unexposed, pre-cast concrete, brass and timber. Extensive use of concrete was due to its characteristics such as being mouldable and possible to sculpt, its low maintenance needs

and the fact that it could be prefabricated.

Site historyIn the history the site connects to the place were the Town Hall once was, which was demolished to make way for the new and glorious Great Central railway in 1898 and thus a part of the new gallery is at the edge of the railway.

The area was abandoned during times but in 1980 a little park was made as a part of the plans of regenerating the old Lace Market but unfortunately the park turned to a drug dealing spot and thus it was closed down. One reason for objection against the new art gallery was this park and the need of destroying it but the building proved to create more change in the neighbourhood than it was expected and bringing hope and art together with excitement and value to the area.

The site has some very great potentials. It is possible to see it from the station which makes it a visible landmark to the city and also the city tram viaduct has a direct track to it which it swerves at the very side of it.

The view on the top of the site has its unique character as it includes the Shire Hall, the churches, some old big warehouses and the parts of the pre-industrial town all lined up in the view from the lace market cliff.

The site at the same time has some strategic VXUURXQGLQJV ZKLFKPDNHV LW LQ FRQLFW RUcontrast with them. The lace market is on one edge of the commercial heart of the city and thus an Art Gallery placed one the side of it is in opposition to each others nature. Also the Boroadmarsh shopping centre with its consumerism and characteristic again creates a tension between the art and the commerce as they present different values. The new building will also have one of its edges placed on the Middle Hill road Viaduct, a path created in 1970s that penetrates through the Weekday Cross to the area which the gallery is sited. The Nottingham Contemporary new art gallery by making a nice reinvention of the Weekday Cross and turning it into an active a splendid area has overcame all these RGGDQGFRQLFWLQJVXUURXQGLQJVLQSRVVLEO\the best way.

Top left: the unique view above the gallery. Top right: contrasting surroundings. Bottom left and right: views of the area.Sources:Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner.co.uk/2011/02/box-of-delights-nottingham-contemporary.html [Accessed 26 Dec. 2014].Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottingham-contemporary-007494.html [Accessed 26 Dec. 2014].

100

Sources:Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner.co.uk/2011/02/box-of-delights-nottingham-contemporary.html [Accessed 26 Dec. 2014].Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottingham-contemporary-007494.html [Accessed 26 Dec. 2014].Architectsjournal.co.uk, (2009). Nottingham Contemporary art gallery: Engineers account. [online] Available at: http://www.architectsjournal.co.uk/culture/nottingham-contemporary-art-gallery-engineers-account/5210818.article [Accessed 16 Mar. 2015].

Design Process

The new and unconventional design for the art gallery received both praise and criticism because of its unusual appearance from the public and the art society, as it seemed to stand out from the area instead of blending into context. It appeared as the new building will face a harsh welcome from the audience and a strong disapproval will be the main opinion of the public.

These all have started as the design was shown to the public through digitally reproduced renderings of the building and went as far as request for revoking the planning permissions. The politicians if were not in favour of the design there were strong possibilities of an early stoppage of the construction. After the completion of the building the design proved to be worthy of all the effort which owes it not only to the proposal but also to the exhibitions held in the gallery as well, while still there are those who do not appreciate it as much as others.

The building and its location created another welcoming point for Nottingham, although it looks like a reinforced castle placed on the side of city with a fashionable background with all the bars and restaurants. In the distance those are the old warehouses and factories which have changed their usage through time and have bought a different type of life to the area.

On the contrary the gallery itself has its view built upon a rather less exciting section of the FLW\OOHGZLWKWKHEXLOGLQJVRIWKHWLPHVSULRUto industrial revolution, and also from after it including some of the unpleasant necessary infrastructures of the time such as the sewer system.

The design was faced with many challenges and some of them were due to the fact that the site was not a simple location. Issues such as drastic change of height on the sides, the historical importance, the infrastructure crossing through the site, the shape of the land and furthermore the non-repetetive

geometry designed by the architect for the EXLOGLQJZKLFKLQWHQGHGWRHPSKDVL]HRQWKHexistence of the same character at the place that Nottingham Contemporary was planned to be built.

Top Right: a view from the old Lace Market. Other images: views from around the Nottingham ContemporarySources:Draper, C. and Draper, C. (2014). Panoramio - Photo of Gamers Hill. [Online] Ssl.panoramio.com. Available at: https://ssl.panoramio.com/photo/102259736 [Accessed 26 Dec. 2014].Ssl.panoramio.com, (2014). Panoramio - Photo of Nottingham Contemporary. [Online] Available at: https://ssl.panoramio.com/photo/31455450 [Accessed 26 Dec. 2014].

102

Architectsjournal.co.uk, (2009). Adam Caruso on the Nottingham Contemporary art gallery. [Online] Available at: http://www.architectsjournal.co.uk/news/daily-news/adam-caruso-on-the-nottingham-contemporary-art-gallery/5210817.article [Accessed 28 Dec. 2014].Architectural-review.com, (2010). Nottingham Contemporary by Caruso St John Architects, Nottingham, UK. [Online] Available at: http://www.architectural-review.com/buildings/nottingham-contemporary-by-caruso-st-john-architects-nottingham-uk/5218249.article [Accessed 28 Dec. 2014].Carusostjohn.com, (2014). Nottingham Contemporary (Nottingham, GB) Caruso St John Architects. [Online] Available at: http://www.carusostjohn.com/projects/nottingham-contemporary/ [Accessed 28 Dec. 2014].Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottingham-contemporary-007494.html [Accessed 26 Dec. 2014].(WKHULQJWRQ51RWWLQJKDP&RQWHPSRUDU\E\&DUXVR6W-RKQ$UFKLWHFWV'H]HHQ>2QOLQH@'H]HHQ$YDLODEOHDWKWWSZZZGH]HHQFRPQRWWLQJKDPFRQWHPSRUDU\by-caruso-st-john-architects/ [Accessed 28 Dec. 2014].Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner.co.uk/2011/02/box-of-delights-nottingham-contemporary.html [Accessed 26 Dec. 2014].Nottinghamcontemporary.org, (2014). Nottingham Contemporary. [Online] Available at: http://www.nottinghamcontemporary.org/ [Accessed 28 Dec. 2014].Woodman, E. (2009). Caruso St Johns Nottingham curtain raiser. [Online] Building Design. Available at: http://www.bdonline.co.uk/buildings/caruso-st-johns-nottingham-curtain-raiser/3152974.article [Accessed 28 Dec. 2014].

On the right:Top: the Guaranty Building by Louis

Sull ivan.Bottom: the Holland house by Berlage

The concepts, precedents and the public

In the design Caruso St John is trying to present the sophisticated technical aspects of the buildings of the Victorian period while being overly decorated in order to create a visual manifestation of the city at that time but in a different way. The inspiration was the Guaranty Building in Buffalo designed by Louis Sullivan which is ornamented by terracotta carved tiles, and the Holland house of Berlage beside the Gherkin in London ZKLFK KDV WLOHV JOD]HG LQ D JUHHQLVK FRORXUand a plinth of black Granite. The result was not a building that goes easy on the eyes of the viewer, nor it does have any wowing effect but leaves its mark on the scene. It takes time to understand the building and its design, especially as it is in a densely artistic surrounding.

This extraordinary design was strongly criticised by public and those who cared for WKHFLW\VSHFLFDOO\WKRVHZKRZHUHVHQVLWLYHto any change around the Lace Market. All

these different opinions in favour of the design and against it was challenging the whole planning permission.

The Director of Planning is the one who believed in the design and considered the design to be very thorough and considerate and he understood that the main problem is that the public base their opinion on the design according to the documents they see which are produced by computer graphics which is not easy for them, or even the councillors to understand especially in a three dimension way. He believes that this medium usually does not work and is less preferable for the common people.

All these issues were solved by a meeting between the architects and the authorities. Communication and explanation made it easier to understand, also a Q&A session had been arranged with the planning Committee before the formal session. Interestingly during these sessions the design proved to be

of less concern as the inquiries were mainly on the subjects of sustainability, maintenance, YDQGDOLVPDQGHWF7KHDUFKLWHFWVFRQGHQFHon the design and his comprehensive and thorough thinking earned him the vote for the scheme which was taken unanimously.

Image source:&RSSHU6'UDPDWLFDOO\YLYLG6SRQWDQHRXVO\3XUH3KRWRJUDSK\*XDUDQW\%XLOGLQJ>2QOLQH@0]GHYLDQWVWXGLRVEORJVSRWFRXN$YDLODEOHDWKWWSP]GHYLDQWVWXGLRVEORJVSRWFRXNJXDUDQW\EXLOGLQJKWPO>$FFHVVHG26 Dec. 2014]..LGVEULWDQQLFDFRP*XDUDQW\%XLOGLQJ.LGV(QF\FORSHGLD_&KLOGUHQV+RPHZRUN+HOS_.LGV2QOLQH'LFWLRQDU\_%ULWDQQLFD>2QOLQH@$YDLODEOHDWKWWSNLGVEULWDQQLFDFRPFRPSWRQVDUW'DQNPDU$GOHUDQGLouis-Sullivans-Guaranty-Building-is-an-architectural [Accessed 26 Dec. 2014].Panoramio.com, (2014). Panoramio - Photo of Louis Sullivans Guaranty Building. [Online] Available at: http://www.panoramio.com/photo/24346765 [Accessed 26 Dec. 2014].Wikipedia, (2014). Prudential (Guaranty) Building. [Online] Available at: http://en.wikipedia.org/wiki/Prudential_(Guaranty)_Building [Accessed 26 Dec. 2014].Osley, J. (2014). Holland House, Bury Street (C) Julian Osley :: Geograph Britain and Ireland. [Online] Geograph.org.uk. Available at: http://www.geograph.org.uk/photo/3615452 [Accessed 26 Dec. 2014].

104

Architectsjournal.co.uk, (2009). Adam Caruso on the Nottingham Contemporary art gallery. [Online] Available at: http://www.architectsjournal.co.uk/news/daily-news/adam-caruso-on-the-nottingham-contemporary-art-gallery/5210817.article [Accessed 28 Dec. 2014].Architectural-review.com, (2010). Nottingham Contemporary by Caruso St John Architects, Nottingham, UK. [Online] Available at: http://www.architectural-review.com/buildings/nottingham-contemporary-by-caruso-st-john-architects-nottingham-uk/5218249.article [Accessed 28 Dec. 2014].Carusostjohn.com, (2014). Nottingham Contemporary (Nottingham, GB) Caruso St John Architects. [Online] Available at: http://www.carusostjohn.com/projects/nottingham-contemporary/ [Accessed 28 Dec. 2014].Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottingham-contemporary-007494.html [Accessed 26 Dec. 2014].(WKHULQJWRQ51RWWLQJKDP&RQWHPSRUDU\E\&DUXVR6W-RKQ$UFKLWHFWV'H]HHQ>2QOLQH@'H]HHQ$YDLODEOHDWKWWSZZZGH]HHQFRPQRWWLQJKDPFRQWHPSRUDU\by-caruso-st-john-architects/ [Accessed 28 Dec. 2014].Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner.co.uk/2011/02/box-of-delights-nottingham-contemporary.html [Accessed 26 Dec. 2014].Nottinghamcontemporary.org, (2014). Nottingham Contemporary. [Online] Available at: http://www.nottinghamcontemporary.org/ [Accessed 28 Dec. 2014].Woodman, E. (2009). Caruso St Johns Nottingham curtain raiser. [Online] Building Design. Available at: http://www.bdonline.co.uk/buildings/caruso-st-johns-nottingham-curtain-raiser/3152974.article [Accessed 28 Dec. 2014].

Above: Nottingham Contemporary

Image source:Flickr.com, (2014). Nottingham &RQWHPSRUDU\ _ )OLFNU 3KRWR 6KDULQJ>2QOLQH@ $YDLODEOH DW KWWSZZZLFNUcom/photos/archiryan/4288610106/in/photostream/# [Accessed 28 Dec. 2014].

Design details

The building presents itself in a way that introduces new character to the area yet does not challenge its surrounding structures, as it is only a storey high on the Weekday Cross side allowing for the scenery behind it to clearly be seen, and does not interferer with the dominance of the Unitarian church ZKLFKLVQRZWKH3LWFKHUDQG3LDQR,WWVvery well in the cliff and appears as to be in proportion to the area.

The building has been designed with subtle principles and a simple-to-follow interior. Entering the building, going up through the reception and the gift shop are the stairs OHDGLQJ WR WKH JDOOHULHV RQ WKH XSSHU RRUAnother spacious staircase with large window to the Garners Hill and the Unitarian Church, will lead the visitor to the educational area DQGWKHRIFHVDQGXQGHUQHDWKRQWKHORZHURRULVWKHVW\OLVKFDIpDQGWKHSHUIRUPDQFHhall.

$W WKHUVW JODQFH IURPRXWVLGH1RWWLQJKDPContemporary appears to be an important, high-tech and functional building with the colour, the texture and the masses on the top of each other, although the viewer does not understand why that is. Looking closer the green and gold, the shiny elements and the variety of material is a reminder of Vegas and it might surprise the previous understanding! The building also sits were the high density XUEDQL]HGSDUWRI WKHFLW\ LVVHSDUDWHG IURPthe rest with the streets crossing and passing through them, and appearing as a gate in their forefront.

Nottingham Contemporary

Image source:)OLFNU$UFKLU\DQ>2QOLQH@$YDLODEOHDWKWWSVZZZLFNUFRPSKRWRVDUFKLU\DQ>$FFHVVHG'HF@

106

Structural Engineering

6LWHVSHFLFHQJLQHHULQJThe site is located in a historic space and one of the parts to concern was the existence of the Broadmarsh Caves as not only they are open to public but are scheduled ancient monuments. This required to be undisturbed and therefore the southwest corner of the building had to span for about forty meters long stretching over these caves. To provide such a structure the integration of engineering and architecture resulted in the merge of the load bearing structures and the exposed walls of the entrance and cafe terrace together.

ServicesAnother challenge in the structural design was the adjustment of services, the structure and the architecture together. This was not easy considering the little amount of hidden areas in the public spaces where the services are mostly required to run though, due to the use of exposed concrete walls. The problem was solved by using the space behind the 1.6 meters deep concrete beams crossing the

length of the performance space. These beams follow a rhythm in design and are meant to hold the weight of the artworks placed in the gallery above. These beams all provided for about a square meter space for the services to spread through.

Economical and sustainable engineeringSteel has been used for the framing structure of the roof over the main entrance as an economically alternative to the use of concrete in such a long span. The problem here was to design the closely placed roof lights resulting in a densely-frmaed layout for the beams which is quite unusual and had WR EH YHU\ FDUHIXOO\ GHVLJQHG WR W EHWZHHQWKHFRIIHUV7KHVWDELOL]DWLRQRIWKHVWUXFWXUHis balanced with the placement of slabs of FRQFUHWHZKLFKDUHFRQVFLRXVO\SXWLQVSHFLFlocations around the roof while preventing DQ\ LQWHUIHUHQFH DJDLQVW WKHPD[LPL]HG XVHof natural daylight getting into the galleries.

Facade engineeringThe next important structure to design was the cladding supports. The unusual claddings

of the building which are the lace-patterend units of pre-cast concrete weighing up to eight tonnes each, and their placement on the outer side of the structure creates an immense traction force over the structure. The problem was solved by close cooperation between Arup and Caruso St Johns architects to select the proper placement of the support and the required type, for the purpose, and for each facade.

Architectsjournal.co.uk, (2009). Nottingham Contemporary art gallery: Engineers account. [online] Available at: http://www.architectsjournal.co.uk/culture/nottingham-contemporary-art-gallery-engineers-account/5210818.article [Accessed 16 Mar. 2015].

Picture on the right:The location of known caves in Nottingham beneath the Broad Marsh Centre. The City of Caves are those open to public.Source:1RWWVKHULWDJHJDWHZD\RUJXN7KH1RWWLQJKDPVKLUH+HULWDJH*DWHZD\!3ODFHV!0DQVHOG!3ULQWHG>RQOLQH@$YDLODEOHDWKWWSZZZQRWWVKHULWDJHJDWHZD\RUJuk/places/caves/cavesmap2.htm [Accessed 1 Apr. 2015].

3LFWXUHVRIWKHFDYHVLQ1RWWLQJKDPFLW\QRWDOODUHORFDWHGXQGHUWKH1RWWLQJKDP&RQWHPSRUDU\EXLOGLQJWKHVHDUHMXVWLOOXVWUDWLRQVWRKHOSXQGHUVWDQGDQGYLVXDOL]HWKHPHQWLRQHGLQIRUPDWLRQon the opposite page).Source:Experiencenottinghamshire.com, (2011). City of Caves - Cave in Nottingham, Nottingham - Experience Nottinghamshire. [online] Available at: http://www.experiencenottinghamshire.com/discover/city-of-caves-p354851 [Accessed 1 Apr. 2015].