D1b submission

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The 16th October was the first opportunity to submit my second year main design project. The D1b module brief was similar in its ‘open-endedness’ as the previous D1a: choose a site and develop a project to a suitable year 2 architecture standard. A difference between this year’s and last year’s hand-ins was the online nature and the additional requirement to submit a video which demonstrates key concepts to begin the examined conversation. To get a good idea of the project as a whole view my video here:

For my project I chose to focus on a region near to the town of Bardonecchia in North-Italy where I had visited earlier in the year on a skiing holiday. Visiting a certain part of the resort I spoke to a few groups of people who were lacking a restaurant to eat in and this set the early programme.

In researching the area I found plenty of precedent in rare snow formations that snaked their way around areas off-piste and juxtaposed this with the way that humans form the snow in order to attract human habitation of the mountain.

Additional research brought up the local cultural values of cheese making and how this provides an economic benefit that is not restricted to a particular season. The work is fitting to the area in its historic heritage and gives a practical and sought after lifestyle. I made a batch of ricotta to fully understand the latter part of the process that they use.

This was paired with a more traditional look at the traditional vernacular chalet construction and the materials used. The atmosphere that you get in such a building is that of density, enclosure, darkness and a kind of heaviness that is in no way aligned with the reasons why people visit the mountain: this is for sky, light, air, views, brightness and a connection to the aridly sparse landscape. It was my ambition to reject the blind adoption of vernacular (although referencing it in regard to certain criteria that made it suited to its environment) in order to craft a new, better-suited internal environment that reflected seasonality and ski experience.

Cutting a lot of design development out and experiments in ice, snow and cardboard (who wants to see that?), the final concept utilises an exposed roof structure that represents the difference in snow pattern. The rigid and aligned main sections oppose the sweeping secondary supports and stepped change in the roof levels. The central hooded roof acts as a canopy over the main entrance and is a modern application of a largely-accentuated chalet pitched roof.

The building is set into the mountainside, making best use of the thermal mass of the landscape and minimising the overall profile. There is an access piste, roughly the width of a road at the rear of the building, set at the same height as the roof which gives direct views to the roof countours. The front of the building opens out to the views of the valley and the small town below the site.

The interior programme is split simply between the original idea of a ski restaurant and the reaction to the research into the cheese-making process that was local to the area. The front of house spaces (a cheese shop and restaurant seating space that spills into external decking) are set mirrored either side of the lobby. Back of house spaces include kitchens, storage, plant rooms and toilets. The cheese shop and kitchen have a large visual connection as the process is linked to the end product. Education as to the local significance of the trade is encouraged with the opportunity for tours and talks.

The building has a cheese maturation cave, set into a basement with a circular glazed element in the lobby floor ensuring people have their curiosity piqued on entering the building as to its use. The material of the pitched roof element is a reference to the tools used by the cheese makers – large vats of copper are used to cook the milk as they are curdled.

The idea for the restaurant evolved to finally create a building that can give something to the local community and continues to serve an active purpose in promoting the cultural value of the region throughout winter time and into summer.

D1a presentation

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I recently presented work for my D1a (design) module wherein I focused on the local site of Coventry Market, also utilising the adjacent vacant plot of land. The core focus of the scheme was to rejuvenate a part of the city that is integral to its identity as a modern place of innovation.

Two key problems were identified to be resolved: the drop in demand in visitors to the market leading to an increase in vacant stalls as the market commercially struggles to survive; and the identification of the market from an external point of view leading to a greater presence within the city where it should be a focal point of community activity.

The former was mainly determined through an additional space use that took the form of a rooftop garden and other associated uses such as an outside gym, children’s play area, 5 a side astroturf pitch and a central sloped green. The aim was to attract passive footfall to the market through the visitors to the urban greenery.

The latter issue was tackled through the adjacent plot of vacant land being utilised as a new main entrance leading onto Queen Victoria Road. The dual use of the proposal creates a need to enter each part of the new market individually and it was therefore necessary to create an obvious route to both spaces, leading an onlooker to identify where the garden space is located even if they do not intend on visiting and vice versa.

The proposal adds a sloped rooftop garden with terraced gardens and functional spaces around the circumference of the maintained circular structure. The existing rooftop is partially demolished to create a double height space that visually links with the new internal mezzanine at first floor. The ground floor has large areas afforded to a flexible community space which spills out to the pedestrianised external section of the site to the south and a larger cafe, anticipating an increase in the demand of this type of social interconnection due to the rooftop green space.

The wrapping structure is an engineered timber which is colour matched to the native sandstone of Coventry’s heritage. The intermediate supports act as a substrate for pockets of planters, draped evergreen ivy plants trickle over the edge, fashioning a green curtain that holds the market. The tendrils of the sweeping form reach out to three key public nodes that are adjacent to the site: to the west, the main entrance on Queen Victoria Road and to the east, the public Shelton Square and towards the north east, the pedestrianised Market Way that leads to the central precincts.

The centre of the rooftop garden is taken up with a lightwell circulation space, extruded upwards from the form of the existing lightwell. It is capped with an isolated area of green space given over to the habitation of insects and birds, encouraged with a plethora of plants and sections left fallow as well as tree branches and green debris to act as housing for these biodiverse residents of the city.

The raised central biodiverse space forms the primary exhaust point for the building’s passive ventilation strategy. Diminutive air vents exhale used warm air from the building, lifting seedlings from the platform and dispersing them across the city, raising the profile of the market and its efforts towards biodiversity.

Each identified location will have a planter, partially planted and partially left to be planted by local seedlings. The centre of the planter will have a small, spreading timber sculpture, referencing the market’s timber surround and also allowing the resting of birds to further spread seeds through their droppings. A sign will point interested pedestrians to the market and also educate on the tenets of biodiversity.

In critical analysis, I believe I concerned myself more with utilitarian answers to the needs of the site. While this created clear cut answers to the squat and confused nature of the existing building and its surroundings, the combined concept does a poor job of creating a holistic and congruous solution.

In contrast to my submitted Statement of Academic Intent where I was originally intending to broaden my scope to more abstract topics on a scale spanning that of miscellaneous historical human habitation during my second year, the feedback received from this submission and subsequent reflection has led me to instead pursue tightened ambitions. This extra focus will lead to a better grasp of fundamentals more relevant to practice work and will hopefully transfer across to theoretical topics which can be explored in later submissions.

Advertecture concept artwork

For my final year architectural project I initially developed a brief that pushed the boundaries of what I am comfortable with: that is functional, fundamental, built architecture consistent with my background in Architectural Technology. Sometimes termed “story architecture”, this style of brief would ask larger questions of the intersection between human reaction and the built environment.

Sci-fi has always been my favourite genre of fiction and I saw creating this brief as an opportunity to incorporate a postulated but realistic setting in which to play with possible theories. Similar projects have acted as precedents throughout my education so far, most notably Marko Dragićević’s Methanscraper (below images) and Liam Bedwell’s The Lithium Empire. Both of the aforementioned projects have a key focus of manufacture or technology and are represented within a futuristic setting. This is captured in the dirty, grungy, almost dystopian artistic style that I am also drawn to.

Although my current thoughts are to relinquish this brief proposal (after careful consideration with a close course mate and my tutor), I had begun to compile artwork which I thought worth sharing.

The current concept is based on the intersection between advertising and architecture set within a futuristic conjecture, inspired by the documentary The Social Dilemma. The scenario will serve to inform a study into the psychological effects of a digitally-constructed echo chamber which is entirely relevant to this age within the rise of fake news and the interrelated role of social media.

It will portray a society utilising technology to build individual worlds draped over reality that have been built using data from social interactions – online and in person. Precedents will focus on the history of advertisement and how a personalised experience could develop from the present day: electronic billboards in tandem with face recognition (Minority Report film), wearable technology (Google Glass), projected imagery (Blade Runner film), semi-transparent screen contact lenses (Altered Carbon) or even neurological implants (Upgrade film) will form part of the study.

The main thrust of the project will be mapping a prediction of certain personality metrics (the Big Five traits) against the long term effect of having a built environment that reinforces your own views, narrowing critical thinking. It will do this through proposing a number of fictional personalities (Nelly the Nationalist, Ed the Environmentalist, Fearn the Futurist, Norman the Narcissist etc) and exploring how a typical street may look to one of these individuals given a year of exposure to their own projected echo chamber comparative to, say, ten years i.e. will Nelly the Nationalist grow more or less open/neurotic/conscientious etc?

The majority of my research up until this point has been about the likely method of establishing the technology within a willingly accepting society. I believe that there are no truly evil or good technologies and any development could feasibly be framed to have positive or detrimental effects on society at large (this isn’t to say that the majority of effects could be one or the other). There are many potential positive effects of wearable technology or neurological implants (communication, information access, health, education, ‘peace-keeping’ are a few examples) which could all work towards a levelled, egalitarian future with better access to information. Unfortunately, the tangible negative effects of social media are only just beginning to unfold as we live through the first generation to access to this information in a narrowly individualised methodology from their formative years. Will social media encourage conversation between those of differing opinions in an attempt to educate or will it continue to polarise nations to self-servingly further its own popularity?

A number of experiments

In addition to messing around with creating my own cheese (the last post), I’ve been experimenting with an architectural model for my D1b Bardonecchia ski restaurant, trying to put into form the theoretical research I’ve completed on the natural formation and human manipulation of snow. This was expanded when I looked at how ice forms (ice and snow being a key element in the experience I want to create) in a model gutter setup. A third experiment was completed looking at the textural and light transmission qualities of snow when sandwiched between two transparent layers. The overall ambition of these experiments was to play with how snow and ice could be represented in building elements or how they could be incorporated in their actual states and how this would be achieved.

The two primary set of elements are a series of aligned structural struts that return to ground level juxtaposed with a light sweeping set of louvre-like slats that follow the snow drifts of the mountain. The former represents the pattern created by human ‘combing’ of the ski slopes (the rationale for modern day mountain occupation) whereas the latter defines the juxtaposing natural formations called ‘zastrugi’ which can be seen on the upper slopes of the site.

After flirting and dismissing a radial arrangement, two preeminent solutions presented themselves. Either arranging the structural struts on a simple axis, presenting a flat main facade or each individual strut being pushed back so that they follow the organic flow of the ‘zastrugi’. The first mentioned option was chosen: it accentuates the aligned nature of the primary structure which is its main aesthetic focus. It will also ease construction, especially considering the facade is going to be largely glazed and will rely on its airtightness to limit energy use in an extremely cold environment.

The second experiment (above) used a gutter apparatus which was tweaked over a period of months, using different modifications to the slope leading up to the end of the gutter or changes to the gutter itself. Water was poured into the gutter several times a day and ice accumulated over a matter of weeks for each prototype. A method was sought to express the runoff of the roof in a safe yet artistic manner that fitted with the restaurant’s philosophy of emphasising present-day mountain habitation over that of the traditional; the modern tourist pull of light (in both visual and weight terms) snow, ice and sky apposed with the traditional vernacular of thermally heavy stone and timber. In the end, this experiment met with failure: the ambition was to create a ‘wall of ice’ but the closest outcome was a set of icicles forming on the rear end of the gutter.

The above images demonstrate the process of creating a form of fake snow. Baking powder mixed to consistency in shaving foam. The objective was to achieve a relatively close idea of the texture and light transmission when snow is compressed between two transparent layers. Simulating the idea of restaurant ‘snow walls’ whereby snow is directed between two closely spaced internal curtain walls that compact the snow, introducing the mountain into the interior of the restaurant. Although snow obviously requires close to zero temperature in order to form, its high air content makes it an ideal insulator, backed up by research completed on igloo construction. This is coupled with its ability to internally refract light, making it translucent – allowing light through the wall without necessarily allowing a visual connection. The seasonality of the construction will have to be anticipated as the wall will be present in the ski season but melt to leave a large glazed partition during the rest of the year.

Cheese making – the process and my attempt

My D1b architectural project has led me down a few rabbit holes – the latest being the process of Alpine cheese making, one of which created formaggio and ricotta.

Cheese has been made for centuries in the region that contains my site, impacting local culture and economy in addition to the more modern advent of mass snow sport tourism.

In order to understand the process a little better I decided to make my own cheese and document the process.

The final product alongside another Italianate dish, ricotta salad with spaghetti bolognese.

Coventry Society presentation

I was due to present my D1a design submission to the Coventry Civic Society (link to their blog/news page) since the beginning of the year. Due to the COVID-19 restrictions this was not possible for a little while and in the end had to be completed virtually. The benefit being that it was recorded and the video has now been uploaded to YouTube. If you’re interested in the proposals and the subsequent Q&A grilling then check out the video below:

Three stages of ski

I’ve chosen to focus on a site in the middle of a ski resort for my d1b design module, specifically halfway up a mountain close to the Northern Italian village of Bardonecchia, chosen because of my visit to it earlier in the year. As part of my development I’ve thought about how the slope and its architecture forms a habitat for facilitating day activities which attracts tourists and these can be broken down into the phases of lift, ski, eat.

Bonus sketch of a traditional chalet:

Books that have got me this far

Being in my third of four years of the RIBA Studio Part I course, by next Friday I will have prepared for and submitted/completed my professional practice, technology and cultural context essays/exams. Hopefully I will have passed them all first time but even if I don’t, it won’t be because of the brilliant set of books which have helped me get this far, most of them focusing on the cultural context exam. Hopefully if you’re reading this as an architecture student or someone who’s interested in the field you’ll give some thought as to whether they could form part of your own collection.

Understanding Architecture, Jeremy Melvin

Recommended to me by my director who also sat the same RIBA Studio exam a few years ago. Very cursory look at a lot of different styles, perhaps splitting them down too much into very niche sectors so take their descriptions with a pinch of salt. Worthwhile, quickly-read purchase which can serve as a starter for the Cultural Context examination.

Modern Architecture: A Critical History, Kenneth Frampton

One of the legends of architectural comment. Not considered a light read, I found his style hard to follow. It has an absolutely inordinate amount of references that demonstrate Frampton’s unparalleled knowledge but which require continual Google-ing as you read. A ‘proper’ academic piece of work. Images are unfortunately usually small and in black and white although there are a few which offer comedic relief.

Modern Architecture Since 1900, William J. R. Curtis

Perhaps the book which has been the most help to me, especially concerning the second half of the Cultural Context exam. Whereas Frampton condenses his huge amount of knowledge into the smallest number of words possible, Curtis allows for a wide breadth of topics at a slower, better explained pace. Accompanied with a beautiful set of colour images which allow a deeper connection to the book’s message, I allowed myself a chapter per day in the lead up to the exam, making notes and sketches as I went. I would recommend starting with this book before Frampton’s.

Palladio, Manfred Wundram

A typical TASCHEN book. High quality printing and completed in a non-opinionated, factual sense. It is obvious that Wundram’s background is not in architecture due to a minute number of semantic choices when describing particular architectural elements. Bought for the Palladio section of the exam as it had occured for the last four years and it didn’t come up! Still an interesting read and a very high quality book.

Architectural Details: A Visual Guide to 5000 Years of Building Styles, Emily Cole

Compiled by a number of architectural historians and edited by Cole, I have no idea how this book is not on the reading list. Incredibly enlightening for anybody who wants a comprehensive and (importantly) highly visual understanding of the styles of architecture pre-twentieth century. Although not touching at all on the build up to modernism and subsequent developments (comprising the second half of the exam), the stylised illustrations beautifully convey broad brush strokes of historical fact in a lucid and accessible manner.

Robotic Building, Claypool et al.

I’ve included this book for its visual appeal (perhaps more than its use!). I chose to focus on advancements in AI and robotics in construction for my technology module and while most of the information on this topic is well represented online, there is still something about a physical publication which permits a better connection. Comprising chapters of narrative followed by supporting case studies, it pointed out a few areas of exploration that I would not have considered.

Robots and AI in construction

I’ve recently completed the first draft for my T3 essay on robots and artificial intelligence in construction. Check out the collection of collages and sketches completed for it below and let me know what you think