Category: Research

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.

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.

Roofs and more

One of the core components of my Coventry market refurbishment scheme is to utilise the roof space. The market has a pride in the utilisation of it for car parking, reducing the need for surface parking elsewhere within the city centre. Following my city wide analysis, there’s a need for a defined green space and there’s an argument to say that it should be used in this manner over any other. I’ve looked at precedents in the utilisation of roof space:

Park ‘n’ Play, Jaja Architects

Garden House, Hayhurst and Co.

Jintai Village Reconstruction, Rural Urban Framework

Green Cloud, ZHUBO-AAO

Green precedents

To clarify my brief I conducted a cursory review of Coventry city centre’s materiality and land use. The conclusions were clear: an overabundance of commercial space that is being tested by online competition leading to vacant units all over the city, giving public spaces a run-down and uncared for semblance; a lack of significant green space that acts as a destination; a growing presence of cultural leisure as the city changes its identity; an increasing density of residential areas as land prices increase.

The response to this is the creation of a hybrid commercial/public/leisure space with a strong park-like feel and I’ve searched for similar projects to use as precedent.

Gasholder Park, Bell Phillips Architects, 2018, King’s Cross, London

Gasholder Park in London is a RIBA London Award Winner for 2018, repurposing a listed grade II former gasholder to create an urban green space. The green surface hugs reclining visitors, offering up a slightly raised embankment along its perimeter – this coupled with the soaring metal columns and interlinked supports give a strong sense of space definition although one that is entirely permeable.

The use of cleverly designed mirror clad surfaces echo the aspects of the landscaping that the architects are most keen to emphasise, moving your attention away from the urban background and instead focusing on the green interior.

Delft University of Technology Library, Mecanoo, 1997, Delft, Netherlands

Local architects Mecanoo designed this library to provide the function of a learning space, giving students the choice to study protected from or enjoying the elements. Despite working with a constrained site, the building blends into an adjacent flat park.

The form is additive and subtractive in parts: the entrance being bordered with retaining walls that return the sweeping green roof to ground level; the elongated steeple-like tower adding a focal reference point to the campus and serving to offer diffracted light to the study area below.

Klyde Warren Park, The Office of James Burnett, 2012, Dallas, Texas, USA

The Klyde Warren Park, part of the High Line Network that also includes the eponymous New York structure, is an urban park constructed over a ten lane freeway, linking two previously severed neighourhoods of the city.

The park is pedestrian focused and offers a multitude of spaces given over to active or passive participation: a children’s park and water play features, a dog park, a green or ‘great lawn’, a performance pavilion and a 560m2 restaurant accompany a botanical garden, a reading and game room as well as numerous jogging routes.

Circular precedents

Since one of the defining features of Coventry Market is its circular form, it makes sense to consider other curved buildings, how their designers approach marrying it with a difficult floor plate and why that particular form was selected.

Denmark Pavilion, BIG, 2010 Shanghai Expo

The Denmark Pavilion snakes around its contents, holding references to its reference country: the Little Mermaid statue and a continuous, winding bicycle path. The changing height of the path both encloses and provides a wide viewing platform allowing for flexible, constantly evolving perspectives.

Beijing National Stadium, Herzog and de Meuron, 2008, Beijing

The “Bird’s Nest” stadium built for the 2008 Beijing Olympics is comprised of two separate structures: one, an almost standard stadium; the other, an encircling tangle of steel partially infilled with lightweight ETFE. The latter gives the external form independent freedom from the requirements of the building use.

Endless Theatre, ECÒL, MDU Architetti, Cosimo Balestra, Lorenzo Perri, Emanuele Barili, 2014, Novosibirsk

A sweeping concept public space designed to define a circular theatre area allows for varying elevations. The dynamic method of observance echos aspects of the intended cultural performance, offering a novel dimension to the traditional and rigidly formal process of watching a production and creating a connection between spectator and entertainer.

The Floating Market

Since I decided on Coventry city centre market being my site for D1a I’ve signed up to a few blogs and social media pages which give information on local events. The entire area is abuzz with goings-on as the city celebrates being European City of Sport 2019 and UK City of Culture 2021. One of the blogs that I’ve been following is the Coventry Society that recently promoted a floating market: a set of barge boats within the canal basin all set up to invite buyers to purchase a range of creations.

It was useful to make notes on the sort of items on sale and which boats were most popular. All of them emphasised the fact that their produce was not available on the High Street and instead of focusing on cheaper prices, used individuality and personality as their unique selling point.

The difference in method of production was also brought home: hand made items, especially ones which required high levels of skill to produce or utilised traditional techniques were widespread although each had their own distinctiveness.

One of the greatest differences noticed between shopping at somewhere like the floating market and simply popping to Morrisons was the friendliness exhibited. The sellers were glad to see you and actively tried to engage in conversation, not just to build rapport in order to achieve a sale. This was a place of community not simply transaction.