 2020年受疫情的影响，哈佛、耶鲁、UCL等海外名校纷纷发布了线上毕设/设计展，以展示学术研究成果。近日Edinburgh爱丁堡大学正式发布了2020毕业展，共包含59组作品，一格将对本次毕业展进行全面报道。 扫码获取高清设计合集图纸 Of/On/Over Tufo: Architectures of Uncertain Ground Rachel Briglio Naples is sinking; the city is undermined by an unreliable substratum, disturbed by sinkholes, landslides, earthquakes and disease. Unlawful construction has moved up the slopes of Vesuvius, as inhabitants forget the nature of the ground they occupy. Concrete constructions within the city have led to collapses in the caverns below, giving new urgency to the adage that Naples is built on nothing. Of/On/Over Tufo seeks to re-engage Naples with its ground, reminding the city of its volcanic substrate, and that uncertain ground can form the basis for rethinking how Naples builds in and of itself. Rione Sanità (sanità, noun. health) stands guard over the highest number of subterranean caverns—many undocumented—in the city. As the city grows upward, Sanità looks down. The skulls of unknown dead are watched over at the catacombs of San Gaudioso, San Gennaro and San Severo, and caverns are utilised by locals to park, store and live. The health of the population of this once-prosperous district is failing, as is the health of its subsoil. The architectural proposals explored in Of/On/Over Tufo are aware of the uncertainties of this Neapolitan landscape and the precarious conditions of Sanità, but also of the intertwining material history of Naples, its people and its substrate: tufo, or tuff stone. A series of social amenities and workshops exploring ground conditions and tectonics reinforce the essential nature of a healthy relationship with ground. New gateways brace the Lotti and Tronari Quarries that allow those working with, on and over ground (fabricators, surveyors, performers) to operate in dialogue with the adjacent Osservatorio Astronomico di Capodimonte.    02 Future Croft Anna Wallace Reid For too long humans have acted on the dominant Western premise that we are superior to our environment. This in turn has played a substantial part in the ecological devastation of our planet. As landscape architects we must ensure that to sustain the global biosphere, the intrinsic links between human and non-humans are questioned and challenged. This body of work merges two projects to consider ways in which human occupation and more-than-human action can be built into the landscape stewardship and design in the Scottish Highlands. The project applies this way of thinking to the crofting (small scale agriculture and land tenure) communities of Clachtoll and Stoer in Scotland. Initial exploratory work considers the intrinsic links between humans and non-humans before imagining how a more-than-human relationship, which focuses on socio-ecological values, might manifest. This relationship evolves into a more-than-human stewardship and design model which is applied across the crofting township. Croft boundaries become green corridors and places for social exchange. Sheep become camera stewards who experiment with non-human storytelling as a form of public engagement, and overgrazed land diversifies to provided social and ecological benefits for all species. Together the project highlights the importance of a community who socially and ecologically collaborate to sustain the land for future generations.   03 s docha: suggestions for Glenuig / Glenuig Artists Residency Cameron Angus The west coast village of Glenuig is rich in evocative landscapes and has the potential to be an inspiration for creatives, and establish Glenuig as a champion for arts, through an arts residency programme. Through the arts residency programme, part of the architectural project's aims will be to affirm Glenuig as a place of outstanding beauty and art cultural significance and thus reform the area. To provide a unique, stunning, and challenging environment to encourage artists to draw inspiration from place and take advantage of the solitude that the surrounding environment provides. All artists seek to be inherently engaged in dialogue with the landscape. The Residency seeks to serve 5 artists for six months at a time, providing room for their craft, gallery / exhibiting space and living requirements. The architecture is formed; observing, collecting, holding and held by a site of steadfast stillness and perpetual change, mediating ground and water, situated upon and within rocks, at play with the geometries of stratigraphy.    04 City of Nothing // Island of Everything - Island Territories VI - Manhattan Declan Wagstaff Manhattan can be seen as an Island of Everything – its density thrives equally on the limitations of its physical island geography and its status within a global economy. These dual pressures give rise to unique and strange architectural conditions, two of which frame these proposals on Park Avenue - to the north, Viñoly’s ‘super-skinny’ tower of borrowed air-rights and to the south, Grand Central Terminus, the heart of Midtown whose massive structure registers the phantom presence of an unbuilt skyscraper above. These proposals imagine a singular ravine extending between the two as a unifying figure of an island within an island. A seam of architectures inhabit this deep landscape and operate with the logic of a contemporary agora, a public space activated by the trade of storehouses embedded within the fabric of the city. Amongst the conventions of agricultural produce and mineral wealth, three such storehouses reflect contemporary luxuries through the apparent absence of things – a body of water without impurities, a vast lung of pure oxygen and a hall devoid of electronic information. The proposition of both a fractured and unified Park Avenue explores the dichotomy between public and private enterprise – a hypnagogic landscape formed by the hard-nosed pragmatism of Manhattan. 05 Looking North: Errol Sculpture Park Freya Hodgkinson Framing the landscape: When thinking of a sculpture park you naturally think about the landscape within which the galleries are set. Framing a view or a path with artwork, and framing a place with the use of walls to create a conditioned space. People move between these, from an external environment, to an intermediary environment to an internal space. By considering the buildings as an object, the aim is to make them function successfully as an isolated whole, but enhanced by a compositional interplay when arranged together. Founded in the material: An existing clearing stood where I chose to place the sculpture galleries, it had been a material loading site for the brick factory opposite. My buildings take reference from the physical massing of the factory as well as using its structural product; bricks. To take reference from, without replicating, the forms and materiality surrounding the site.Painting as a method of thinking through architecture: Painting provides compositional clarity and colour theory. By flattening the volumes into their footprint; the walkway, courtyards, staircase, and buildings all become shapes on a surface. If there is dynamic cohesion on a flat surface, it will translate into the extruded forms. Colour is incredibly important for the vibrancy of composition, and the shapes should more accurately be described as a framing of different colour zones. In essence therefore; colour provides the framework upon which a three-dimensional space grows. 06 The Granton Bikeworks Hannah Penwarden The Granton Bikeworks was developed as part of the fourth year ESALA studio titled ‘The Productive City – Living and working in Edinburgh’. The studio proposed a series of projects in Granton that speculated on what living in the contemporary city means. In the project, we were asked to experiment with unconventional distributions of programme and to envisage forms of life that proposed original spatial distributions and arrangements. The projects merged a ‘productive activity’ with living units in one architectural complex, aiming to challenge conventional architectural typologies and socio-economic patterns.The Granton Bikeworks proposes a mixed-use urban block combining bicycle workshops, open access workspaces and 3 different dwelling types. The integrated ramp acts as the primary circulation device and allows residents to cycle to their homes from the ground floor. The form of the building was developed in response to the transport networks that were already present on the site, specifically the cycle path that links the centre of Granton to the Firth of Forth estuary. The proposal aimed to enhance the experience of the pedestrian, the cyclist and to consider a vibrant housing proposal for Granton, an area of Edinburgh that has historically been overlooked. 07 A Wall in Naples Jonathan Buitendag Naples, once the capital of the maritime Kingdom of Two Sicilies and now a major port city in the Mediterranean, is today a place of chaotic contrasts. Poor urban planning and reconstruction after World War II, recent technological advances - industrialisation and inconsistent investment have transformed how the city and its economy are structured. Large sections of the historic city walls were demolished to make way for a highway connecting the port to new industrial suburbs, replacing a protective porous interface for people and goods with a physical barrier between the city and the sea. Taking Thomas Jones’ painting A Wall in Naples of 1782 as a material and formal record of pre-unification Naples, A Wall in Naples develops new market typologies from those of the old city, still evident in the ruins of the Roman agora beneath the Monastery of San Lorenzo, in the fish markets of Porta Nolana, and as documented in Domenico Gargiulo’s painting Piazza Del Mercato (1648-52), which depicts a scene in the marketplace during the Revolt of Masaniello in 1647. In these historic markets, products from distant lands were unloaded, stored, prepared, exchanged and sold. A series of new interfaces bridge two urban conditions: the street markets of the historic city and the industrial and commercial zones of the post-war port. Echoing the route from the ancient agora to the waterfront, and the social urgency of Gargiulo’s painting, A Wall in Naples proposes a market boulevard from Porta Nolana to the port, a new ‘gate’ in the (ghost) city wall, and a series of hinges forming social, economic and material gateways through which wine, fish, cheese and fireworks are made present in the city. 08 The Papermeable Complex Holly Baker ‘The Productive City’ brief invited us to propose new typologies for integrating living and working models within a contemporary, post-industrial urban environment. The proposal aims to localise production traditional to the area and design it within a contemporary context. Occupying a corner of disused land, it neighbours former industrial buildings and recent residential development. I explored means of living and working through the prefix of per-meability. The project houses a detailed paper production process on the ground floor of the complex. Layered with a double skin facade of glass and wire mesh, the project creates permeability between residents and the wider city. As one of paper’s inherent qualities, the project explores permeability from an urban to a domestic scale. With a shared kitchen, utility and lounge areas, the scheme is designed for those who like a particularly sociable lifestyle. Ranging from small individual rooms to shared flexible units, occupants are given autonomy to choose their own ‘type’. The resident is given further control over their environment through use of a movable wire mesh facade. A perimeter threshold between outside and in functions as a circulation and sun space to provide access and light to each unit. For individual privacy, sliding screens have been designed to use recycled paper produced in the facility beneath. The Papermeable Complex aims to provide a sociable lifestyle in Granton, utilising a layered language of materials to envelop a porous domestic space.
09 A Sanctuary for Suspended States Jessica Thomson, Grace Losasso and Lauren Copping A Sanctuary for Suspended States encompasses the site of Manhattan's historic Collect Pond. This aqueous landscape was once bustling with industry and diversity, but has since been buried beneath a concrete world of courthouses and administrative powers. The area is now characterised by domineering, impenetrable architecture; its weight, both physical and symbolic, incongruously floating above the supple ground of the Collect. The proposal magnifies this imbalance through a new public realm, where the monolithic civic centre is dissected and opened to a transect of society who are confined to the outskirts of ‘officialness’ - undocumented immigrants. It seeks to counter the dehumanising anti-immigration rhetoric of the Federal Government by forging a Sanctuary Island; where those living outside of American citizenship can seek refuge. A deep incision allows the Collect to resurface and provide freshwater through a network of channels and filtering shafts. Paved areas are reverted to their waterlogged state, and a deck structure creates a ‘new ground’ which captures and channels precipitation. The existing architecture is inverted; large masses become water vessels, and their functions unfolded into the streetscape. A pedestrian spine runs the length of the site, and is populated by sanctuary programmes; from pharmacies and banks to storytelling centres and legal aid. Overhead, four housing housing bridges stretch out to provide emergency accommodation for the most vulnerable. 10 Going Against the Grain: A New Urban Seam Katie Hackett Enabled by the process of research through making, the thesis reveals the island of Manhattan as a palimpsest of cartographies. These cartographies evidence the role of neoliberal politics through de-industrialisation, redlining and urban renewal in both the formation of Little Italy and the contemporary phenomenon of hyper-gentrification which threatens to eradicate the traditions and character of this neighbourhood. As the thesis asserts a position where creation supersedes demolition, it identifies vacant condominiums as opportunistic moments of programmatic interventions, where a series of discrete architectures mould, route and rebound into this newly excavated Scapeland (landscape), welcoming the fringes of the Little Italy enclave to bask in the gloriousness of their “undesirability” amongst the newly formed public landscape.
11 Looking North: Errol Community Pottery and Weaving Centre Katie-May Munro The design investigates attitudes of privacy, interaction and shared purpose back amongst locals through internal and external gathering spaces. Character analysis of Errol’s quirky urban context inform the design and planning. A connection with the ground and site is made through the earthen materials of timber and brick. Within the themes of North Studio, the programmatic and the detail design are driven by climatic factors; the necessity to be out in the sun yet, sheltered from the elements. The project engages in concepts of ‘ecosophy,’ as part of a wider masterplan linking public green spaces and exploring the urban-rural edge whilst encouraging a wider appreciation of landscape and nature. 12 Of/On/Over Tufo Holly Poulton Naples is sinking; the city is undermined by an unreliable substratum, disturbed by sinkholes, landslides, earthquakes and disease. Unlawful construction has moved up the slopes of Vesuvius, as inhabitants forget the nature of the ground they occupy. Concrete constructions within the city have led to collapses in the caverns below, giving new urgency to the adage that Naples is built on nothing. The district of Rione Sanità (sanità, noun. health) stands guard over the highest number of subterranean caverns—many undocumented—in the city. As the city grows upward, Sanità looks down. The skulls of unknown dead are watched over at the catacombs of San Gaudioso, San Gennaro and San Severo, and caverns are utilised by locals to park, store and live. The health of the population of this once-prosperous district is failing, as is the health of its subsoil. The architectural proposals explored in Of/On/Over Tufo are aware of the uncertainties of this Neapolitan landscape and the precarious conditions of Sanità, but also of the intertwining material history of Naples, its people and its substrate: tufo, or tuff stone. A series of social amenities and workshops exploring ground conditions and tectonics reinforce the essential nature of a healthy relationship with ground. New gateways brace the Lotti and Tronari Quarries that allow those working with, on and over ground (fabricators, surveyors, performers) to operate in dialogue with the adjacent Osservatorio Astronomico di Capodimonte.
13 Lifelong Learning Hub: Theatre & Performing Arts Residency in Falkirk Krisana Wong The closure of retail shops, a lack of variety and mobility in Falkirk’s high street reflects a dispersion of energy within the town centre. This addresses the need to seek solutions to reintroduce new and diverse energies in the high street. In a broader sense, Falkirk is also the social and economic centre to 20 dependent towns nearby. Hence, the revitalisation of the Falkirk High Street is crucial not only for the local community but beneficial for the wider region. The Lifelong Learning Hub is located on the east end of Falkirk high street, it aims to encourage the diversity of vocational knowledge within the area. The past of Falkirk has informed us of the momentous history of Technical institutes since the 1940s. The masterplan includes a student housing with a wide range of sports facilities, promoting health and well-being; student and public workshop spaces to enhance one’s craftsmanship; a public library to foster community engagement; and a public theatre with a Performing Arts Residency to act as an important social catalyst for the arts and culture in the area. 14 Vauxhall Firework Park He Liang and Chunxiao Wu Vauxhall Firework Park is a visual entertainment park to explore the spatial pleasure of firework and its art. It is a two-semester architecture design project that Chunxiao Wu and I worked on to finalize our Master of Architecture study. The design facilities both outdoor and indoor space for people visually and physically experience firework and firework-related architecture. The indoor gallery space is evolved from the apparatus of firework-related spatial quality. Learning from Bernard Tschumi’s way to archive Architecture Montage in Parc de la Villette, we find our way to inform a cinematic architecture language and experience. Instead of the conventional way of viewing firework, we introduced restrained (framed) eye-sights to view and participate in an immersive experience. The outdoor grand talk was extracted from Vauxhall Garden (18century)’s supper boxes and other colonnades gallery. Another contemporary approach of ours could reference to Chinese pyrotechnic artist Cai Guo-Qiang with the use of gunpowder to trigger explosion on monumental architecture in outdoor space and to draw in the paper. In the design process, we created a new tool to translate fireworks linguistics on architecture. Our translation is based on direction, force, and route to generate a static structure capturing multiple sequential still images of the moment they burst. Our proposed apparatus enables folies to be the ‘frozen fireworks’ buying using Grasshopper coding. The conceptual and theoretical idea was always about contrast. Fire(work) itself is self-contradictory existence. Back in the 18century, gunpowder was used for war and the celebration of victory. The scary sound and extraordinary colour scene cheer people as a political tool. The canvas dark night can be suddenly lighted up by these mixed chemicals. everlasting event; while architecture and firework are born to be consumed.
15 Degrowth through Community Conviviality: Craigleith Recycling Social Centre Enrico Luo The project raises the challenge of the shift in our social habits with technological advancements; seeking an alternative future for the car retail park at Craigleith, opposing the current trend of social and urban developments. By introducing a community-oriented complex that accommodates ordinary and unconventional de-valued components from sourcing to an up-cycled finish product, the proposal incorporates leisure, educational and utilitarian functions in promoting the sustainable community-oriented enhancements of the area. 16 Staging Security - The Bishopsgate Bombing 1993 Gabrielle Wood On the 24th April 1993 a vehicle explosive went off in the Centre of the ward of Bishopsgate, creating large scale damage and a turning point for an approach to security within the city. After two decades of destruction and terror in London; as a result of the IRA bombing campaign, the ring of steel was introduced and the city began to be cordoned off. My initial investigation focused on the imagery generated after the event; the proliferation of destroyed buildings and infrastructure as a spread of terror and an instigator for change. The Bishopsgate bombing and the St Mary Axe bomb (1992) resulted in not only a physical and media event a but an architectural legacy of reactionary strengthening; a push towards creating architecture as symbols of strength and resilience. This narrative led to the design of 32 St Mary Axe ‘the Gherkin’ for insurers Swiss Re and the subsequent towers that now populate the city cluster. Bishopsgate 100 is positioned parallel to the site of the bombings and the Gherkin, the site of my proposal, B100 provided an opportunity to detourne and explore the narratives of defense and security in blast facade design. In rupturing B100 I have interrogated the techniques we use to counter blast risks and how these tell a story within the facade, creating psychological and structural defense mechanisms that communicate the legacy and history of Bishopsgate 1993. 17 Order and Disorder: The Journey to Reclaiming Brick Zain Alsharaf The centre collects bricks from demolished buildings in Edinburgh, and processes them for reuse in construction and to create habitable homes for biodiversity within the park. Given that the building is situated within a residential neighbourhood in Craigleith, Edinburgh, it invites the public to participate within its functions. The centre aims to increase local awareness of material reuse in support of an environmental degrowth strategy, as well as increase knowledge of endangered species in Edinburgh, and aims to support local biodiversity. There are four main catalysts on the degrowth journey to reclaiming brick. The site acts as the foundation that defined the decisions in designing this building. The choice of material - brick - was selected to partake this journey due to its organic composition; a perfect representation of the circle of life. People represent the order in the process, with their interaction with space and material, and participation in the degrowth process. Finally, the biodiversity represents disorder. It is an existence that can never be controlled, but can be manipulated. The final product is a manifestation of all of the above and the success of it lies in how well these catalysts are able to communicate with each other. The architecture therefore acts as the common force that creates a space for these catalysts to interact. 18 's docha - suggested architectures for Glenuig / houses for Samalaman Cameron Young Our ‘suggested architecture’ takes the form of an archipelago of buildings for the community of Glenuig which could evoke a renewed sense of place. The collective proposal is thus an antithesis to the centre and a celebration of the existing rural landscape. Connection is an important term in the context of our project. It speaks of urbanization and the relative isolation of Glenuig but it is also critical with regards to how individual components within our project come together to form a totality. Despite formal differences, our individual projects are not scattered fragments but bound as a whole. From the outset, it was decided that each project should have a strong awareness of its place in the community and encourage face to face interaction. The rooms of each of the three houses are dictated by and revolve around the use of everyday objects within them. Throughout my project, a focus on the rooms conveys a narrative of inefficiency and slowness, thereby capturing moments of everyday life in Glenuig. It is also intended that the rooms of the houses are comprehended by occupation. Therefore, the essence of my suggested architecture is not its programme but its use. The economy present in the drawings allows for the definition of specific moments in the three houses and to observe the ‘ordinariness’ of these moments more closely. The project reveals itself as an aggregation of images, a collage of ideas which come together and give structure to the varied experiences of the three houses, whilst precluding the possibility of the project being collapsed into a single idea or image.
19 Sonnenallee 9 Callum Symmons Sonnenallee 9 proposes a building for Berlin: set within a corner plot located on the periphery of a neighbourhood of housing. The building responds to the figure of the corner building, a typology ubiquitous within Berlin’s urban fabric, employing and exemplifying the type’s formal characteristics. Approaching the urban fabric of Berlin in this manner - extracting and engaging a specific typological condition to create a contextually resonant architecture - attempts to enact an engagement with the urban at the scale of the architectural. Inside the building, polyvalent spaces remain ambiguous and open to appropriation: in its initial configuration, the building accommodates for both for living and working. Very clearly, the architecture's expression borders on the high-tech: as such, the building is conceived as a performative device. This is not, however, a semantic valorisation of technological progress, rather the building borrows its materiality from the banal readymades of the contemporary sprawl: sheds, boxes and warehouses. Inside the building, polyvalent spaces remain ambiguous and open to appropriation: in its initial configuration, the building accommodates for both for living and working. Very clearly, the architecture's expression borders on the high-tech: as such, the building is conceived as a performative device. This is not, however, a semantic valorisation of technological progress, rather the building borrows its materiality from the banal readymades of the contemporary sprawl: sheds, boxes and warehouses. 20 ‘s dòcha: suggested architectures for Glenuig / bothy retreats Jamie Begg As part of a group project titled '‘s dòcha: Suggested Architectures for Glenuig', this proposal explored the potential for small dwellings that could contribute to mental health care in rural areas. Following on from my dissertation which investigated psychiatric architecture and care in the Highlands, the proposal culminated in a series of ‘bothy retreats’. The intention is that the bothies can be used for short stays by individuals suffering from mental illness. Drawing from Tim Ingold’s notion of the ‘taskscape’ and from the area’s history, each bothy has a specific task – fishing, making sea salt, harvesting seaweed, thatching - which can be undertaken and encourages engagement with their natural surroundings. The tasks are optional but seek to empower the individual through their control and inhabitation of their own environment.
21 Of/ On/ Over Tufo: Architectures of Uncertain Ground Hannah Williams Naples is sinking; the city is undermined by an unreliable substratum, disturbed by sinkholes, landslides, earthquakes and disease. Concrete constructions within the city have led to collapses in the caverns below, giving new urgency to the adage that Naples is built on nothing. "Of/ On/ Over Tufo" seeks to re-engage Naples with its ground, reminding the city of its volcanic substrate, and that uncertain ground can form the basis for rethinking how Naples builds in and of itself. New architectural proposals within "Of/ On/ Over Tufo" explore a series of social amenities and workshops exploring ground conditions and tectonics that reinforce the essential nature of a healthy relationship with ground within the Lotti and Tronari quarries. “Woodworks” is one of four segments that bring the quarry masterplan together. Spruce and larch trees are planted within the quarry aiding the conservation of soil, movement of water and providing sustainable material for construction. They grow alongside bespoke spaces for carpentry, joinery and teaching for the passing down of skills. The Woodworks adds civic function with an archive that documents production, sales and growth of the scheme. 22 Errol Wildland Support Centre Wulfric Clackson Taking inspiration from the Knepp Wildland project in Sussex, the Errol Wildland Support Centre explores the creation of a re-wilding project in Errol, Perthshire. The building aims to support this process, providing facilities for the handling of large herbivores introduced to the Wildland, facilities for wildlife rescue, and space for research. Much of the design is driven by functional requirements, most clearly seen in the animal handling system, which is based on the designs for humane livestock handling systems by Temple Grandin. The building exists on the boundary between the human and the natural, exploring humanity’s past, present and future interactions with nature. 23 Falkirk Fusion Hub Ilia Anisimov Falkirk being a town centralised around its high-street has seen a major expansion of retail sector. The ongoing shift from retail stores to online shopping is expected to heavily influence the high-street and the town centre in general. Through this there is a need to provide alternative social activators for the high-street as well as public attraction for the near housing to link it with the centre. As a result, proposed solution works to integrate existing housing to the high-street by linking the centre with the housing area to the South. In order to invite the public to use this link the project integrates a social hub district area next to the High-Street Steeple. The Social Hub Campus will have a role of culminating public activities in one area with diverse public facilities. 24 City of Nothing // Island of Everything William Bayram Manhattan can be seen as a City of Nothing- it is dominant on the world stage yet yields little in the way of physical substance. Its products are invisible but operate with extreme force in modern culture and finance. This thesis seeks to engage with the unique way in which the city simultaneously promotes fantastical visions through the reasoning of pragmatism. It imagines an urban landscape that cuts the ground with the same intensity that its towers scrape the sky - an equal wit of earth and air rights. This cutting, splicing, pressing, lifting multiplies Manhattan’s configuration as an island and exposes the infrastructural bowels of the city. A new urban morphology is created; an upper-world of islands and towers that extend from ravine to sky, and a lower-world that offers horizontal expanse in the form of a public topography. The duality of conditions is informed and calibrated by the vertical hinge of Grand Central Terminus: referential scales derived from this iconic structure inform fields of influence throughout the proposals. The resultant landscape presents an exaggerated Manhattan that draws from the topographic ambition of its founding and the fabulous reality of its modes of operation.
25 Seven Acts of Spaccanapoli Anna McEwan Naples, Neapolis, Napule, Napoli, the city has lived through dozen of eras and existed in countless forms. It has been a colony, a capital, a kingdom, a city. It has swelled and split, gutted, bombed and hit, patched and stitched back together again. This project understands this vast history through Seven Acts, seven eras significant in the political, cultural and urban development of Naples. These Acts are further framed through actions that refer to the means of development: pouring, splitting, swelling, skinning, gutting, patching and stitching. It is a framing of Neapolitan history through the seven acts of corporal mercy practised in the Catholicism and seven actions practised in the studio research to engender architecture forcontemporary Naples. Speakers of Spaccanapoli proposes a Vocal Arts Chambers in the courtyards of Palazzo Venezia, currently a visual arts and music centre. Its architecture is an interrogation of the Seven Acts of Napoli, an architecture of action and linguistic play. The Vocal Arts Chambers seek to give space to the inhabitants of Naples to speak and sing of, and listen to, their stories. Proposed is outdoor theatre, rehearsal studios, a recording studio, confessional booth, print shop and cafe. The project seeks to facilitate all forms of speech and song, creating the space for amateurs and professionals alike to practice and perform, while also ensuring the long-term financial viability of the centre. Topographía da Linguaxe Lewis Brown Santiago de Compostela is overlaid with an intricate topography of names, within which a complex cultural and political history is inscribed. The contemporary issues surrounding the loss of Galician language and place-names – including that of the erasure of historical consciousness – form the driving narrative of this project. Water is ubiquitous in Santiago de Compostela – it envelopes the city in mist and rain, and spreads through it in the form of rivers, springs and fountains. Historically, institutions of water, such as the many old laundries in the city, were used as a dialogic social spaces where events of the moment were discussed and deciphered. Inspired by the book-reliquary which began the study, the project uses water to interweave a pilgrim’s bath house with a paper-making mill dedicated to the re-establishment of traditional Galician language. 27 haptic [inhabit/ fabric]ation Sarah Hawkings The development of a ceramicist community will provide both residences and workspaces that cater to the wider North Edinburgh public. This proposal portrays a human scale and open environment. A variety of programmes operating in harmony result in a diverse community. Human interaction is designed-in, with spaces for residents to play, linger and meet, and for a visitor to wander through. Common interests, professions and shared facilities create a sociable and prospering community within Granton. Preoccupation with haptic, sensory and material qualities of space will extend the influence of ceramic production into the lived experience of residents. Housing commonly consists of residences of similar sized rooms, of largely identical materials and sensory experience. Further, should the user wish to change their living experience, the rigidity of construction methods makes doing so a large undertaking. What is proposed challenges the norm. A rigid exterior shell contains the secondary elements. Platforms at varying heights, which in turn support furniture - timber lightweight constructions formed into rooms or partitions. Furniture which is adaptable to function and change. The result is a living experience which rejects rigid uniformity for haptic flexibility// sensory diversity.
28 A Wall in Naples Peter Wheatcroft Located in the histroic city of Naples, this regenerative project proposes a piece of infrastructure along the ghost wall line of the old city inspired by historical themes of siege and city guilds. It includes an underpass beneath the ghost wall’s foundations to connect the old city to the railway station lying outside the city boundary, with a reimagined wine guild and market hub sitting above. 29 Re-Dressing an Illuminated Spectacle: Smugglers & Skins Eireann Iannetta-Mackay Smugglers & Skins imagines a landscape that reconfigures Times Square’s iconic role as an illuminated LED surface of shifting signs, advertisements and information, all calibrated for an audience with neither time nor attention. The design thesis proposes an act of considered unmasking, of scraping, feathering, creasing and folding that reveals what lies beneath and in the process animates another skin, a space between the digital language of Times Square and the existing facades of 19th and early 20th century theatres and office buildings. This double-skin architecture houses spaces for performance on and within the new landscape. With the iconic Statue of Liberty watching over the city as the Mother of Exile, Smugglers and Skins creates a new face for Times Square, inserting architectures into the shells of existing buildings, creating houses for performers and creatives in exile. These smuggled structures, mirroring the programmes of the Upper West Side Lincoln Centre of Performing Arts, incorporate performing arts communities, radical theatre, literature, contemporary dance, film, visual art and performance.Smugglers & Skins is an archipelago of performance spaces housed within a finely calibrated edge condition in a reimagined Times Square. It is an architectural reinterpretation of the notion of an illuminated spectacle given over to the pleasure of consumption and the consumption of pleasure. 30 Through the Ruins They are Forged Isabelle Milne Finding its genesis in place attachment theory, this project aims to encourage stewardship towards the Ardeer peninsula, the former site of Nobel’s dynamite factory in Ayreshire. Since the factory’s closure, the landscape has become the focus of great hostility and stigmatisation as it symbolises the decline of the local economy. This project approaches this stigmatisation by exploring the experiences of the local community through memory mapping, using this to build a framework which uses these negative emotions to inform positive reattachment and integration with the landscape. This idea is explored further in ‘The Unforgetting’ - a landscape led therapy programme which encourages participants to overcome their prejudice towards the landscape through a four stage programme. The focus on memories is not only relevant to place attachment, rather it is essential in understanding and breaking the patterns of neglect within the relationship between the community and the peninsula. One way to do this is to reinforce a sense of understanding and reciprocity within the relationship, which is portrayed in this project as the creation of an empathetic landscape. The selected work highlights some of the key elements of the project which uses both theoretical and physical design interventions to create empathy within the landscape. This is done mainly through the flooding of the peninsula, using industrial ruins as vessels in which water is held, moved, meandered, and released. 31 Bird Observation Centre Megan Ellis The Bird Observation Centre, situated on the banks of the River Tay, marks the completion of a Green Route through Errol. Research into the current nature reverse gave insight into the lack of facilities in the area; from this my brief was formed. The centre contains an entrance (hearth), a cafe, accommodation for overnight visitors, an office, a meeting room, two galleries, an observation room, a classroom and an observation tower. A brick wall envelops the project, enclosing several spaces to hold these rooms. The remainder of the rooms are constructed with timber, slotting in behind the wall. I proposed the construction of the island to allow views over the water while dealing with the marshy site; pinned in place by the foundations of the building the reclaimed land is fundamental to the design, while existing as a natural part of the landscape, shifting form as the sediment moves over time. 32 AquaCulture Imogen McAndrew AquaCulture imbeds the maintenance and harvesting of produce into theprogrammatic ritual and spatial arrangement of the home. 33 Reclaiming Public Space in Oslo Jiamin Li The project combines neighbourhood's characteristics and takes the daily life of the residents as a clue and uses "cultivate/cherish", "harvest/cooperation & Share", and "celebrate/enjoy" three themes as design strategies to revitalize the vacant land and unused space to create an unadorned, sufficient, and living rather than high-end, fancy, and rigid community landscape. At the same time, to find a way for people to live in harmony with nature and create a relationship of balanced development between society and the environment. This set of integrated and continuous spatial transformations uncover the most iconic landscape experiences of the neighbourhood and identify the economic benefits and educational significance hidden in these public spaces. However, the importance of this revitalization is not only to build an inclusive, harmonious, dynamic and productive community but more importantly, on the urban scale, it is also of great significance in connecting the ecological corridor from the forest to the city and connecting the fractured urban green network. 34 The Manahttan Studiolo: A Coalesed Landscape of Manhattan's Narratives & Unbuilt Potentials Adam Legge In his ‘retroactive manifesto’ Delirious New York, Koolhaas explores how Manhattan became a mythical laboratory for invention as a result of the simultaneous growth of urban density and new technologies. Arguing that each block contains multiple layers of realised buildings existing in parallel with past occupancies and other potentials, Midtown can be understood as an intense archipelago, with the Commissioner’s Grid of 1811 providing the bounding body to a series of individual islands. The proposition itself, THE MANHATTAN STUDIOLO, situates itself in the block that now holds the New York Public Library and Bryant Park, but previously hosted the Crystal Palace and Latting Observatory, asserted by Koolhaas as the birthplace of ‘Manhattanism’. Built for the 1853 “Exhibition of the Industry of All Nations”, the Crystal Palace coalesced different imaginations for the future under one roof, and the observatory revealed the extent of the here and now. Continuing this philosophy, the Manhattan Studiolo imagines an alternative landscape for this famous block. A library re-organisation places the books, documents and records that recite the city’s stories into a topography of books. Within this sea of Manhattan narratives, vessel-like stacks house all the models, drawings and imagined futures of unbuilt Manhattan and provide a forum for the island city’s future. It will act as an ecotone, mediating the concerns of archiving, preservation and research with the creative cultivation of future visions for the city through a continual process of re-curation. 35 (Un)doing Thresholds: Door / Ways to New Neapolitan Practice(s) Eirini Makarouni (Un)doing Thresholds explores the porous conditions, temporalities and architectonic specificities of Naples, a place in which processes of “undoing” are—following Andrew Benjamin— understood to be vital to the formation of the city as constructive practices. The project explores this ‘undoing’ as a means of making architecture. Techniques for constructing drawings allow urban thresholds to be (un)done, drawn through one another in a constructive overwriting of form and function based on the immediacy of the city. The result is a series of multiple, porous spaces created through drawing, but situated and developed through the city. Rather than imposing fixities upon space, these porous spaces develop as architectures of ruin, labyrinth and theatre—as described by Graeme Gilloch’s reading of Walter Benjamin and Asja Lacis’ Naples— in which thresholds become programmatically labyrinthine, theatrical or ruinous, or materially or spatially open, exhibiting how the interpenetration of these archetypes might form porous architectural conditions and spaces. An operative, performative tectonic language extends, encloses, makes present and gathers spaces between things, providing separations from and thickenings of the spaces of the city. It presents the city in a way that no longer defines space as interior or exterior, but that understands the city as a continuous and responsive sequence of localities. Each space becomes a threshold to another. Gateways hinge streets into courtyards, through kitchens and past studios and living rooms into gardens. A gallery balcony looks onto an outdoor theatre, folding formal oration into the sound of booksellers, all heard from within an adjacent public library. Together, these intersecting spaces promote a collective presence in the city. One that allows communities to take possession of space; constructing an experience of Naples that goes beyond fixed historical representations of the city and opening the city up through door/ways to new Neapolitan Practice(s).
36 Rebirth - Brownfield Restoration in Oslo Mingyue Yang Public spaces in urban Oslo are well designed. They extend from the forest to the fjord, forming a relatively continuous ecological corridor, which provides a suitable environment for wildlife. In contrast, public space in the suburbs is very scarce. For example, in the Haraldrud area in eastern Oslo, the broad railway and large industrial areas have caused obstructions of the ecological corridors. Habitats and ecological networks have been destroyed and broken into patches. Brownfields are a waste of land resources. Four brownfield sites were chosen for restoration and reuse. Once the broken ecological corridor is reconnected, it will service residents and wildlife. The site whose soil is not polluted becomes a comprehensive park dominated by urban farming. The users are mainly residents of the surrounding area. The park satisfies the need for different activities and provides users with free spaces for planting that improves the interaction between them and the landscape. On the other three sites where soil is contaminated, phytoremediation is first used to restore the quality of the soil. The park designs respond to the status quo of the sites, for example a ski and grass slope in a very steep slope. It can be used not only in summer but also in winter, providing possibilities for different seasons. 37 (Un)doing Thresholds; Door / Ways to New Neapolitan Practice(s) Katy Sidwell (Un)doing Thresholds explores the porous conditions, temporalities and architectonic specificities of Naples, a place in which processes of “undoing” are—following Andrew Benjamin—understood to be vital to the formation of the city as constructive practices. The project explores this ‘undoing’ as a means of making architecture. Techniques for constructing drawings allow urban thresholds to be (un)done, drawn through one another in a constructive overwriting of form and function based on the immediacy of the city. The result is a series of multiple, porous spaces created through drawing, but situated and developed through the city. Rather than imposing fixities upon space, these porous spaces develop as architectures of ruin, labyrinth and theatre—as described by Graeme Gilloch’s reading of Walter Benjamin and Asja Lacis’ Naples— in which thresholds become programmatically labyrinthine, theatrical or ruinous, or materially or spatially open, exhibiting how the interpenetration of these archetypes might form porous architectural conditions and spaces. An operative, performative tectonic language extends, encloses, makes present and gathers spaces between things, providing separations from and thickenings of the spaces of the city. It presents the city in a way that no longer defines space as interior or exterior, but that understands the city as a continuous and responsive sequence of localities. Each space becomes a threshold to another. Gateways hinge streets into courtyards, through kitchens and past studios and living rooms into gardens. A gallery balcony looks onto an outdoor theatre, folding formal oration into the sound of booksellers, all heard from within an adjacent public library. Together, these intersecting spaces promote a collective presence in the city. One that allows communities to take possession of space; constructing an experience of Naples that goes beyond fixed historical representations of the city and opening the city up through door/ways to new Neapolitan Practice(s). 38 (Un)doing Thresholds; Door / Ways to New Neapolitan Practice(s) Katerina Saranti (Un)doing Thresholds explores the porous conditions, temporalities and architectonic specificities of Naples, a place in which processes of “undoing” are—following Andrew Benjamin— understood to be vital to the formation of the city as constructive practices. The project explores this ‘undoing’ as a means of making architecture. Techniques for constructing drawings allow urban thresholds to be (un)done, drawn through one another in a constructive overwriting of form and function based on the immediacy of the city. The result is a series of multiple, porous spaces created through drawing, but situated and developed through the city. Rather than imposing fixities upon space, these porous spaces develop as architectures of ruin, labyrinth and theatre—as described by Graeme Gilloch’s reading of Walter Benjamin and Asja Lacis’ Naples— in which thresholds become programmatically labyrinthine, theatrical or ruinous, or materially or spatially open, exhibiting how the interpenetration of these archetypes might form porous architectural conditions and spaces. An operative, performative tectonic language extends, encloses, makes present and gathers spaces between things, providing separations from and thickenings of the spaces of the city. It presents the city in a way that no longer defines space as interior or exterior, but that understands the city as a continuous and responsive sequence of localities. Each space becomes a threshold to another. Gateways hinge streets into courtyards, through kitchens and past studios and living rooms into gardens. A gallery balcony looks onto an outdoor theatre, folding formal oration into the sound of booksellers, all heard from within an adjacent public library. Together, these intersecting spaces promote a collective presence in the city. One that allows communities to take possession of space; constructing an experience of Naples that goes beyond fixed historical representations of the city and opening the city up through door/ways to new Neapolitan Practice(s). 39 (Un)doing Thresholds; Door / Ways to New Neapolitan Practice(s) Joseph Coulter (Un)doing Thresholds explores the porous conditions, temporalities and architectonic specificities of Naples, a place in which processes of “undoing” are—following Andrew Benjamin—understood to be vital to the formation of the city as constructive practices. The project explores this ‘undoing’ as a means of making architecture. Techniques for constructing drawings allow urban thresholds to be (un)done, drawn through one another in a constructive overwriting of form and function based on the immediacy of the city. The result is a series of multiple, porous spaces created through drawing, but situated and developed through the city. Rather than imposing fixities upon space, these porous spaces develop as architectures of ruin, labyrinth and theatre—as described by Graeme Gilloch’s reading of Walter Benjamin and Asja Lacis’ Naples— in which thresholds become programmatically labyrinthine, theatrical or ruinous, or materially or spatially open, exhibiting how the interpenetration of these archetypes might form porous architectural conditions and spaces. An operative, performative tectonic language extends, encloses, makes present and gathers spaces between things, providing separations from and thickenings of the spaces of the city. It presents the city in a way that no longer defines space as interior or exterior, but that understands the city as a continuous and responsive sequence of localities. Each space becomes a threshold to another. Gateways hinge streets into courtyards, through kitchens and past studios and living rooms into gardens. A gallery balcony looks onto an outdoor theatre, folding formal oration into the sound of booksellers, all heard from within an adjacent public library. Together, these intersecting spaces promote a collective presence in the city. One that allows communities to take possession of space; constructing an experience of Naples that goes beyond fixed historical representations of the city and opening the city up through door/ways to new Neapolitan Practice(s). 40 The Institution of Rising Currents Philip Humphrey As an island, Manhattan’s limits have been constantly challenged over time. Through reclamation, the island has extended itself into the sea to become 30% larger than its original landmass. Now, with climate change exacerbating rising sea levels and storm surges, much of this land is set to be lost back in the sea. The institute reconsiders the park to become a research platform, developing strategies for the city to reconstruct, reform and reinvent its waterfront. It is located on the site of Battery Park at the southern tip of the island, its most vulnerable point, to be at the forefront of the threat. A series of breakwaters line the landscape, acting as both piers and groynes as well as a structure from which a storm shelter mesh is held from. Behind the shelter line, there are 2 clusters of vessels acting as 2 parliaments operating at a global scale and the other at a governmental scale for the island. These are flood resistant chambers where people gather to research, debate and plan from. Other architectures are developed from existing buildings caught within this landscape. A fortified sea wall protects the surrounding city for now, framing the garden. 41 Of/ On/ Over Tufo: Architectures of Uncertain Ground Maliina Toivakka Naples is sinking; the city is undermined by an unreliable substratum, disturbed by sinkholes, landslides, earthquakes and disease. Unlawful construction has moved up the slopes of Vesuvius, as inhabitants forget the nature of the ground they occupy. Concrete constructions within the city have led to collapses in the caverns below, giving new urgency to the adage that Naples is built on nothing. Of/On/Over Tufo seeks to re-engage Naples with its ground, reminding the city of its volcanic substrate, and that uncertain ground can form the basis for rethinking how Naples builds in and of itself. The district of Rione Sanità (sanità, noun. health) stands guard over the highest number of subterranean caverns in the city. As the city grows upward, Sanità looks down. The health of the population of this once-prosperous district is failing, as is the health of its subsoil. The architectural proposals explored in Of/On/Over Tufo are aware of the uncertainties of this Neapolitan landscape and the precarious conditions of Sanità, but also of the intertwining material history of Naples, its people and its substrate: tufo, or tuff stone. A series of social amenities and workshops exploring ground conditions and tectonics reinforce the essential nature of a healthy relationship with ground. New gateways brace the Lotti and Tronari Quarries that allow those working with, on and over ground (fabricators, surveyors, performers) to operate in dialogue with the city. 42 Falkirk Gateway: Living and Learning on the High Street Daniel Anderson The proposals replace the oversized, underused structure with a range of large family homes, smaller apartments and dedicated accommodation for older residents, alongside retail, a new health centre, a school for young people with autism and a new community education hub. A new ‘city block’ of high-density development, with narrow closes and intimate public spaces drawing on the surrounding urban grain, layers a diverse range of functions to intensify connections across the community. Optimising its location at the western end of the high street, the project rises to nine storeys to create an ambitious gateway to a thriving, diverse, modern high street. To support the development of a strong, inter-generational community, a range of house types share spaces with commercial and civic functions. Informed by the current demographic of the town centre, which is dominated by individuals living alone, a terrace of large co-houses, which provide space for six individuals or couples to share large kitchens and living spaces with others, aim to tackle loneliness and isolation, and free up underutilised family homes in the town centre. Deep floor plans maximise density, whilst every home benefits from a south-facing living room and most have access to a private outdoor terrace. Outdoor spaces aim to encourage visual connections between neighbours, enhancing passive security and facilitating the cohesion of the community. 43 Drakmyre Eco-residency Bryan Sin New ways of urban planning are being suggested to reduce the carbon footprints by strengthening local, domestic economies and reducing the use of fossil fuels. By doing so, pre-existing issues such as urban decay are being tackled with developments in renewable energies can be tested on-site to take a huge step towards a net-zero carbon emissions society. 44 Urban Ca[r]talyser: A Reconsideration of Value Regimes through Architecture Sonakshi Pandit The project degrows Edinburgh’s Craigleith Retail Park, transforming it into a hub for upcycling low-value materials into architectural components. This effectively shifts the site’s focus from a market-driven and car-dominated approach, to one that percolates a philosophy of care, reuse and repair. Hacking the site’s retail infrastructure, the proposal transforms the site into a social hub and forum for the surrounding community and visitors. With interventions including a climbing wall, sports field, running track, performance and event facilities, the proposal reintroduces public space and pedestrians to the site, propagating a more equitable sense of well-being. Finding value in existing elements on site, the project upcycles 950 shopping carts found on site into ‘gabion-carts,’ utilising their immediate affordances to identify structural, programmatic, environmental and social strategies for the project. These gabion-carts are used to construct transformable structural walls that can be climbed, seated on, played with and used to store goods. The thermal inertia of rubble fill material inspires the invention of a gabion-cart trombe wall-system to passively heat the building. The ability to ‘grow’ the gabion-carts with rubble fill from demolition works weaves an original tectonic system into the material networks of Edinburgh, prototyping the diversion of low-value material streams into architecture, whilst promoting reuse and upcycling as degrowth methodologies. 45 Aquaponics Village Jocelin Chan As the world continues to battle with the pandemic, people are gradually adjusting their lifestyles to a new ‘normal’. Daily tasks, ranging from office meetings to grocery shopping, are being redefined as we learn to adapt to new lifestyles imposed on us. The Aquaponics Village proposal is an investigation into a contemporary form of living that celebrates urban agriculture as a productive activity that can be weaved into our everyday lives, assisted by an aquaponics system integrated into a residential tower. The number of carehomes in Granton, where the village is set to be located, is particularly high compared to Edinburgh. It is an area that is popular among retirees. However, existing carehomes lack the facilities that support all-round health and wellbeing. Therefore, this project recognises the opportunity to invite the elderly back into society and stimulate a positive economic effect on the wider community. It is hoped that, through introducing fish and vegetable harvesting, employment will be made available to the elderly population in Granton. In addition, the Aquaponics Village will encourage a more sustainable and more local form of food production. 46 SuperZuidas Azmina Gulamhusein Within Amsterdam, the area of Zuidas, is considered to be the financial district and business centre which have evolved during the last decade. From an architectural point of view, it can be seen as a conglomerate of medium sized, office towers, all arranged around the metro station and A10 highway. This year long design project analyses the specific spatial characteristics of this district, the financial economic parameters, with local, regional and global contexts, focusing on a strategy of implementing non-standard functions and architectural typologies, within this district. Strategies of mobility are also at the core of this research, trying to determine a large-scale urban strategy of spatially weaving together business, finance, start-ups and leisure and arts. 47 (New) London Wall. Last Mile Logistics & Land-Gateways of the City of London Kirstin Forsyth London was the subject of a campaign of attacks by the IRA, (most prolificduring the 1980s-90s) whose aim was to weaken the UK economy. The Baltic Exchange, centre for maritime freight trade in the City of London, was the target in 1992. The bombing of the Baltic initiated plans to defend the City. Construction of London’s ‘Ring of Steel’ began a year later after another devastating attack, a network of increased policing, surveillance and road controls in and around the Square Mile built to defend against future attack. This proposal addresses the contemporary condition of goods and services transfer in a future zero emissions city working with TFL’s City Streets Plan(TFL, 2018). Using Last Mile Logistics*, the network of land-gateways encircle the City along the line of the Wall, providing the points from which the last mile of goods transfer into the City can be completed via electric and zero carbon emitting forms of transportation. The proposal builds on the successive defensive strategies of the City, echoing the defensive measures taken throughout the City’s history; from the City Walls and its Gates that prevented the spread of fire, to bastion defences, military patrol routes controlling riots, and CCTV surveillance. (New) London Wall means to defend the City of London from the emissions heavy sector of goods delivery. *The term ‘last mile logistics’ is used in distribution and refers to the last (and often most difficult) section of goods travel from distribution hubs to final destination.
48 s'docha: suggestions for Glenuig / [Boat Building School] Rose K Miller Glenuig is a small rural community in the Scottish Highlands. As a group of 5 we collaborated to design an archipelago of community buildings which contribute towards the social, mental and physical well-being of the village. Our devised architectures aim to create a renewed sense of place; they are the antithesis of a centre and instead celebrate the existing rural landscape. We are accustomed to a capitalist mode of production that aims to create products quickly and cheaply. Traditional boat building provides and antidote to this, it instead engages in a market that is driven by quality and skill. The digital revolution has generated virtual connections across the planet, yet access to spaces and tools to create often remains a privilege of city dwellers. Providing the facilities to make brings greater autonomy to rural communities. Boat building is a craft and occupation that has a long history in the Highlands. A school will provide opportunity for the residents of Glenuig share their skills. Each boat will have an intimate local knowledge weaved into it. As they are sold across Scotland they will physically and symbolically provide a connection to other rural communities, creating a name for Glenuig through craft. 49 Engaging with Playful Post-industrial Sites Sara Shu Meanings are what transform spaces into places. Therefore, in a shift towards a more sustainable future, the focus should not remain solely on the restoration of the damaged ecosystem, but equally the restoration of the relationship which exists between people and their environments. We must ask ourselves: how can we facilitate the social processes of ecological restoration? My specific approach is to design playful spaces which draw upon the traces of meaning present in the former site of Glengarnock Steelworks, North Ayrshire. Through the act of play, younger generations that visit the area are encouraged to take an active interest in and begin to reflect on their own relationships with the space, leading to the development of landscape meanings over time which go on to shape a distinct identity. In this way, the questions of sustainability, community building and engagement are addressed, and a previously contaminated post-industrial site is flooded with meaning once again. Key Words: Landscape Meaning, Landscape Identity, Playfulness, Co-design, Nature-inclusive Design, Post-industrial 50 Harrisson's Workshop (ii) Rishabh Shah Harrison’s Workshop(ii) is a landscape and architectural proposal that seeks to address the intricate political, social and environmental challenges attending upon a turbulent political climate, where the relevance of the United Nations in the 21st century has been called into question. Named ‘Pangaea’, the last supercontinent, the thesis offers a multifaceted, critical and highly charged neighbour, housing ‘laboratories’ of change beside the existing structures of the UN campus today. In this case, the term ‘laboratories’ refers to more than a scientific research room. Instead, it alludes to a testing ground for social and environmental concerns that lay dormant. Seen as a second pass to the construction of the UN Headquarters in 1952, Pangaea is a portion of the crust of the earth, elevated from its ground condition, creating a more secure surface for the UN project away from the volatile future swells of the east river. Within it, the crust brings to the geology of Manhattan, the worlds’ forests, rivers, seas and soils, cradling the most precious of laboratories whilst also providing a docking point for more robust integral architectural pieces. This interplay of surface, space and architecture creates a continuous and habitable architectural topography. These spaces are critical reflections on some of the shortcomings of the UN and the international community, challenging the social and environmental response of architecture operating in tandem with political bodies. The architectural language of unravelling the UN’s ambitions and consequently placing these architectures on exhibition exposes both a strategy for the architectural design but also an intention to stand testament to its absolute requirement in this volatile world.
51 Harmony and Dissonance: From Growth to Richness through Music. A requiem to vaults and values Constantina Antoniadou Pianos - An instrument once largely culturally relevant and significant is nowadays disposed of in abundance. My project explores how through the use of a material library for the upcycling of pianos at Craigleith, their value can be reinvirgorated architecturally, socially and culturally. The scheme is a narrative weaving of reinterpretation of materials and specifically pianos- not as finite objects, but as a lengthy and labour-intensive process with complex inner mechanisms and lives of their own. The culmination of the project is the music school and the performance space where the celebration between people and materials is orchestrated through the medium of music and through the vessel of architecture. While more and more pianos will be thrown away, the music school will grow, directly through the piano frames that will be added and indirectly through a counter-argument to the idea of disposal instead of reuse. Further zooming out, this project could act as precedent for other retail parks, or abandoned buildings situated around the centre which would become obsolete in the future. The parks would therefore turn into nodes of attraction for surrounding areas, creating a further sense of locality, promoting the notion of degrowth and connecting people through culture and music. 52 A Self-Building Community // Living and Working in Granton, Edinburgh Aiman Bin Azman By anchoring itself to Granton’s industrial place identity of its iconic Gasholder, A Self-Building Community establishes a new community hub that integrates /Working and /Living through the juxtaposition of a self-build manufacturing business, residential units and leisure facilities within one architectural complex. Ultimately, A Self-Building Community would transform Granton, a neglected part of Edinburgh, into a productive and lively area whilst enhancing circulation towards its Waterfront. This self-build manufacturing business is a productive activity that manufactures modular timber components for self-building furniture and pods. Utilising digital fabrication, the service allows mass customisation for individuals, allowing them to create their own furniture/ pods. The integrated living units would be furnished by the self-build products, directly benefiting from the productive activity itself. In terms of the productive activity’s impact to the wider context of Granton, its people and the public, the self-build pods are to be utilised for /Leisure uses alongside the roads towards the waterfront. As these self-build pods and furniture are easily dismantled, the pods can be customised, assembled and disassembled by anyone. This allows the Granton community to create their own unique community hub, through pop-up retail booths, gaming pods, playgrounds, meeting pods, garden houses, etc. These pods will also be used for events like the Edinburgh Festival Fringe in August and for Christmas markets, marking Granton’s Waterfront as a new, productive leisure spot within the city of Edinburgh. 53 ‘s dòcha: suggestions for Glenuig / a tower, a hide, a pontoon, an observatory Joshua Parker Autonomous in their spatial and formal production, a pre-conditioned gridded system for each building offers rationality as contrast to the erraticism of the landscape - a distinction between cultural production and natural formation emerges to ascertain the appreciation of both nature and culture as discrete things. An observational focus inherent to Glenuig is appropriated to each building. The tower, the hide, the pontoon and the observatory observe the clouds, the birds, the sea and the stars respectively- the architecture becomes a vessel for observing place. In doing so, a certain symbiosis prevails, between nature and culture, observation and architecture. And so, although formally, the architectural suggestions contrast the landscape, they simultaneously pivot upon the natural sentiment of place through their programme. Distinct structural systems are appropriated to each building as a result of the ground they are placed, and this place, or habitat, is determined by the most suitable area to observe their particular focus. As such, the tower clings to a cliff, the hide is semi-submerged on the shore of a loch, the pontoon floats in the sea, and the observatory rests upon a hill. Each of the buildings are accessible and connected by loosely marked footpaths and when the appropriate lines are traced, the collection of suggestions becomes something akin to a constellation within the landscape. 54 How to Clothe a Naked City: Architectures in a Discrepant Landscape Rosemary Milne Manhattan is a landscape flattened. Once the "Island of Many Hills," it has since been bulldozed and recreated - flattened, stripped naked, and re-dressed. Following investigations into Manhattan's Theatre and Garment districts, nine theatric Architectures unpack across Broadway as a jacket unpacks from a wardrobe, each one a measure in the landscape. The Architectures measure the topographic discrepancies of Manhattan's landscape, and, in doing so, give utterance to the demographic discrepancies of Manhattan as an urban space: Architectures archive changes in height across time, and in doing so create stages for those on the margins of Broadway: vendors, artists, buskers, veterans, poets, peanut sellers and street performers. 55 Cooperative Climate Workshop Eugene Sinclair This project is a cooperative timber workshop and organisational space for the climate movement-and other progressive movements-based by Regent's Canal in Haggerston, East London. The workshop sits on the rooftop of an old wharf building, relating to existing 'Antepavilions' by two walkways. The 'Antepavilions' are three rooftop pavilions, annually commissioned by the Architecture Foundation since 2017. Specified in the brief for the Antepavilion 2020 were a number of NATO pontoons; my design subverts their historical military use, using them as a floating design module, interacting with the canal. These modules allowed the project to extend, via the waters of London, to Canary Wharf, which I defined as the 'AnteSite' to my project or the site of protest, as the area is the home of deregulated capital and fossil fuel companies. The construction builds on the existing concrete column frame, with a timber superstructure growing up through the two new levels. The brick skin of the building is made using new recycled brick technologies, including some of the old brick rubble from the few walls that would be taken down to allow for the new design. Timber clads the softer spaces of the building. Through the workshop building's auxiliary spaces, as well as on the floating modules, democratic communal activities such as meeting, organising, educational events and workshops would take place. 56 Garnock Valley - Landscape Remediation Jacob Brown The project is located on the West Coast of Scotland at the mouth of the River Garnock and Just south of the towns of Stevenston and Kilwinning. The design brief was founded from exploration during site visits and research, identifying the historic traces and con-text of this landscape that influenced its past and could be used to shape the future state. In the initial phase, I explored the Garnock valley at the regional scale, identifying the key characteristics of the valley specifically focusing on water. Water runs through the entire valley but is often overlooked or not utilised to its full potential. I discovered how the historic uses for water throughout the valley provided a precedent for shaping the valley’s future with the implementation of new water networks using the historic water traces as the basis for doing so. The design used these traces to create a new canal network based on the Stevenston canal traces to allow for mitigation of flooding in the area, ecological remediation of the landscape over time and for people to live alongside, (through establishing a new housing framework) and interact with the water recreationally aiming to improve perceptions of water in this part of the Garnock Valley. 57 Puck's Furrow Ben Hair Puck’s Furrow expands along Houston Street on the Lower East Side of Manhattan, compressing a complex of journalistic pursuit into the liminal spaces that line the Lower East Side. In Puck’s Furrow Manhattan finds its Fleet Street, a melee of the world’s media folded into a shared scapeland where the truths of the day are tested, the fake news is flushed out, and the lies can no longer lie. Behind the busyness of news rooms and editorial offices, theses folded forms house writers in exile. Collectors collect here too, digging and depositing into an archive that anchors the crumbling grid. All this sits within touching distance of the surviving tenement buildings, witnesses of the ever-changing city. Puck’s furrow is journalism houses and houses for journalists set in a proximity that demands encounter with the city, and with one another. It happens here because this is where modern Manhattan began, on the ecotone where John Randel Jr. laid his first marble post. It is a proposal that invites Manhattan to look and look again at the truths on which it is built, whilst reflecting on the shifting realities, questionable truths and very real isolation we all felt in the spring of 2020. 58 A Dream of Naples: Inscribing real fiction and fictive realities Sophia Bharmal In the city of Naples the line between the fictional and the real is unclear. Everyday occurrences are as remarkable as fiction. Outside the church of Via San Gregorio Armeno, craftsmen prepare expansive nativity scenes (presepe) in which the Madonna and Maradonna meet. In nearby Sanita, residents visit the underground city, carved into the rock of the surrounding hills, to tend the adopted skulls of abandoned souls (capuchella) in exchange for heavenly protection. Fiction shapes the city, “everyday harshness turns to a fabulous world”2. Pugliese’s narrative depiction (Malacqua) of Naples presents a derivation and satirical view of the realities faced by the city throughout the 1970’s. The incessant realities of camorra control, waste and the incompetence of the municipality are shown in the pathetic fallacy of relentless rain, which drowns and disintegrates Naples. A dream of Naples: Inscribing Real Fictions and Fictive Realities traces fictions both into and from reality, inscribing new plot lines on the city. It operates between the manifestation of fictions and the inescapable realities (or the elevation of real conditions to the point of fiction and the grounding of fiction in the foundation of reality) through the construction of architectures that, simultaneously, operate at the level of archetypes and as inhabitable interlocutors of everyday actions. It develops material and programmatic gestures from the thickness of the glaze that binds the narrative imagery of Majolica tiles, to the discarded broken ceramic which lay forgotten in demolishment. From the wire-frame skeletons and plaster flesh of presepe, and their symbolic flourishes of gold leaf and fine silk with which these presepe are dressed, to the mounds of neglected Neapolitan clothing lining the streets of the city center. As each gesture acts as a catalyst for local stories and traditions, the architecture occupies these forms to create new narratives. Through a series of extraordinary everyday spaces (washrooms and workshops) and an unconventionally conventional set of institutions (ceramic recycling factory and textile recycling factory), it invites entry into a fictive reality of Naples.
59 A Dream of Naples: Inscribing Real Fictions and Fictive Realities Kate Murphy In Naples, the line between the fictional and the real is unclear. Everyday occurrences are as remarkable as fiction. Outside the church of Via San Gregorio Armeno, craftsmen prepare expansive nativity scenes (presepe) in which the Madonna and Maradonna meet. In nearby Sanita, residents visit the underground city, carved into the rock of the surrounding hills, to tend the adopted skulls of abandoned souls (capuchella) in exchange for heavenly protection. Fiction shapes the city, “everyday harshness turns to a fabulous world”2. Pugliese’s narrative depiction (Malacqua) of Naples presents a derivation and satirical view of the realities faced by the city throughout the 1970’s. The incessant realities of camorra control, waste and the incompetence of the municipality are shown in the pathetic fallacy of relentless rain, which drowns and disintegrates Naples. A dream of Naples: Inscribing Real Fictions and Fictive Realities traces fictions both into and from reality, inscribing new plot lines on the city. It operates between the manifestation of fictions and the inescapable realities (or the elevation of real conditions to the point of fiction and the grounding of fiction in the foundation of reality) through the construction of architectures that, simultaneously, operate at the level of archetypes and as inhabitable interlocutors of everyday actions. It develops material and programmatic gestures from the thickness of the glaze that binds the narrative imagery of Majolica tiles, to the discarded broken ceramic which lay forgotten in demolishment. From the wire-frame skeletons and plaster flesh of presepe, and their symbolic flourishes of gold leaf and fine silk with which these presepe are dressed, to the mounds of neglected Neapolitan clothing lining the streets of the city center. As each gesture acts as a catalyst for local stories and traditions, the architecture occupies these forms to create new narratives. Through a series of extraordinary everyday spaces (washrooms and workshops) and an unconventionally conventional set of institutions (ceramic recycling factory and textile recycling factory), it invites entry into a fictive reality of Naples. 扫码获取高清设计合集图纸
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