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YEAR THREE_UNIT TWO PROGRAMME TO FORM

Each project carries its own particular direction Projects begin with research into philosophical methods, poetics, critical literature and technology. The development of an inquiry begins in the first term; students develop their own interests, which are referenced against a programmatic method. In the second term we locate the projects in a physical environment that will allow the development of the issues. In the third term we begin to develop form and technology as a response to the critical issues developed in the first 2 terms. The projects become more informed as we begin to detail. There are 26 students in the unit all of whom have different projects. Most of the students enjoy hand drawing as a method of developing and presenting their work. we find this is a less constrained tactic for developing this type of work which often demands a lot of changes during the development stages. Staff Jonathan Morris Phil Watson Visiting staff Dav Davell.. Philosopher psychologist .. Env scientist o u Tobias Kleine unit master rca Derek Hale, Huddersfield school of architecture Tim Norman bartlett Charlotte Ereckwrath bartlett Stuart Monro bartlett masters tutor* Guy Pocock sculptor* Rachel Armstrong gp* Geoffrey James Greenwich school of architecture* Ruairi Glynn practicing architect* Martin Bullman practicing architect athens* Jezz Monk Hawksworth urban designer * Means member of final review panel on 29th may Unit 2

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Climbing is the extension of walking, of moving up into ever steeper terrain. In the Architecture of Inaccessible Space, it is the deeply rooted response of the mountaineer to a landscape of towering peaks and canyon walls. For some, this vertical landscape brings a surge of energy, an urge to climb the seemingly unscalable that is an almost spiritual impulse. The topography machines shift and stretch the fabric of the landscape, changing the internal environment. With the fabric insulation wrapping the internal spaces of the building, the internal atmosphere can change with the differing thickness of material being stretched and folded. Programmed obstinate climbs of well-documented peaks, order the claustrophobic twisting and bending steel walls which connect the spaces whilst mingling between the water channels cooling and ventilating the spaces. The building is a journey full of obstacles and seemingly inaccessible spans to challenge the occupants who experience the building physically and emotionally.

Unit 2

Megan Bamber
Architecture of the Inaccessible Space

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Kevin Chen
Imaginary Planes
Unit 2 The project discusses the relationships between object, subject, image and landscape, and was initially inspired by an exploration of concomitant developments in theories of vision, philosophy, photography and landscape painting. It seeks to elaborate upon the notion of the imaginary plane, as explored by the paintings of Rex Whistler and de Chirico. Sited at Plas Newydd on the Isle of Anglesey, which has a subtle connection with the Battle of Trafalgar, naval warfare, seafaring and navigation are further explored as the geometries associated with military strategy are akin to the rules governing the laws of optics and perspective. The architecture is thus inspired by the structural dynamics, conflict, tension and projections of seafaring to explore shifting perspectives and synaesthesic experiences. The materials, qualities and geometries inherent in photography, warfare and navigation are thus used to architecturally discuss notions of process, reaction, time, event and the simultaneous shifting spatial and temporal dimensions of our lived experience, on what Deleuze calls a plane of immanence. 93

Yuk Fung Cheung

The Death of ObserUnit 2

vatory

An observatory that reads and records the environment in the spectacle of the mixing of the nature and the man made. The delicate boundary between the land and the sea is translated into the shifting language of architectural elements, which results in provision of different viewing vistas, layering and overlapping of views, distortion of spatial depth at different

moments of time. All these allow the re-reading of the environment in the manner of scenographia, the notion of pictorial depth suggested by Vitruvius. It is a phenomenological experience of extending landscape within the system, which challenges the conventional idea of observatory that reduces the environment into abstracted figures and statistics.

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Daniel Fenster
Facts On The Ground

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Unit 2

Charlotte Francis
This project is a specialist growing archive where the structural frame replicates an orchard and the structural columns act as a cider press, also circulating air and allowing the orchestration of light. The structural columns act like a series of trees within a forest and become invisible in the architectural process acting as an extension to the landscape. The orchard roof acts as a series of skins creating a narrative of tree branches with overlapping and linking leaves creating a hybrid of different things with a secondary smaller structure sapling trees holding the floors and giving stability to the main structure. Purlins pivot and swing in different locations at different pressures at different times creating a nomadic structure. The architecture is adaptable and the form alters and surfaces change and react to the environment in which the structure is located. The changes in the structure need to deal with movement and time. The structure is attached to the natural topography of the rock face giving a chizzled out and carved appearance within the rock.

Specialist Growing Archive

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Adam Greenhalgh
The project is about the meeting of several different technologies over time. Architectures become reoccupied/re-formed and adapted. The experience of time as an event in a system of parts leads to the idea of a theatre of components as an architecture. Light, form, material and texture are reviewed as a method for observing moments in a system. The tactic is to uses structure as a mechanism of geometry to register distortion in the form. This distortion is then used to stretch shift a projection that is relocated onto the hull of a ship. The wearing of time on the fabric becomes central to the project as the architectural space becomes re-enabled as a theatre constantly performing; in this sense the drift space of technology becomes a paradigm shift object.

The Projective Theatre

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This project aims to focus on the intrinsic relationship that exists between nature and technology. The defiant challenging of beings that aims at the total and exclusive mastery of nature through the transformation, storage and distribution of the resources that nature has to offer. This idea has been used to inform the design of a garden that focuses on the relationships between spaces and the objects within these spaces. Governed by a number of individual interventions that form a coherent whole these spaces fluctuate according to the environmental conditions of the site. Sited at the head of a valley in northern Snowdonia the garden of geometrys refers to the naturally occurring, Cartesian and linear spaces that are formed by the passing of seasons, change in water levels, wind pressure and solar exposure. Energy harnessed from these sources acts to fuel the growth of plants. Slowly cultivated and controlled some of these plants are grown to replace parts of the system worn away whilst other are being cultivated in an effort to reclaim the natural landscape lost overtime to agriculture and mining. The structure itself reflects through a series of pulleys, counterweights, folding roofs, cogs and membranes the tensions that exist within nature, creating a series of parallel spaces between architecture and the landscape.

Unit 2

Matthew Holt
Garden of Geometry

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Selina Lau
The Art of Discretion
Unit 2 Fantasies of inclusion and exclusion are wrapped around the image of the Japanese geisha; artisans highly trained in the traditional skills of dance, music and conversation. The slight hitch of a richly decorated kimono sleeve serving tea reveals the delicate skin of the inner wrist, the slight submissive bowing of their elaborately decorated heads reveal the unpainted curve of their lower neck. Small discrete actions, subtle touches of a particular system can have a greater effect than imagined, not only physically, but also in a more phenomenological sense. The design is one which is focused upon the delicate and fleeting touches of the architectural system, ordered by the discrete moves and hidden structures within Japanese ceremonial dance steps, accompanying music, instruments and traditions. Such light touches and movements within the system, although sometimes hidden or barely perceptible, facilitate detectable changes within the internal environment of temperature, light, volume and spatial experience. A narrative through a dance performed by the geisha, the building acts as a visual representation of the spatial forms and steps of the geisha, as well as the temporal musical rhythm and instruments. Just as the art of Noh theatre is a highly ordered art of time and space, the design represents an architecture focused on temporal and spatial changes generated by controlled discrete alterations to the system. 99

Unit 2

On 16/12/2008, a 15 year old boy was shot by a policeman in the centre of Athens. The next day, the streets were full of people demonstrating against the assassination but also expressing their anger towards the existing political system that gets corrupted day by day. During the months leading up to the day of the murder, the government had been under scrutiny following the uncovering of five political scandals. I believe that the uncovering of these scandals one after another was in order to manipulate the media in the same way that the exaggerated coverage of riot incidents was to later cover the event of the murder. The project looks at the eroding qualities of the existing political and economic 100

cosmos and how this affects architecture; destruction cannot be the solution in an era of such an enormous environmental shift. So, I am revisiting parts of the city through installations from the recycling of rioting material, following the route on which the demonstrations took place. Thus, the project talks about the idea of distortion through soft and hard structures that allow footsteps to affect the physical qualities of a building, voices to form new windows and a freezing icecream to warm up our winter. The randomness in which these driving forces operate my structures is what interests me, in the sense that its spontaneous nature is the only human equivalent to the chaotic situation of the world we live in.

Lfigeneia Liangi
Dreaming

The architecture of overlapping spaces, materials and locations. The project is based on a North Wales Lake sited on a previous monastic order of St. Clements and the Rollers. The remaking of the monastery as a recycling and meditation space for bikers. The shift in the space between religion and technology as a method of manufacturing the overlap between time and institution is the main purpose of the project. It can be seen as a micro-regional architecture between the fixed and the nomadic, in this sense the shiny helmets and baldhead brigade. A site that crosses existing identity, cultures and rituals for the relocation of outlaws and valley bandits.

Desislava Lyutakova
The Press. The Space Between

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Tina Qiu

Distinctions between the Figure and the Figurative (Les Lauves) The nature of the Figurative within architecture as a shifting / editing negative space outside and contained within that of the object and material volumes. The isolation of the Figure by locating / positioning it within the Figurative or geometry of shifting forms / Fields. This is the editing space, removed negative volume of the sculpted held within the spatial field of the material that defines the form of the object. The important point is that the geometries do not consign the Figure to immobility but, render through sensation a kind of progression, an exploration of the Figure within the

place, or upon itself. This is the Operative Field. The relationship of Coupled Figures as opposed to intelligible relationships of objects and ideas is where there is a blurring between matter and nothing. Illustrated through particles and mist systems where through dust and steam motion plays a part in omitting the static nature of objects and nothing. The Coupled Figure is a third condition sitting outside of matter and space and is a momentary bind between them. Momentary in that as inertia dissipates from the bind matter is reformed in rest and the dynamics of voids are re-framed.

FIGURATIVE GARDENS - HydroOPERA

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Alun Singleton
The Ecological Dot
Unit 2 Inspired by Dylan Thomas play for voices, Under Milk Wood, The Ecological Dot questions the nature of the machine as a grammatical structure. Whilst projecting aspects of the surrounding bay of Laugharne and using a fictional environment to cultivate algae, the user is to proceed through a series of metaphorical time-based systems. The 5 acts to the play each have individual locations, independent speeds and characteristics, yet are all conducted by the resonating chime of Duchamps bell upon a moment of internal syzygy. .. As the mechanisms of each cybernetic clock project sound and light, the syntax of space, memory, meaning and contradiction all intertwine into a new interpretation of an ecological structure. question open... .. question... dot dot, 103

Unit 2

Mark Skinner
Glass Ampoule hydroponic botanical research centre

The project discusses the measurements in perspective where unseen form suspended between multiple views of an object in the visual field. The design looks to insert drift technology to re-scale through time and proximity, where time delays and distance architectures can adjust the traditional form to reveal through animation a suspended hidden form. The project is a glass workshop for the casting of glass ampoules 104

pressed into temporary geometry translated through the technology of the building into resin and sand moulds. Voids within the amulets caused by the change in energy transfer within the structural geometry become water tanks for the hydroponic suspension of plants. The ampoules are inter-linked together to create a layering of veils, environmental regulatory devices that sustain the temperature, daylight, carbon dioxide levels and

acoustics of the building. The herbs are dried and ground in the junction details of the building and when mixed with water then poured into the glass press as a cooling system. The project is sited over the former site of the 104-year-old Grand Pier at Weston-super-Mare, sadly burnt down for the second time in July 2008. The design fragment the mile and a quarter pier into a sequence of measurement at which points differing perspectives are obtained of the building.

This project is about flow of locations in nomadic architectural spaces that deal with motion in a series of connected technologies. The acoustic scoring of the landscape creates a series of geometry changes of its topography. The volume of spaces becomes distorted in response to the movement over

time. The change of its spatial quality reveal the unexpected recomposing possibilities between functions. Parts of the structure operate as a silent sound buffer to enhance acoustic clarity. The slow acting surface materials work as a trace and recording system of the naturally occurring.

Yifei Song
Into Great Silence
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Unit 2

Neal Tanna
Drift
The conflict of global and local values has supplied an insight into issues regarding the interconnectivity of individuals all over the world. We now see a fused world, a platform where people, knowledge and goods can be spread rapidly around the globe. On the flipside, we also see an ironic fragmentation of communities as global ideals clash with locally formed ethics. Where the benefits of interconnectivity are clear, the unsustainable and conflicting nature of the homogeneous aspects of globalisation create new reflex reactions. Culture and identity are questioned through new lines of individual and mass inquiry.

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Mu Wang
21g

They say we all lose 21 grams... at the exact moment of our death. Everyone. The weight of a stack of five nickels. The weight of a hummingbird. A chocolate bar. And how much fits into 21 grams? How much goes with them? How much is gained? How much did 21 grams weigh? The project deals with the notion of location and relocation within multiple systems, to create a cybernetic space, which changes its state by detecting external object state changes within or surrounding the architecture. The program starts on the side of the cemetery island in Venice, San Michele. Where the coffins are collected from the Gondolas, onto a transferring belt going into the crematorium. The coffin and

the body would then be burnt into ashes, and placed into an ossuary box, and set onto a rotating plate, which forms a dot. As the plate is constantly rotating powered from the thermal energy of the crematorium, the heart of the building, the location of the dots would be randomized. This is to form an improvised musical composition. As it rotates, the dots would touch each strip of cloth laced with metal string on each own track. The vibration is converted into electronic signals by magnetic transducer, which is wrapped with a coil of a few thousand turns of fine enameled copper wire. The electronic signal would then be sent to an organ playing each note as a metaphor the spirit of the dead is transformed into sound, the requiem.

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