1

ArmAment

LMV - WHERE THE COMMUNITY, STUDENTS AND PROFESSIONALS MEET IN THE SPOTLIGHT

ArmAment

LMV - WHERE THE COMMUNITY, STUDENTS AND PROFESSIONALS MEET IN THE SPOTLIGHT

ArmAment

. Asma Dauleh . Freddie Garside . Nick Husband .

. MArch Year 1 . Live Project . Group Work .

CONTENTS

Methods of Collaboration

Architecture Live Projects

Other Ways of Doing Architecture

Film School Architecture

Film Studio Architecture

Urban Interventions

Drawing and Presentation Skills

London Visit

19

9

27

35

49

43

55

61

written by

FREDDIE GARSIDE

ASMA DAULEH

ARCHITECTURE LIVE PROjECTS

“A LIVE project compromises the negotiation of a brief, times-cale, budget and product between an educational organisation and an external collaborator for their mutual benefit. The pro-ject must be structured to ensure that students gain learning

that is relevant to their educational development”

(Anderson + Preist, Oxford Brookes University, 2012)

11

Controlled

No third party (client / stakeholder)

Little exposure to real life situations

Freedom of creativity, may bejust theoretical

Defined Timescale

Defined Brief

Entropy

Must work with a client /third party / community

Constantly responding / solving problems that arise throughout the project

Has to adhere to real life constraints such as budget,building regs etc…

Changing timescale due to unfore-seen circumstances / troubleshoot-ing

Brief can change due to client / construction limitations / time con-straints

OrthOdOx StudiO vS Live PrOjectS

Tutor Student

Knowledge Transfer

Tutor Student

Knowledge Transfer

1. Student

2. External Collaborator

3. Educational Organisation

4. Brief

5. Timescale

6. Budget

7. Product

the cOMMOn FActOrS OF Live PrOjectS

13

People - Expose students to a wide variety of people implicated in the architectural process.

Process - Offer students opportunities to participate in stages beyond the design phase.

Materials/Construction - Allow direct interaction with materials and the process of assembly, gaining knowledge and “know how”.

Varied Skills - Long list of skills develop due to wide range of project demands. Group work, audience responsive communication, etc.

Value Systems - Knowing that there are conflicting and contentious views of architecture is valuable for stu-dents as they begin to triangulate their own positions.

SKiLLS GAined & deveLOPed

Schon’s Reflective Practitioner. Watch. Understand. Repeat.

The tutor – student relationship transfers concise knowledge effectively.

theOrieS OF teAchinG

15

Kolb’s experimental learning model (ELM). Do. Reflect. Think. Practice.

The learner experiences, discovers and then applies their new found knowledge.

17

written by

SARAH HARVEY

STEPH WILDING

19

METHODS OF COLLABORATION

The recruitment of a wide range of disciplines to a design process.

whAt iS deSiGn cOLLAbOrAtiOn?

21

MethOdS OF inFOrMAtiOn GAtherinG

MethOdS OF the deSiGn PrOceSS

23

the theOryOpenness of Collaboration

Governance of Collaboration

A cASe Study People for Urban Progress (PUP)

An Indianapolis-based non-profit organization. They stand for project-based urban progress. It was started in july 2008, by Maryanne O’Malley and Michael Bricker. Initial project was saving the roof material from the Iconic RCA Dome once the stadium was demolished. They continue to savage, recycle and re-purpose through out Indianapolis whilst promoting through events and selling goods.

Goal: “Promotes and advances public transit, environmental awareness and urban design.”

25

written by

NICK HUSBAND

27

OTHER WAYS OF DOING ARCHITECTURE

Other wAyS OF dOinG Architecture

29

Other wAyS OF dOinG

cOMMunity PArtnerShiPS

The economic downturn has led to a crisis in the Dutch building and con-struction sector, as well as in architecture.

This acclaimed, self-conscious ‘post-starchitect’ generation is characterized by social engagement and a strong urge to explore the borders of their pro-fession.

Most of them set up co-ops, manage complex processes, and take the initia-tive for projects themselves, rather than wait for new clients.

The role of the architect has changed from producing buildings to program-ming and agenda-setting.(1) a strong focus on coalitions and partnerships, (2) on urban strategies instead of designs, and(3) on unsolicited proposals.

The new Dutch architecture generation could be described as ‘Performative Urbanism’, ‘The Amateur Is the New Professional’, ‘DIY Architect’ and ‘Test-site NL’.

They present a selection of theme-specific agencies and their projects. Not only about buildings, landscapes and other types of spaces – also apps, new types of city-making processes and financing models are considered ‘archi-tecture’.

Other wAyS OF dOinG Live PrOjectS

The experience of engagement will become the pathway to a fresh interpretation of the 21st century. This conception rests on the rethinking of the core of the academy, namely, the nature of

scholarship itself.

(judith Ramaley)

…the academy must become a more vigorous partner in the search for answers to our most pressing social, civic, economic

and moral problems, and must reaffirm its historic commitment to what I call the scholarship of engagement.

(Ernest Boyer)

31

Live projects comprise of an institution collaborating with an external client / organisation resulting in mutual benefits. Often the students work for free in return for a structured project through a set of agreed meetings.

Live projects enable students to gain an insight into practice and the ‘real architectural world’ A situated learning experience.

Development of professional skills

Community engagement

Publicity for the University

It is real life experience compared with studio project work

Live projects aim to enrich communities by providing access to architectural services that it could not otherwise afford, the downside is that this kind of ʻfreeʼ work could devalue these stages within professional practice.

Live projects throughout university could consequence in a mismatch be-tween academic time and real time.

Live projects during university often outlast the students course time-line, preventing the student seeing the project through to completion.

33

Architect dOinG it diFFerentLy ZAhA hAdid

Zaha Hadid claims - ‘I’m pushing the boundaries of what’s possible’

“I realised that there was a relationship between mathematical logic, architectural thinking and abstraction”.

“Hadid shatters both the classically formal rule bound modernism of van der Rohe and the old rules of space”.

She reassembles them in what she calls “a new fluid kind of spatiality of multiple perspective points and fragmented geometry, designed to embody the chaotic fluidity of modern life”.

In 2004, she was the first woman ever to receive the Pritkzer Prize whilst also being the youngest ever Architect to do so. A feat of architectural ambition and engineering bravado, its looping exoskeleton structure will be embroidered with a sensational rooftop walk high above Yoyogi Park.

Here are designs suggesting speed, evoking parallel dimensions and where walls roll over to become ceilings or morph into the curved seats of an auditorium. Her bold and daring, innovative and aesthetic vision has set new standards in the field and will continue to do so with a number of her designs waiting for completion in the coming years.

written by

RACHEL BERRY

35

FILM SCHOOL ARCHITECTURE

37

exiStinG FiLM SchOOL Architecture

ABK National Film School, Dublin (2013)

Stride Treglown – Minghella Building (2011)

39

BDP – Theatre and Television, University of York (2010)

Henning Larsens – Rowland Levinsky Building (2010)

41

written by

jOSEMAR DA COSTA

43

FILM STUDIO ARCHITECTURE

A studio facility or facilities often used for the production of film.

45

wOrLdS 1St FiLM PrOductiOn StudiO

The Black Maria/ Kinetographic theatre, Built by Thomas Edison (1893)

cOre OF A FiLM StudiO FAciLity

47

the FiLM MAKinG PrOceSS

written by

CHRIS PARASKOS

49

URBAN INTERVENTIONS

An urban intervention is a study of physical, social and political aspects of a particular location. Based on this observation, an action is generated that adds elements to the landscape or modifies existing ones.

Interventions can range from a small sticker on a lamp post or a temporary instillation to a large structure or group of structures within a urban land-scape, such as an iconic building.

Urban interventions are used by artist, designers and architects alike, often to communicate a message to an audience in a way which fully engages the protagonist within the message.

51

Centipede Cinema - Bartlett School of Architecture professor Colin Fournier, with Polish artist Marysia Lewandowska and London studio NEON

Designed as a temporary public intervention for Portugal’s historic city of Guimarães Read, the cinema is a symbol of local industry, only using materi-als and trades which are present in the local area.

The Yellow nozzles protrude from the bottom of the cinema, each allowing anybody to pop in to watch a film for as short or long a time as they desire. By ducking inside the cinema and resting your arms on the base of the struc-ture you escape from the world around and enjoy a one-hour film made of three-minute-long trailers.

The Centipede Cinema was inspired by a controversial local cinema club that started up during the authoritarian political regime of Estado Novo in the 1950s. “The CineClube is one of the few groups that were able to offer a radical political critique of society and they survive to this day as a left-wing cultural club, said Fournier. “We wanted to create something that celebrated such an important contribution.”

uSe And PurPOSe

Green Square / Urban Interventions + Vallo Sadovský Architects

The quality of the environment at the bus terminal under the Bridge in Brati-slava had been bad for a long time. People would wait for their bus connec-tions in a totally unsuitable and inadequate environment.

Green Square is an instant “intervention”, the cheapest fix, it is also by its “loudness” both a provocation and a call for a more serious approach to this problematic site. It is not only the cheapest method but also simultaneously the most visible attempt to change the atmosphere under the bridge, and to highlight the dysfunctional environment that everyone wrongly accepts.

Vallo Sadovsky Architects have continued this project using volunteers to de-velop a strategy to improve the poor lighting conditions under the bridge. Further more their architectural activism aims to stimulate communication and interaction between professional and general public in terms of creating and experiencing the city.

A side note on the project is that it was completely co-financed by Siemens and Philips, which normally competed with one another.

53

A cASe Study

Making use New York City’s pay phones, the Department of Urban Better-ment took the parasite strategy to transform this a ‘problem’ into an oppor-tunity.

New York City has 13,659 pay phones spread throughout its streets, most of them are hardly used. This parasitic urban intervention is re-purposing phone booths into communal libraries or book drops.

It is a parasite that uses the existing construction while leaving the phone itself untouched and fully operable. Furthermore, the installation is easy to remove. The meaning of a pay phone might be lost to the new generation of smart phone users.

written by

CHRIS NEWBOLD

55

DRAWING AND PRESENTATION SKILLS

We are in the second decade of the 21st century and, as with most things, the distinction between digital and analogue has become tired and

inappropriate. This is also true in the world of architectural drawing, which paradoxically is enjoying a renaissance supported by the graphic dexterity of the computer. This new fecundity has produced a contemporary glut

of stunning architectural drawings and representations that could rival the most recent outpouring of architectural vision in the 1960s, 1970s and

1980s. Indeed, there is much to learn by comparing then and the now. The contemporary drawing is often about its ability to describe the change, fluctuations and mutability of architecture in relation to the virtual/real

21st century continuum of architectural space. Times have changed,and the status of the architectural drawing must change with them.

Neil Spiller, 2013

cOnjecture

57

exPreSSiOn

StOrybOArdS

59

technOLOGy

61

LONDON VISIT

63

ASH SAKULA ARCHITECTS

65

NICHOLAS HARE ARCHITECTS

67

ARCHITECTURAL ASSOCIATION SCHOOL OF ARCHITECTURE

69