Academic

Portfolio
Michael Mallinder-MacLeod
s1438662 / MA [Hons] Architecture
Reflective Statement
This Academic Portfolio has been a fantastic
undertaking that has enabled me to reflect upon
the past four years of my architectural education in
great depth. The four years have been challenging
but thoroughly rewarding. In this document, my
academic growth and skills within the discipline are
clear. I have progressed to a level where I am ready to
continue my education.
Architecture at the University of Edinburgh has
taught me a wide range of skills and enabled me to
meet a wide range of people from a diverse set of
backgrounds. The opportunity to work on projects
in the city itself and in an international context are
highlights of my undergraduate degree. I feel that
throughout the process, I have employed all of the
general attributes successfully. I believe that I have
continually thrown myself in to every project and
opportunity offered to me. I have embraced the task
of the design process through a variety of means
such as computer-aided representation, physical
model making, wide-ranging research topics and
countless presentation techniques. I have loved the
wide-ranging scope of the programme which has
given me freedom to experiment academically.
My year abroad at Universidad San Pablo, Madrid
offered me new perspectives on education and life.
It was incredibly worthwhile with opportunities to
try a variety of subjects such as Graphic Design,
ARB Part 1 Graduate Attributes
Journalistic Writing, Spanish and Urban Design.
My employment of GC 3 really progressed during 1. 4.
Erasmus. I gained new confidence in my profession
Ability to generate design proposals Ability to evaluate evidence,
capabilities with a host of new skills under my belt
using understanding of a body of arguments and assumptions in
upon returning to Edinburgh for fourth year. knowledge, some at the current order to make and present sound
boundaries of professional practice judgments within a structured
In reflection, GC 4 has been the graduate attribute and the academic discipline of discourse relating to architectural
architecture. culture, theory and design.
that I feel I have been most successful at employing.
The Architecture Dissertation and Theory classes
were a time of immense academic growth for me 2. 5.
and I believe I now have the ability to go further Understanding of the alternative Knowledge of the context of the
in professional educational environments. I was materials, processes and techniques architect and the construction
that apply to architectural design and industry, and the professional
able to contribute to the discourse of architecture
building construction. qualities needed for decision making
and urbanism through my interests and research in complex and unpredictable
efforts concerning appropriation of the London circumstances.
Underground network and urban space in
relation with social and popular media networks. 3. 6.
Architectural History was also thoroughly beneficial
Ability to apply a range of Ability to identify individual learning
to me in building up my passion for architecture communication methods and media needs and understand the personal
within society. to present design proposals clearly responsibility required for further
and effectively. professional education.
I have gained a great deal from the challenges that
this degree has presented me. I now fathom what
my true passions are within the discipline and I will
continue in Urbanism at masters level with these
as my priority. I graduate from Edinburgh with an
excitement at continuing my education and with a
thirst for new international experiences. It has been
a formative four years.
2
 Table of Contents

Year 1 Year 3
Semester 1 Architectural Design: Elements 6 Semester 1 Projects V 65
Art + Design 11 Urban Design I 72
Architectural History: Introduction to 16 Living Madrid [in Spanish] 77
World Architecture
Semester 2 Projects IV 79
Semester 2 Architectural Design: Assembly 19 Urban Design II 84
Technology + Environment: Principles 25 Graphic Design [in Spanish] 89
Architectural History: Revivalism to 28 Expressive Art [in Spanish] 94
Modernism
Journalistic Writing 100

Erasmus
Universidad San Pablo
CEU, Madrid, Spain

Year 2
Year 4
Semester 1 Architectural Design: In Place 32
Technology + Environment 2A: 38
Building Environment
Human Geography 44
Semester 1 Architectural Theory 103
Semester 2 Architectural Design: Any Place 48 Architecture Dissertation 108
Technology + Environment 2B: 55
Building Fabric Semester 2 Architectural Design: Tectonics 113
Architectural History 2B: Culture + 60 Professional Studies 122
the City Academic Portfolio: Part 1 126
 RIBA General Criteria for Part 1
GC 1.
Ability to create architectural designs
that satisfy both aesthetic and
technical requirements.
GC 2.
Adequate knowledge of the histories
and theories of architecture and the
related arts, technologies and human
sciences.
GC 3.
Knowledge of the fine arts as
an influence on the quality of
architectural design.
GC 4.
Adequate knowledge of urban design,
planning and the skills involved in the
planning process.
GC 5.
Understanding of the relationship
between people and buildings,
and between buildings and their
environment, and the need to relate
buildings and the spaces between
them to human needs and scale.
GC 6.
Understanding of the profession
of architecture and the role of the
architect in society, in particular in
preparing briefs that take account of
social factors.
Referencing system for mapping ARB/
GC 7. RIBA general criteria
Understanding of the methods of
investigation and preparation of the
brief for a design project. fully employed
GC 8.
Understanding of the structural
design, constructional and
engineering problems associated with [self assessment
building design. further employed mapped on each
topic cover page]
GC 9.
Adequate knowledge of physical
problems and technologies and the
function of buildings so as to provide
them with internal conditions of employed
comfort and protection against the
climate.
GC 10.
The necessary design skills to meet
building users’ requirements within
the constraints imposed by cost GC 1 2 3 4 5 6 7 8 9 10 11
factors and building regulations.
GC 11.
official ARB/RIBA
Adequate knowledge of the
general criteria effected [for courses on exchange in Madrid,
industries, organisations, regulations
RIBA mapping has been applied
and procedures involved in self assessed ARB/RIBA where it is most appropriate]
translating design concepts into general criteria effected
buildings and integrating plans into
overall planning.
4
Year 1
Semester 1
Architectural Design:
Elements
Art + Design
Architectural History:
Introduction to World
Architecture

Semester 2
Architectural Design:
Assembly
Technology + Environment:
Principles
Architectural History:
Revivalism to Modernism
Architectural Design: Elements
[ARCH08001]

Learning Outcomes Course Description

Architectural Design: Elements was my first ever architectural

project and was extremely challenging. The class moved very fast
and it was really a case of plunging in to the discipline.
The course began by looking at the fundamentals of architecture
such as frame and canopy, ground and wall and space scale
and representation. This gave us the opportunity to explore new
representational, communication methods which were tested in
crits.
The second part of this course was ‘Writer’s Retreat’ where
we were given a definite design brief to work to. This saw us
work in groups for exploration of Cramond, Edinburgh. It was a
good opportunity to work within my new city. Producing a basic
architectural design was a good first start for me.
LO 1.
Demonstrate awareness of basic
architectural elements and issues
that inform their disposition in
architectural designs.
LO 2.
Demonstrate awareness of different
dimensions of the design process,
from analysis and research
individually and in teams to iteration
and reflection in the formation of
architectural designs.
The course introduces students to the foundational
knowledge and skills appropriate to the practice of
architectural design. Design is seen as a process involving
imagination, representation and communication, analysis
and research, iteration and reflection.
Students work on a series of design exercises and projects,
which require individual and group submission of maquettes,
models, and drawings. Working in a studio environment,
students undertake a number of studies that introduce
some of the essential elements of architecture, such as path,
threshold, opening, membrane and enclosure. These studies
are underpinned by a concern for the role of place and
embodiment in the experience of architecture and the built
environment.

Studio exercises are supplemented by a series of lectures on

LO 3. practical and theoretical issues associated with the design
Demonstrate awareness of process.
appropriate representational and
communication methods, to prepare
and present design proposals.

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Architectural Design: Elements
[ARCH08001]

Ground + Wall, Frame + Canopy

This was my first encounter with architecture and an interesting
first attempt at creating fundamental spaces and architectures.
I realised that I didn’t have much knowledge about the discipline
before now so had a chance to explore different things.

We created a series of four models which we then presented

before moving on to a design brief. This was a very fast moving
time with something new to do each week. I had never drawn
architecturally before now so it was an exciting opportunity for me.

Above:
Frame and Canopy drawing
Left:
Ground and Wall model

Above:
Frame and Canopy model
All Left:
Ground and Wall drawings

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Architectural Design: Elements
[ARCH08001]

Space, Scale + Representation

This was the project that I chose to investigate at a greater
length. From the variety of models I created, I chose to create
architectural drawings from this.

All above: All above:

Drawings of the model The model

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Architectural Design: Elements
[ARCH08001]

Writer’s Retreat
Writer’s Retreat took us to Cramond in the north of Edinburgh
where we investigated the area and did a variety of research.
We then were tasked with proposing a temporary residence for
a writer. My site was on a little island in the middle of the water
linked by a proposed bridge. I focussed on creating three distinct
zones within the retreat for a solitary person.

Above:
Site plan and section
Above:
Left: Island plan
Model
Above:
Elevations

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Architectural Design: Elements
[ARCH08001]

Writer’s Retreat

Left:
Roof Plan
Above: Above:
Floor Plan Sections

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Art + Design
[ARCH07001]
Art and Design was an extremely interesting and hands-on course
that helped bring the studio together and aide the design work
that ran along side it. We experimented with new materials and
modes of representation. Testing and researching was a key
component of this course which I feel I was successful doing -
even if it felt uncomfortable at times.
Conceptual ideas and ways of communicating them were key to
this course. It was my first experience of having to communicate
ideas to a wider audience which was challenging but neccessary.
Through the lectures and tutors, I gained a wider awareness of the
fine arts and history of arts through precedents.
We had five projects throughout the semester starting with
Gesture and Mark. We then explored the city with Obervation and
Representation, group work with The Time Traveller’s Message and
a study trip to Cramond Island. The final project was to create an
intervention somewhere in Edinburgh.
GC 1 2 3 4 5 6 7 8 9 10 11
Learning Outcomes
LO 1.
Demonstrate experimentation and
fundamental understanding of
drawing using a range of techniques
and materials.
LO 2.
Demonstrate an awareness of Art and
Design process in researching, testing
and developing ideas to find creative
solutions.
LO 3.
Communicate ideas and complete
work in a well structured and
coherent way.
Course Description
Through a series of practical projects and a wide range
of lectures this course explores a range of art and design
themes.
They develop an understanding of drawing as:
a device to develop concepts and communicate the design
process
a way to research, observe and tell stories
an expressive tool to illustrate ideas and emotions
Problem solving and design thinking is explored in a number
of the projects. You are asked to create and test prototypes
and consider, the user, function and form.
The visual and text based documentation of research
(sketchbooks and prototypes) as well as the final outcomes
of the projects create an expanding portfolio through the
semester. This portfolio, alongside the verbal and text based
support of it, becomes the evidence for assessment of the
learning outcomes of this course.
11
Art + Design
[ARCH07001]

Gesture and Mark

This was my first experience on the art and design course and my
first ever class at university. Gesture and mark was a chance to
be creative and to our initials to create some expressive images. It
was enjoyable to get using different materials and getting to know
fellow class mates. The art and design course was very enjoyable
in this sense. This class opened up the possibility to use different
methods of representation in design classes.

All:
Gesture and mark experimentation work

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Art + Design
[ARCH07001]

Observation + Representation
Throughout the beginning of the semester, we explored the city
that we now called home. We would go out recording and drawing
the city in various ways of representation. This was thoroughly
enjoyable and useful when it comes to doing site surveys before
designing.

Both:
Final images for the observation and
representation part of the semester

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Art + Design
[ARCH07001]

The Time Traveller’s Message

This project focussed on group work where we had to devise an
idea based on our exploration of Edinburgh on how to represent a
message from the present to a later date. Our group were given the
ON T H E
5 years
16 tram stops
task of five years.
32 Edinburgh
We devised a project where families’ photographs and stories
would be placed on the tram at different stops and carriages. Each
story and image would change for travellers to stay up to date and
MOVE families
see how fast life changes. This would then be exhibited following
the five year project. Work completed with: Ana Carolina Laterza
and Catherine Wu.

The fundamental idea of the

‘On the Move’ project is to present a five-year journey of
32 families in the modern city of Edinburgh. It will be
focusing on recording a picture from each family every
month, reflecting on the changes and reshaping of their

ON
families over time. The aim of the project is to raise
awareness of how different people’s lives change and let
the wider community have an insight in to this. We hope
the project will engage the community and encourage
them to come together.

T H E The Blackton Family

record. reflect. reshape

bruntsfield

MOVE
Introducing the Blackton family of Leamington
Terrace...
Meet Anne (42), Joseph (49) and Sam (17).

one word describing the family: CRAZY

Anne, WORKS AS A PRIMARY TEACHER.
record. reflect. reshape
5 YEARS GOAL: “in 5 years time I expect I’ll still be living in Edinburgh but hopefully
embark on a new career working with disadvantaged children after I’ve completed
my college course!”

Joseph, OWNER OF COFFEE SHOP ON LOTHIAN ROAD.

In the next five years, the project will be
developed in such a way so that the public can observe
the gradual transformation of the 32 families. In order to
accomplish this, we are going to display monthly pictures
of each family at the 16 tram stops in the city. As well as
We hope that commuters and every day
passers by will engage with our project and
watch to see as the collection of photographs
5 YEARS GOAL: “in 5 years time I really hope to expand my business and open more
branches across Edinburgh and beyond! I’m already looking to open a Glasgow
store in this coming summer!”
Sam, SCHOOL STUDENT.
5 YEARS GOAL: “in 5 years time I hope to be finishing my degree at University College Above:
London studying international business- I start in September! I then hope to move

this, written descriptions of the families will be displayed grow at different stops from each families.
abroad to work. WATCH THIS SPACE!”
Promotional poster
for all to see inside the trams.
Left:
Group work ideas

Above:
Explanation poster of the project

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Art + Design
[ARCH07001]

Intervention
Following an investigation around Edinburgh through walking
the city, we were asked to come up with an intervention piece in a
particular area that we had identified of interest. I chose Potterow
Port right by the university main campus as I thought it was an
underused area with high footfall and potential.

Intervening in people’s daily commute in a positive and exciting

way, this creative art intervention will give buskers a place to
showcase and express themselves. The design’s shapes suggest
defined pathways and successfully invite people in to the far more
welcoming Potterow Port that doesn’t currently exist with grafitti,
lack of space and lack of lighting.

My intervention would free up space within the crowded, dreary

underpass by giving activites that operate there already a
permenant home that people will be able to interact with far
more without being hindered. The bandstand and LED light walls
will attract people to use the underpass who wouldn’t normally,
changing the behaviour of a wider audience with visual and sound
excitement.

Above:
Potterow Port site sketch

Top left:
Physical model of the underpass
transformation
Left:
3D model of the intervention
bandstand

GC 1 2 3 4 5 6 7 8 9 10 11 15
Architectural History: Introduction to World Architecture
[ARCH08003]
The Architectual History: Introduction to World Architecture
was my first encounter with such diverse and interesting topics
about our architectural heritate and its basis in Western society.
The course aided me on bringing in historical precedents when
thinking about my design course.
I chose to do my essay on Raphael’s letter to Pope Leo X which
pushed me to using academic writing styles and the university
library for the first time. During tutorials, we also visited sites
such as St Giles Cathedral and areas of the old town. I chose to do
my presentation on St. Paul’s Cathedral, London. The final exam
assessment based on learning 100 buildings was particularly
challenging but invaluable in my architectural history education.
GC 1 2 3 4 5 6 7 8 9 10 11
Learning Outcomes
LO 1.
Demonstrate knowledge of the history
and theories of architecture and their
related arts before c.1800.
LO 2.
Demonstrate appreciation of the
significance of a critical approach to
architectural precedent in the context
of design.
LO 3.
Demonstrate development of
verbal and visual communication
skills in key themes of the module
demonstrating a critical and reflective
approach.
Course Description
This course introduces significant architectures of the world.
It begins with an examination of Ancient Egyptian, Greek,
and Roman architecture, the architecture of the Middle
Ages, Islam, Pre-Columbian America, and the first great re-
evaluation of Antiquity in the Italian Renaissance.
It goes on to survey the Renaissance in Britain and Northern
Europe and the subsequent influence of the Italian Baroque
in these areas. Later, other significant cultural traditions in
the history of architecture are introduced, such as those of
India, China, and Japan.
The course concludes with an examination of the theoretical,
cultural, and stylistic aspects of the architecture of the
European Enlightenment.
16
Architectural History: Introduction to World Architecture
[ARCH08003]
Essay
Question 2: A Summary of what Raphael
says about architectural drawings in his
letter to Pope Leo X and analysis of why
it clearly excited him.
Introduction
Raphaello Sanzio da Urbino is spoken of
as one of the true greats of architectural
history and ambassadors in the
Renaissance era of the preservation and
cultural promotion of Classical Antiquity
architecture in Rome. Resounding
respect of Raphael and his works and
theories is evident throughout multiple
resources. ‘The greatest exponent of High
Renaissance Classicism in architecture
as well as painting’ expresses the
consensus on Raphael’s ability. His true
genius and originality places him up
there with other crucial architects and
artists in history. ‘Raphael reacts to
Michelangelo in almost the same way as
he did to Leonardo; creating works which
are entirely original.’ This status suggests
why Raphael was commissioned by
Pope Leo X to survey ancient Roman
ruins and to complete drawings with a
strong background with works including
Pandolfini Palace, Florence and St.
Peters, Rome and even before then
GC 1 2 3 4 5 6 7 8 9
‘Raphael had already proved his abilities
as an architect before he had been
appointed leading architect of St. Peters.’
Strong skill set and extensive interest are
key to the letters creation otherwise it
would lack such evident excitement and
passion for Rome.
...
Paragraph 3 [extract]
Passion for antiquity classical Rome is
conspicuous in study of the infamous
letter, with a vast understanding
of the advances and technological
achievements expressed as Raphael
reflects in word with Pope Leo X. An
ordeal of upset within Raphael is too
expressed as he discusses the loss
of Roman ‘greatness’ due to war and
barbarianism, with a Rome amok with
rogues. Raphael states his belief in
the civilians of Rome’s ‘naive nature’ to
reasons for destruction and degradation
of her former self. Vast neglect is accused
by Raphael as he lets full emotion
out towards lack of sensibility and
responsibility in protection of antiquities.
The once elegant temples and statues
of antiquity Rome were used - in
Raphael’s century - as simple building
10 11
matter unjustly for new, albeit beautiful
buildings. A plea from Raphael is notable
as he appeals for recognition of the dire
need of prioritisation in the protection of
remaining buildings. Raphael expresses
disgust at a number of architectural
styles including the Constantine era,
crediting composition but distaste for
their sculptural qualities. Suggestion has
it that Pope Leo X felt similar to Raphael,
as did Rome’s population of the time.
...
Conclusion
The enthusiasm and excitement
displayed through passionate description
and instruction by Raphael to Pope
Leo X in the Renaissance period of
the 14th century is clear in the letter.
This supports the fact that he was the Above:
only praised genius by Pope Leo X of The Altar of Transfiguration, St Peter’s Basilli-
the time. ’In the world of art, Raphael ca, Rome, Italy
was the only genius who forced the
deserved appreciation by the Pope.’ With
this, we can appreciate his in depth Key Reading:
interrogation and surveying of Antiquity
Rome and appreciate his excitement V. Hart and P. Hicks, Palladio’s Rome: A Translation of Andrea Palladio’s Two Guidebooks
to Rome, (New Haven and London, 2006)
and enthusiasm for the revival of an I. Campbell and A. Nesselrath, The Codex Stosch: Surveys of Ancient Buildings By
architectural movement that has shaped Giovanni Battista da Sangallo, (Berlin, 2006)
the world of architecture reservedly.
17
Architectural History: Introduction to World Architecture
[ARCH08003]

Presentation

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Architectural Design: Assembly
[ARCH08004]

Learning Outcomes Course Description

Architectural Design: Assembly saw us go in to further depth

in architectural design. The initial weeks started off looking at
materials with a new design task each week. We then choose one
to progress further. This inital material awareness has been vital
to my on-going education. Basic construction conventions could
be understood.
In the later weeks of the semester, we were tasked with the
‘Strangely Familiar’ project which was our first comprehensive
building design. Continual redesigning was extremely rewarding.
The semester really advanced the way I represent my work in
portfolio format and in architectural drawing conventions. The end
of first year brought a great deal of skills that were neccessary to
progress.
LO 1.
Demonstrate awareness of principles
of assembly, materiality, specific
constructional and environmental
logics and how they inform the design
of architecture.
LO 2.
Demonstrate capacity to
manipulate architectural form in the
consideration of interior, exterior
space and context in the resolution of
simple programmes.
This course introduces the theme of assembly in
architectural design. It is focused on the capacity of
structure, construction, and materials to create architecture.
These physical factors are considered alongside more
ephemeral conditions such as light and sound. The way
architecture establishes variable distinctions between
exterior and interior spaces is also examined.
The course asks students to develop these themes through
consideration of a relatively simple programme, such as a
dwelling. To this end, students work on an integrated series
of design exercises and projects. Students produce design
proposals that are represented by a range of techniques
including expressive drawings, scale drawings and models.

LO 3.
Demonstrate skills in the
representation and communication
of simple architectural designs,
including design process, in the
portfolio format.

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Architectural Design: Assembly
[ARCH08004]

Material World
Material World was a good opportunity to explore materials
that I only had a vague understanding of previous to the course.
Each material has certain qualities and best for use in different
projects. Each week, we were tasked with designing different
things in different materials. We also had the opportunity to get
involved with workshops to really grasp the materials available.
Above:
Stone spa section
Below:
Stone spa plan
Right:
Concrete boathouse plan
Below:
Concrete boathouse section

Left:
Steel teahouse plan
Below:
Steel teahouse plan

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Architectural Design: Assembly
[ARCH08004]

Material World
I chose to continue my initial brick design for a changing room in
the next stage of designing. I found brick an extremely interesting
material with its specified dimensions and humble dimensions. I
liked the versatility of such a simple material that could be used to
create patterns and expressions on the facade or interior. I chose
green Danish Petersen bricks for my project.

Left:
Brick changing room isometric
Below:
Brick changing room sections

Above:
Brick changing room plan
Below:
Brick changing room 1:50 detail

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Architectural Design: Assembly
[ARCH08004]

Strangely Familiar
For ‘Strangely Familiar’ we were tasked with designing a
residential dwelling but with a twist. I designed a home for a
chocolatier in Forthview, Edinburgh. It was an exciting time of
continual design processes and redesigns. I worked continuously
in plan and section to learn from mistakes to refine the
architectural design. I felt like this was a successful first year
project and helped set a good foundation for later years.

Above: Top: Top:

Site plan and section of Working section Floor plans sketches
Strangely Familar project Below: Bottom:
Model Perspective

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Architectural Design: Assembly
[ARCH08004]

Strangely Familiar
This was the first proper building design
I have ever completed in my education.
It was a challenging time of trial and
error in learning how to represent things
in a coherent architectural language. I
thoroughly enjoyed the designing of a
residential building with a twist. Mine
was for a chocolatier. It was interesting
to design for a specific client with varying
demands for spaces.

Left:
Ground and First Floor plans
Above:
Exploded Isometric

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Architectural Design: Assembly
[ARCH08004]

Strangely Familiar

Left:
Elevations 1:100
Above:
Short and long
sections 1:100

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Technology + Environment: Principles
[ARCH08002]

Learning Outcomes Course Description

Technology and Environment: Principles was the first look at

construction and environmental elements within the architecture
degree. This was a challenging course for me, but pivitol in my
understanding of how buildings work.
The first project, Building Heirarchies saw me and Caitlin MacLeod
look at the Festival Theatre Edinburgh and its interesting primary
and secondary structure. The second project was Building
Environments where we had to design a small building that dealt
with topics such as thermal comfort and emissions.
LO 1.
Demonstrate understanding of
the key concepts in the physical
behaviour of structural systems and
their application in architecture.
LO 2.
Appreciate the integral nature of
material assembly and environmental
systems to the development of
architectural designs.
This course introduces the technological and environmental
aspects of architectural design. It focuses on the key
concepts which underpin the design of structural and
environmental systems. It is also concerned with the use of
materials in architecture. The course emphasizes the links
between architectural design, architectural technology
and sustainability and a wider concern for the global
environment.

LO 3.
Demonstrate breadth of knowledge
and understanding of the principles
of architectural structures, material
assembly, environmental systems,
and sustainability in the built
environment.

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Technology + Environment: Principles
[ARCH08002]
Building Heirarchies
The Festival Theatre in Edinburgh has a
structure composed of internal concrete
columns of diamter 500mm (holding up each
floor) and a skin comprised of a thin wall
of glass panes, which partially conceal the
internal structural elements from outside view.
The structure and skin are therefore separate
from one another.
In the entrance foyer, the floor-to-ceiling
columns are distributed throughout in a grid
formation – exact spacing and distribution
can be seen on the floor plan of the building.
The bottom of each column is reinforced with a
steel base about 50cm high for extra strength.
Upon entry there are two columns on either
Above:
Festival Theatre, Edinburgh
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side of the door, which are part of a row of
columns following the line of the wall of glass.
Also lining the inside of the skin are a series of
thin, vertical steel columns 60mm in diameter
– this braces the glass at regular distances and
is attached by small metal devices fixing the
steel to the glass (shown in diagram below). The
also continue up past the first floor assumedly
through the height of the building, meaning
they do not withstand the loads acting down
from the ceiling above as the columns do (also
the glass skin is not attached to the ceiling of
the first floor, so we can deduce that the ceiling
is held up by the other walls not made of glass
and the internal conrete columns.)
Top left:
Structural glass elements
Top right:
Cross section analysis
Bottom left:
Structural section of the entrance foyer
support
Above:
Entrance foyer measurements and structure
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Technology + Environment: Principles
[ARCH08002]
Building Environments
The Artist’s studio has been orientated in
such a way to give them sufficient shelter and
privacy from the very overlooked environment.
Measures to fit the requirement for privacy
include a wall with no openings to the South
East of the site which is very overlooked and
the largest glazed opening to the South West
towards the trees on site. to the North West
and North East there is minimal opening.
Glimpses of Arthurs seat may also be seen
from the South. The studio space has a South
West facing window, however due to the
angling of the walls and partition in the place
minimises glare. A condensing boiler heating
system is used in the studio and stored in the
kitchen cupboards with flue above. This has
been chosen as it recovers the most heat and
Above:
Roof construction detail
GC 1 2 3 4 5 6 7 8 9
is more efficient than a regular boiler. The
living, studio and sleeping space has all been
combined with less segregation to minimise
the footprint of the dwelling making it easier to
manage, heat and light during the evening. The
smaller scale of the building also means it will
not affect the local environment and wildlife
and park. Timber frame construction has been
chosen to minimise environmental impact in
the manufacturing process and is the easiest
material to be recycled or reused when the
building is no longer needed. Timber also has
a very low ‘k’ value meaning it doesn’t conduct
a great deal of heat. No roof lights have been
used as they weren’t necessary for the site and,
as heat rises, a great deal of heat would be lost Top left:
this way. Wall construction detail
Top right:
Roof and wall joint detail
Right:
Building elevations
Above:
Floor plan
10 11 27
Architectural History: From Revivalism to Modernism
[ARCH08005]
The Architectual History: Revivalism to Modernism gave me
the opportunity to expand upon my new knowledge from the
first semester. The course aided me on bringing in historical
precedents when thinking about my design course.
I chose to do my essay on Sir Basil Spence’s University of
Edinburgh Library. This was a unique experience to research and
critique a building whilst actually engaging with it as a user. I
focussed on Danish architect Johan Otto Von Spreckelsen’s La
Grande Arche de la Defense in Paris. Both of these assesments
made my interest for the historical social conditions grow and
develop. My confidence in academic writing grew significantly in
this semester.
GC 1 2 3 4 5 6 7 8 9 10 11
Learning Outcomes
LO 1.
Demonstrate knowledge of the
major movements in nineteenth and
twentieth century architecture.
LO 2.
Demonstrate skills in research,
analysing and writing in relation to
LO1.
LO 3.
Demonstrate verbal and visual
communication skills in relation to
LO1.
Course Description
This course surveys key topics in architectural history from
the early nineteenth century to the late twentieth century.
It examines the nineteenth century stylistic revivals, and
introduces the apparently contradictory theme of modernity
in architecture. It also discusses the nineteenth century
development of new and more sophisticated typologies along
with the novel materials and technologies that made this
possible.
The revivalist and the modern are also discussed in terms of
the conflict between industrial and anti-industrial that saw
the architectural technology of the Crystal Palace juxtaposed
with the emergence of the Arts and Crafts Movement.
The course traces the complex ideas that lie behind the
emergence of Modernism in the early decades of the 20th
century.
It concludes by considering the revision of Modernism in the
1950s and 60s and the recent emergence of a Post-modern
consciousness.
28
Architectural History: From Revivalism to Modernism
[ARCH08005]
Essay
History, Success and Criticism - The
University of Edinburgh Main Library
(1964-1967), Sir Basil Spence, Glover
and Ferguson
Introduction
The University of Edinburgh Main Library
is an iconic building by Scottish architect
Sir Basil Spence and partners Glover
and Ferguson. From beginning in 1964
until completion in 1967, the library was
the result of Spence being the official
planning consultant for the University of
Edinburgh from 1954 until 1960. This
essay will delve in to the history and
process of the buildings past, review the
successes of Spence’ design, and analyse
the effectiveness of the building in the
modern day and how the building, and
the architect, are perceived by the public.
...
Paragraph 3 [extract]
The structure creates a formal
environment and offers panoramic views
from the interior with use of materials
that soften the modern building to the
location. The interior of the library is
perhaps its most successful design with
GC 1 2 3 4 5 6 7 8 9
almost perfect differentiation between
quiet and loud spaces throughout. The
ground floor concourse and adjacent
spaces encourage discussion and
public space which acts as the heart of
the library as its most-used core. The
double height space is impressive as it
opens up from far more enclosed spaces,
including the single height entrance to
exaggerate the feeling of space. However,
criticism can be made in regards to the
lack of natural lighting in the main focal
space as it is located to the north of the
building, with windows concealed
behind timber coverings. The use of
dark materials including the timber wall
linings, stone floor slabs and polished
exposed columns may be beautiful in
simplicity but certainly make the space
feel impossible to inhabit without
artificial lighting. A key success of the
modular design of the building is the use
of central circulation spaces, with lift
shafts and stairwells, encased in heavy
The University of Edinburgh, The
University of Edinburgh Main Library
concrete covering . This design solution
by Spence and architects enables the
majority of each floor that are one acre
in size each, apart from the top floor, to
be free from the need to accommodate
10 11
primary circulation. Apart from minor
flaws with the building, attention to detail
in every last piece of design is evident
with all interior furnishings (originals and
restored in 2009 refurbishment) fitting
perfectly with the architecture of the
building as Spence, Glover and Ferguson
had it entirely designed for opening. The
majority of tables and study benches
were sourced from Scandinavia with
fabrics and colours in keeping with the
chosen colour scheme.
Above:
Conclusion The University of Edinburgh
Library
Right:
Despite lashings of criticism throughout
Library floor plan as designed
Sir Basil Spence’ career that spanned the by Basil Spence
rise and fall of modernism, he remains a
key architect in the formation of modern
Britain and his work at the University
of Edinburgh Library is ultimately
successful in its design with it likely to
remain as originally intended for years to
come. His legacy will live on through new
youthful architects spawned from his era
without a shadow of doubt. Key Reading:
Campbell, L., Thomas, J. & Glendinning, M. Basil Spence: Buildings & Projects (London,
2012)
Edwards, B., Basil Spence (1907-1976) (Edinburgh, 1995)
Long, P. & Thomas, J., Basil Spence: Architect (Edinburgh, 2008)
29
Architectural History: From Revivalism to Modernism
[ARCH08005]

Presentation

GC 1 2 3 4 5 6 7 8 9 10 11 30
Year 2
Semester 1
Architectural Design:
In Place
Technology + Environment 2A:
Building Environment
Human Geography

Semester 2
Architectural Design:
Any Place
Technology + Environment 2B:
Bulding Fabric
Architectural 2B:
Culture + the City
Architectural Design: In Place
[ARCH08007]

Learning Outcomes Course Description

Architectural Design: In Place was a big step up from first years

work with the requirement to work together to make a proposal.
We worked within the context of Edinburgh which we were familiar
with to develop an architecture school proposal. LO 1. The course takes the concept of site and situation as its
focus. This theme is supplemented by those of public and
Investigate through design-research private, place and identity. These themes collectively inform
The initial stage of the semester saw us look at making models architectural and urban issues a set of architectural design exercises that have greater
each week through reading Francis D.K Ching. We then exhibited that impact on architectural design complexity than those tackled at Stage 1.
decisions.
these models in a studio wide exhibition. We then moved on to the The thematic scope of the module serves as a context
design task. The initial stages of exploration models really helped to introduce critical and self-reflexive dimensions of
to inspire architecture in the latter stages. It was first hand try at LO 2. architectural design, and the development of skills in design
working as a group for the entire project and lots of lessons were Respond to brief and site by inquiry. The module addresses digital media and explores
synthesizing a range of programmatic their consequences for the representation and fabrication in
learned. After this semester, I really took on-board some of the architecture.
components, formal and spatial
issues that affected my work to make better decisions in semester strategies, and contextual themes
two. of modest complexity within an
architectural design.

LO 3.
Effectively explore and communicate
design ideas and propositions,
articulate by visual means an
architectural argument, individually
and in teams, in a range of digital and
analogue formats.

GC 1 2 3 4 5 6 7 8 9 10 11 32
Architectural Design: In Place
[ARCH08007]

Week 1-4: Exploration Models

We focussed on ‘Form, Space and Order’ by Francis D.K Ching who
covers a great deal of architectural theory. From these readings, I
generated physical spaces as part of a set of 20 models. The tasks
ambiguity led to so many different and exciting results.

The first four weeks of model making, thinking and reading was
really successful in getting my head back in to architecture and
to think about things differently. The forms, spaces and principles
that I explored will be key to my up and coming project on creating
an architecture school. I intend to use the models as a starting
point in my strategy, particularly week 3’s models as they have
architectural strengths in their form in my opinion.

Above: Above:
Studio five models exhibition The models from the four weeks
Right:
Studio four models exhibition

GC 1 2 3 4 5 6 7 8 9 10 11 33
Architectural Design: In Place
[ARCH08007]

Week 1-4: Exploration Models

All:
Variety of my models from
the first four weeks

GC 1 2 3 4 5 6 7 8 9 10 11 34
Architectural Design: In Place
[ARCH08007]

Development
Over the next couple of weeks was continual work to redesign
the programme of the architecture school to improve the overall
project. We worked well as a team and I took charge in directing
the collaborative design sessions that we had. We tried to find a
common concept and bring in our individual designs to the final
building, working from Shafiq’s initial designs. We worked together
to share the task of drafting, researching and creating final
models. It was a very difficult task to work together for the first
time.

Shafiq’s design proposal was deemed the most suitable for the
Market Street site. Incorporating the adjacent, older building on
Market Street was deemed useful to extend the limited footprint Above:
Live drawing in the studio my
of the architecture school. Similarities in Shafiq and my initial project proposal to the group
design proposal that focussed heavily on circulation can be seen for selection
in Shafiq’s atrium space that will link the old and the new on the Right:
site. Working as a group to make
essential design moves

Work completed along with: Shafiq Ali, Rooa Mohamed and

Mohamad Amirulamin Zakaria

Above:
Initial building plans
Right:
Initial spatial organisation

GC 1 2 3 4 5 6 7 8 9 10 11 35
Architectural Design: In Place
[ARCH08007]

Architecture School
The main ideas behind our design for a new Architecture school
on Market Street, Edinburgh, centre around the central themes
of accessibility and transparency of Architecture to the general
public. Key to the design is reusing the old car garage next door to
the site and creating a new, purpose built wing adjacent to
the City Art Centre. Connecting the old and the new has been of
interest to us and we have sought ways to create visual interaction
and difference between the two. Heavy structure contasts with
a more lightweight addition, divided by a key atrium space that
is set-back and seperates the two. Different atmospheres are
created through the change between new and old. An exisiting
pattern of garage doors has also been retained for the facade
of the new structure. Designing an inviting space has been All above:
Plans of the building
interesting but also posed challenges about how to limit public Ground to roof
movement throughout the building. We have created a
welcoming ground floor, with exhibition space and cafe-bar with a
conference room for visiting guests. From the first floor upwards,
studios, computer labs and crit spaces are only accessible with
validated cards. We use the positioning of the main staircase to be
prominent as a design feature but in a place that makes it seem
not too open to visitors. Visual as well as physical barriers are
important in the ‘Open Architecture’ project.

Work completed along with: Shafiq Ali, Rooa Mohamed and

Mohamad Amirulamin Zakaria

Both right:
Building sections

GC 1 2 3 4 5 6 7 8 9 10 11 36
Architectural Design: In Place
[ARCH08007]

Architecture School

Both left:
Outside elevations of
the architecture school
All right:
Interior views of the
exhibition spaces and
cafe

GC 1 2 3 4 5 6 7 8 9 10 11 37
Technology + Environment 2A: Building Environment
[ARCH08028]

Learning Outcomes Course Description

Technology and Environment 2A: Building Environment was a

really interesting course that enabled us to think more seriously
about how to incorporate environmental concerns in to our design
projects. LO 1.
Apply key interior and exterior
In the beginning of the semester, we began by designing a environmental principles in the
microclimatic pavillion as a group for George Square. This development, testing and analysis
of architectural designs using
building had to fulfill a certain criteria in thermal comfort and appropriate visual techniques.
environmental credentials. The secondary task of the semester
was to look at a precedent and present its environmental
LO 2.
strategies. I looked at Svalbard Science Centre for the University of
Recognise key interior and exterior
Svalbard that had to deal with polar conditions. We learned many
environmental principles in a
things about how to design and employ strategies in different design project or case study, and
climates. communicate these concerns using
appropriate visual techniques.
LO 3.
Demonstrate an awareness of
key environmental principles in
architectural design and critically
reflect on this learning throughout the
course and in the assessment tasks
which are given.
T&E2A: Building Environment examines building design in
relation to exterior and interior environmental performance.
Building on the Stage 1 courses ‘Technology and
Environment: Principles’ and ‘Architectural Design: Assembly’,
the course develops skills and abilities to assess, analyse
and design buildings in relation to exterior environmental
conditions. These include microclimate modification, energy
and water conservation and integration with landscape
as well as interior conditions such as natural and artificial
lighting control, acoustic performance, and ventilation
strategies.
The course places emphasis on designing for passive
environmental performance, but introduces mechanical
systems as a supplement. The course also examines the
application of sustainable building practices, including
qualitative and quantitative assessments of environmental
performance. Case study project site visits and design-
based coursework place emphasis on design integration and
applying theory to practice.

GC 1 2 3 4 5 6 7 8 9 10 11 38
Technology + Environment 2A: Building Environment
[ARCH08028]

Microclimate Pavillion
The site we have chosen is to the North-East of George Square.
Here, the building is safe from much of the wind in the area behind
existing trees and shrubbery. We have designed to take advantage
of South sunlight and to protect the building from South-
Westernly prevailing wind.

We have designed and chosen specific features to respond to the

environmental conditions of the site. We have used a sloping roof
to take advantage of rainfall for Rainwater collection for use in
toilets. A wind shield wall to protect from South-Westernly wind.
Solar Collectors to power the cafe and to add to the current supply
from the university’s Combined Heat & Power station.

Work completed along with: Callum Rowland, Rooa Mohamed and

Huiwen Shi

Top left:
Section detail for thermal comfort
purposes
Top right:
Microclimatic pavillion plan and
environmental strategies
Bottom right:
Section with environmental strategies
Above:
Section with environmental strategies
and wind direction

GC 1 2 3 4 5 6 7 8 9 10 11 39
Technology + Environment 2A: Building Environment
[ARCH08028]

Microclimate Pavillion
Through use of technologies such as Rockwall’s Acoustic infill and
cavity insulaton, our microclimatic pavillion has achieved very low
u-value ratings meaning the building will be able to perform well
in Edinburgh’s challenging conditions.

By exporting the 3D model into IES, we were able to analyse a

great number of environmental factors. The most prominent
analysis was that of the daylight factor within our building that
helped inform our lighting choices.

Top left:
U-value calculations and
environmental data
Above: Right:
Daylight factor of the pavillion through Environmental conditions of
the IES environmental system Edinburgh

GC 1 2 3 4 5 6 7 8 9 10 11 40
Technology + Environment 2A: Building Environment
[ARCH08028]

Left:
Microclimatic pavillion in George
Square
Top right:
Elevations of the pavillion

GC 1 2 3 4 5 6 7 8 9 10 11 41
Technology + Environment 2A: Building Environment
[ARCH08028]
Environmental Analysis Case Study
Svalbard Science Centre for the University of
Svalbard by JVA Architects is located on the
Norweigan archipelago of Svalbard. Completed
in 2006 in Longyearbyen, the largest town in
Svalbard, faces many challenges in the artic
circle region.
Geographically, the building is the largest on
the islands and is inspired by the shape of a
star with five arms in the building from the
centre. The wall planes within the building are
inclined throughout to create the atmosphere
of the cave.The footprint of the building is
large, with 8500m² of floor space in addition
to already present 550m². The islands are
completely detatched from mainland Norway
and transportation to and from Longyearbyen
GC 1 2 3 4 5 6 7 8 9 10
is complicated. Transportation of materials had
to be specially co-ordinated to work around the
port of Svalbard being frozen over from January
to May.
Climate in Svalbard is challenging. Average
temperatures range from -14°C in the winter, to
6°C in the summer. Although due to the effects
of wind-chill, the temperature feels like -20°C
to -30°C for long periods in the year. Svalbard is
a Tundra, where annual precipitation is very low.
There is no real change in difference between
seasons and Svalbard experiences Polar Right:
day and night where it recieves no light from Section detail on how the building deals
with the challenging environment
October 28th until February 14th, and recieves Below:
no darkness from April 19th until August 23rd. Svalbard Science Centre for the
University of Svalbard
11 42
Technology + Environment 2A: Building Environment
[ARCH08028]

Left:
Building section in the Svalbard artic
environment
Above:
Building section in polar night and polar
day with need for artificial lighting

GC 1 2 3 4 5 6 7 8 9 10 11 43
Human Geography
[GEGR08007]

Learning Outcomes Course Description

Human Geography was an extra course in second year that

gave me the opportunity to widen my knowledge base. There
was a class essay, degree project essay and take-home exam to
complete as part of the assessment for this course. I believe that
some of the things I have learned in this course have went on to
help me refine my thesis work and general understanding of the
society we live in.
LO 1.
Demonstrate a range of writing skills
(essay, report and peer review) and
analytical skills.
LO 2.
Critically assess a range of theoretical
and conceptual issues in human
geography.
LO 3.
Demonstrate skills in constructive
criticism and analysis.
LO 4.
Read widely using bibliographic
databases and other library
resources.
The course provides a foundation for the understanding
of fundamental concepts and current ideas in human
geography for the Geography degree programmes. The
development of cultural, social, political and economic
spaces at a variety of scales and the interaction of human
societies with the biophysical environment form the basis of
the course. Students will be introduced to key geographical
theories and concepts and to basic research methods.
Human Geography is designed to introduce students to
key geographical theories, concepts and debates. The
course provides a foundation to future studies in geography.
Students will gain a broad understanding of the interaction
of human societies with the biophysical environment and a
range of economic, cultural, social, and political processes
at a variety of scales. The course will explore six key themes:
making the modern world; geographies of development;
society, environment and nature; political and economic
geographies; urban worlds; and cultural geographies. Through
these themes we will examine why geography matters to
a series of contemporary debates and concerns, including
globalization, sustainability, social inequality, nationalism,
and war. A variety of local, national and international case
studies will be used to examine these substantive issues and
to consider issues of social justice, values and ethics. During
the course students will learn how to tackle geographical
issues and will be given the scope to pursue their curiosity
about the world around them and some of the most pressing,
contemporary social, economic, political and cultural issues.

GC 1 2 3 4 5 6 7 8 9 10 11 44
Human Geography
[GEGR08007]
Class Essay
Discuss how neoliberal globalization
came to dominate the so-called third
world in the 1980s and 1990s and
outline some of its impacts.
Introduction
The Global South have a complex and
unequal relationship with the Global
North or ‘developed countries.’ This
essay will delve in to the reasons for the
execution of neoliberal ideology across
the Global South following the critical
‘Debt Crisis’ and follow on to discuss it’s
impact on ‘third world’ countries.
Ever since the end of World War II, the
order of the world has become US-
centric with the United States holding
privileges over influential institutions,
such as the IMF and World Bank, that
are key to understanding how neoliberal
globalization came to dominate the ‘third
world’ countries. ‘Globalization operates
today rather like modernization did in the
mid-twentieth century as the key try of a
master discourse about the general state
of the world’ expresses the economic
‘revolution’ occurring in the world
as unstoppable with a goal of global
integration. The driving force behind
GC 1 2 3 4 5 6 7 8 9
globalization is neoliberal ideology which
strives for free market Capitalism and
minimal state intervention.
...
Paragraph 4 [extract]
In the beginning, the Global South could
afford to pay Debt commitments, but
conservative governments in the US and
UK led by Margaret Thatcher and Ronald
Reagan hiked interest rates, plunging
‘developing’ countries into crisis. The
solution to the threat of default was for
the IMF, World Bank and other global
institutions to issue new loans to the
indebted to pay for the old loans. Along
with new loans, the Global South was
forced to accept structural adjustment
policies (SAPs) which forced them to
open markets and cut government
spending.
...
Paragraph 6 [extract]
The opening and deregulation of markets
in ‘developing’ countries initiated the
start of multinational corporations ability
to control and influence new markets.
Whilst creating low skilled labour roles
10 11
for ‘third world’ nationals, the neoliberal
Western multinationals generally do
not to serve markets there, only taking
advantage of low overheads. Foreign
Direct Investment also drastically fell
following the Debt Crisis with the entire
continent of Africa only receiving 2%
of all global investment. Africa and the
Global South lay reliant on global super
powers for the means to ‘develop’ with
three-quarters of the world’s FDI coming
from just Japan, US, France, Germany
and the UK at the end of the 1980’s.
...
Conclusion
The relationship between the North and
South is built on an unfair playing ground
and free market Capitalism will always
benefit the Northern states and ex- Above:
colonizers. I believe that there are some Margaret Thatcher pictured with Ronald
successes of neoliberal globalization but Reagan in the 1980’s
that the poorest are hardest hit in the
aggressive world of free trade and it is a
long way off of the solution to the atrocity Key Reading:
of human poverty across the world.
Cloke, P., Crang, P., and Goodwin, M. (eds) Introducing Human Geographies (3rd Edition),
London: Routeledge
Allen, J., Hamnett, C. (eds) A Shrinking World? Global Unevenness and Inequality,
Oxford: Oxford University Press
45
Human Geography
[GEGR08007]
Degree Project
How important are financial
services to Edinburgh and does
this affect the city?
Introduction
Edinburgh has a long, historic
relationship with banking and financial
services, making it the sixth largest
centre for finance in Europe. Pre-crash,
in 2007, over 400 billion pounds of
investments were managed in Scotland,
primarily in Edinburgh. The dominance
of finance is intertwined with the way
of life in Edinburgh, having strong
socioeconomic repercussions for the city
in times of misfortune. In this essay I will
look at using photography as a research
method, the presence of banking and the
beginnings of Scottish banking and how
it became so important to Edinburgh. I
will look at the social effects of financial
services throughout the essay, the
reputation of the industry before and
after the global financial crisis of October
2008 and the prospects for
Edinburgh in the future.
...
GC 1 2 3 4 5 6 7 8 9
Paragraph 4 [extract]
The architecture of banking is key to
Edinburgh’s reputation. Rae as cited by
Booker (1990) states ‘No doubt, there
are those who judge of a bank to a
certain extent by its externals. A large
and costly building is an assurance to
some minds of corresponding wealth
and stability within.’ Rae illustrates
the importance of image and prestige
to financial institutions in supporting
business. In a local geographic context,
Bank of Scotland and RBS are the
predominant banks. The Mound
building for Bank of Scotland dates
back to 1802 in a Palladian style by
Chrichton and Reid. The style derives
from Ancient Greece and Rome, based
on symmetry and the architecture of
temples, exhibiting the self-importance
of Bank of Scotland. However, the
Mound has become a symbol of the
vulnerability of Capitalism, with the
bank now partially publicly owned and
privately owned by Lloyds Banking
Group. In 1825, the royal bank took over
Sir William Chamber’s Dundas House
mansion on St Andrew Square. Martin
(2012) describes RBS’ headquarters as
‘.. a temple to the Scottish bankers, to
10 11
their values, ethics and achievements’
provoking geographical importance
and perceptions of Edinburgh as a
reputable, conservative location to trust
with banking. The architecture of it is
so important to banking that it remains
present on a twenty pounds banknote.
Despite RBS moving headquarters to
outside of the city centre, presence
and publicity remains important with
sponsorship deals.The strong presence
of financial services in Edinburgh’s urban
makes it important and affects residents
everyday subconsciously through
authoritative architecture and services
they use or events they attend.
...
Conclusion
The financial services industry in Above:
Edinburgh remains very important and The Mound at night
has a large impact on the affluence,
reputation and image of the city. Whether
the city will be able to compete in the
fierce world of finance forever more is Key Reading:
uncertain, but if the professional and
inventive people of Edinburgh think like Booker, J. (1990) Temples of Mammon- The Architecture of Banking, Edinburgh:
Edinburgh University Press. p.vii-69
their predecessors, who fabricated the Hall, S. (2013) ‘Chapter 25: Money and Finance’ in Cloke, P., Crang, P. and Goodwin, M.
financial sector, then the city will resist (eds) Introducing Human Geographies (3rd Edition), London: Routledge, p. 369-377.
world conditions and continue to thrive.
46
Human Geography
[GEGR08007]
Take-home Exam
Question 3: Drawing on scholarship by James
Ferguson and Arturo Escobar, discuss how
development discourse creates the conditions for
development interventions.
Introduction
The development discourse has deep rooted past
from European Colonialism and its vast exploitative
economic history. In this essay I will discuss
how such discourse came about, development
intervention strategy in the conditions of discourse
and the effects that this has on the world.
...
Paragraph 3 [extract]
Development interventions such as the IMF and
World Bank have been shaped by the development
discourse conditions and capitalist neoliberal
ideology which drive intervention in ELDC’s.
Neoliberal ideology believes in open markets and
accumulation of profit but fails to acknowledge
historical and economical histories of ELDC’s. The
Capitalist nature of the West and intervention
strategy is contradictory in trying to create a solution
to poverty that it creates through globalisation and
extraction of profit by multinational corporations.
Events such as the debt crisis in early 1980’s
forced ELDC’s to accept Structural Adjustment
Policies which imposed austerity on people already
GC 1 2 3 4 5 6 7 8 9 10 11
struggling. In the authoritative manner of the
discourse’s condition, the IMF, World Bank and the
West explicitly believed they knew what was best for
ELDC’s. The imposing measures to help them out of
crisis were regarded as beneficial, despite the crisis
erupting from irresponsible lending from banks in
MEDC’s and lack of political structure in ELDC’s. The
IMF and World Bank are, to a degree, neocolonial in
maintaining superiority over ELDC’s. Intervention
by Non-governmental Organisations has also been
created by the conditions of development discourse.
NGO’s generally have a more gentle approach than
monetary organisations with the ethos of self
help. However, NGO’s rely on donors who donate
charitably to development they see as necessary
through influences such as media and often
negative stereotypical representations of ELDC’s.
This consequently results in funds being misused
with skewed priorities and failure to deal with wider
economic issues.
...
Conclusion
The development discourse has created
complex conditions for development intervention
from institutions such as the IMF and NGO’s.
Intervention is influenced by history and has
affected the world greatly. We need to question
discourse and its conditions by asking who
‘development’ really benefits.
Question 7: Outline Marx and Engels’ critique of
capitalism and assess its contemporary
relevance.
Introduction
Karl Marx and Frederick Engels are the German
philosophers behind ‘The Communist Manifesto’
(1848) which provided a deeply influential, historical
change in the discussion of capitalism and sought
to inspire an alternative. In this essay I will briefly
define capital-ism, discuss Marx and Engels’ critique
of capitalism with mention of their ideology and go
on to discuss how the manifesto remains relevant
today.
...
Paragraph 4 [extract]
Capitalist economics is critiqued by Marx and Engels
as immoral towards fellow humans. In contemporary
times this remains the same as stated the Inter-
national Labour Office in 1996 ‘the world has
become a huge bazaar with nations ped-dling their
workforces in competition against one another,
offering the lowest price for do-ing business’
(international labour office 1996). Divide and rule
politics play in to this however and the bourgeoisie
have ultimate control and have forced the proletariat
to fo-cus on one another competitively with internal
disputes in unions and political parties.
Paragraph 5 [extract]
Another critique but also Marx and Engels’ solution
to capitalism is the inevitable class conflict between
the proletariat and the bourgeoisie. Conflict creates
unrest in eve-ryday life, general hardship and was
the basis for many uprisings in the 20th century.
However, Marx and Engels envisaged that rapid
urbanisation and collective proletariat peoples
coming together would force resistance and an
overhaul of the system. Exploi-tation and lack of
security for workers will push them to organise and
take control Marxist theory states with strategy such
as withdrawal of labour key to changing the financial
system.
...
Conclusion
Marx and Engels’ critique of capitalism
remains relevant with likenesses to globalisation
and the continuation of world inequality and poverty
despite the way in which Marxism is interpreted
differently today. The legacy and goals of Marx
and Engels is likely to stick until some sort of
revolutionary action is achieved.
47
Architectural Design: Any Place
[ARCH08006]

Learning Outcomes Course Description

Any Place was my favourite project so far whilst studying at

Edinburgh. We started out the semester by creating explorative
models in which were influenced by a variety of things such as
reading. We built upon what we had done in semester 1 to create
work for an exhibition of hundreds of student models. This helped
in the later design phases.
For the main design brief, we travelled to Rome where we were
to design a library. This was an extremely exciting time to see
some fantastic architecture that we had learned about on the
Architectural History courses and to soak up the local culture.
Through the vibrancy of the neighbourhood my site was in, and
the lack of children’s facilities, I created a children’s library.
I responded adequately to non-local urban conditions and
developed a workable spatial strategy through parti and diagrams.
LO 1.
Demonstrate ability to develop
architectural designs that
appropriately respond to specified
non-local conditions and that
integrate an explicit investigation
through research.
LO 2.
Demonstrate capacity to synthesize a
range of programmatic components,
formal, spatial and technical
strategies of modest complexity
within an architectural design
that responds to specified urban
conditions.
This course is thematically focused on circumstances and
conditions beyond the local. It moves away from ideas of
locality to consider issues of foreignness and distance. This
thematic focus is supplemented by a broader interest in the
city as a condition for architecture. Students investigate a
range of everyday practices that constitute the experiences
of the contemporary city.
Working through a series of studio exercises, students
explore these themes in architectural terms. These exercises
also support the development of skills in the manipulation
of form, volume and built fabric. They do so in the context of
ideas of creative agency and design inquiry within broader
frameworks of accountability and consequence.

LO 3.
Demonstrate ability to critically
explore and effectively communicate
design ideas and propositions
individually and as part of a team, in a
range of digital and analogue formats,
including portfolio.

GC 1 2 3 4 5 6 7 8 9 10 11 48
Architectural Design: Any Place
[ARCH08006]

Week 1-4: Exploration Models

I experimented with a variety of scales and modes of representation with this
explorative first four weeks of the semester. From these models, I was able to
generate drawings from them which would help aide me further on in the design
process. This was a thoroughly enjoyable tasks and a new challenge.

Both top right:

Week 2: random shapes
amidst heavy material
which I then cut up to
create sections from
Both bottom right:
Week 4: experimenting
with light and creating
physical spaces and
experiences

Left:
Week 1: creating a space for reading
Below:
Week 3: creating forms from reading
material

GC 1 2 3 4 5 6 7 8 9 10 11 49
Architectural Design: Any Place
[ARCH08006]

Development
Rome was the site of our library project. To inspire my designs, I took forms
and cues from the initial stage of the semester when we were model making.
Alongside this, I looked at the existing conditions of Plaza San Cosimato in
Trastevere where my building would be. I wanted to create an open architecture
that can be fun and easily interacted with. I devised a central core building.

Above:
Sketch of one of the Rome sites
Below:
Plaza San Cosimato, Trastevere

Above left: Above right:

Initial interior sketches Initial zoning and elevation sketches
for children’s library showing relationship with the plaza

GC 1 2 3 4 5 6 7 8 9 10 11 50
Architectural Design: Any Place
[ARCH08006]
Trastevere Children’s Library
The design of my children’s library incorporates
the community as well as the children across
the building. The public uses and spaces within
the library create a bustle and liveliness around
Piazza di Cosimato and make the library
a destination and central feature for the
residents of Trastevere.
The building features a heavy, central core
which acts as an axis in which the entire
building is aligned. The form of this central core
accentuates the shape of the piazza and is
a key organisational feature that helps the
building relate to it’s environment.
GC 1 2 3 4 5 6 7 8 9 10
The aim of the design was to create a fun,
recognisable space for children with evocative
spacial shapes which they can enjoy. The
library features 3 seperate ‘zones’ for different
age groups, a key element in the design. The
seperate age groups are important in childrens’
libraries due to the fast rate of development
from birth to over 10 years old. The library also
features communal areas, such as the heart of
the building, the ‘main play space (2)’ and the
feature stairs and slide (7) which everyone can
use.
Left:
Main stage and play
area collage
Right:
Library floor plan
11 51
Architectural Design: Any Place
[ARCH08006]

Trastevere Children’s Library

Right:
1:50 section showing market
space and interior of childrens
library

Above:
1:200 West sectiom
Below:
Below:
East elevation
West elevation

GC 1 2 3 4 5 6 7 8 9 10 11 52
Architectural Design: Any Place
[ARCH08006]

Final Building Visuals

Left:
Main stage and play area space
Both right:
Main library space with slide and view
over the plaza

GC 1 2 3 4 5 6 7 8 9 10 11 53
Architectural Design: Any Place
[ARCH08006]

Pecha Kucha + Precedents

As part of the course, we were required to give a pecha kucha talk on a variety
of precedents. I looked at Turku City Library in Finland and Maranello Library in
Italy. The pages on this page are exerts from the final zine I made for the final
exhibition.

Above: Above:
Pecha Kucha - Turku City Library + Zine pages of precedents
Maranello City Library

GC 1 2 3 4 5 6 7 8 9 10 11 54
Technology and Environment: 2B Building Fabric
[ARCH08027]
Technology and Environment: 2B Building Fabric was the most
enjoyable technology course so far. It was my first architectural
experience that properly dealt with an older, ruined structure like
Direlton Castle. We had much more freedom to make a useful
intervention than previously.
The first assignment was to design an easily dismantleable,
low-impact walkway structure and viewing deck to help users
and visitors appreciate the historic site. The second assignment
was to design an indoor pavillion on top of existing ruins. We
chose to design a space for educational purposes that would be
a continuation of the route already defined by the walkway in the
first assignment. It was a unique challenge to continue the same
design tectonic onwards.
GC 1 2 3 4 5 6 7 8 9 10 11
Learning Outcomes
LO 1.
Apply the mechanisms of design of
structures that address increasingly
complex interactions between forms,
human use and the environment of a
site, in terms of imposed actions and
the impact of the chosen material.
LO 2.
Demonstrate an understanding of
the process of choice and assembly
of material systems in the design
of buildings to provide internal
conditions of comfort and its
aesthetic expression.
LO 3.
Communicate an understanding
of the range of applications of the
principles of assembly and structural
performance with regards to the main
material systems (masonry, timber,
steel and concrete) in the design of
medium-sized buildings.
Course Description
The course explores the applications of the principles
of structural analysis and design, and also construction
technology, implemented in the first year technology and
design courses. Moving up the degree of complexity in design,
structural stability and serviceability is examined as a result
of a wider range of actions.
The process of dimensioning structural elements is
scrutinised to provide insight to the rationality involved.
Discussion of the design of these elements and their
expression in structural forms classified broadly as linear
and cellular addresses the majority of medium-sized
construction and covers collectively the main material
systems (timber, steel, concrete, masonry), highlighting their
relevance to architectural design.
This is further explored in their tectonic expression in
processes of material system choice, architectural synthesis
and assembly, actually the essence of how a building
communicates its qualities to its users.
55
Technology and Environment: 2B Building Fabric
[ARCH08027]
Restoring Direlton Castle
In our design, we have aimed to offer the best
possible viewing points with a new walkway
that will terminate in a new multi-purpose
meeting, educational theatre space.
The walkway begins to the west of the castle,
directly adjacent to the castle wall and climing
to a height of 2.5m to enter the Great Hall
space. We have removed the existing staircase,
replaced by a series of ramps, to offer a gradual
ascend and descend to make the visitor
appreciate the castle at
a slower pace. The walkway then routes back
upon itself on the opposite side of the wall,
climbing 2.5m again to offer a viewing platform.
Here, views back out upon the grass and the full
extent of the Great Hall can be seen. Finally, the
GC 1 2 3 4 5 6 7 8 9 10
route curves around the back of the hall, which
steps up by 1m. The walkway descends by
1.5m in to the new multi-purpose space, which
we intend to enclose, providing connectivity
between the entire project.
We have consciously designed our walkway
to be sympathetic to the historic environment
whilst aiming to provide an intervention that
betters the experience. We have chosen
connections that make the walkway as low tech
as possible and able to be removed without too
much damage to the stonework.
Work completed along with: Noah Judge, Mia
Aleksic and Luke Oldaker
Above:
3D model of the proposed
walkway
All left:
Mock-up drawings of what the
walkway would look like on the
ruinous castle
11 56
Technology and Environment: 2B Building Fabric
[ARCH08027]

Top left:
Ramp junction
Top right:
Balustrade detail meeting the
floor deck
Bottom left:
Steel floor supports detail

Above:
Calculations for the walkway
Left:
Column to ground detail for
easy dismantlement

GC 1 2 3 4 5 6 7 8 9 10 11 57
Technology and Environment: 2B Building Fabric
[ARCH08027]
Pavillion Design
Our walkway and viewing platform sought
to explore the material history of Dirleton by
following the ruinous topography of the castle
with a gentle sloping ramp that takes one on a
journey through the Main Hall to the North end.
Our pavilion adopts the same approach, evoking
the history of the North end not by attempting
to recreate the precise form of it (we would have
had little success in this regard) but by sitting
as lightly on it as possible, allowing the stone
itself to breath upwards into the volume. A
pitched roof floats above the Pavilion, following
Above:
Walkway and pavillion integrated design
GC 1 2 3 4 5 6 7 8 9
the slope of our ramp and cantilevering over
the walls to ensure excess rain is directed away
from the junction of the timber and stone. It
also enhances the sense of lightness and
separation of the pavilion from the ruins,
and dictates the form and organization of
the double height space, which holds tiered
seating for educational events, film and theatre
screenings, historical reenactments and more.
Work completed along with: Noah Judge and
Mia Aleksic
Above:
Pavillion section
Left:
Rain chain water management
strategy detail
10 11 58
Technology and Environment: 2B Building Fabric
[ARCH08027]

Pavillion Design
We chose Scotch Larch as our material for the
cladding as its warmth and lightness provide a
dynamic dialogue with the colder, harder stone,
stitching together past and present. Our timber
structure, which is a continuation of the
walkway’s, is pulled back from the envelope,
leaving the columns and rafters exposed. The
envelope sits flush on the stone wall, using
mortar lining and timber slats to build up from
the jagged ruins to a flat horizontal surface. A
gutter is hidden in the timber slats. Our warm
roof allows the rafters to be exposed and the
timber frame uses a Howe Truss system to
support it. The walls and roof are ventilated to
prevent dampness, and windows at either
end can slide open to allow ventilation through
the whole of the building (the glazing itself
follows the slope of our ramp). A gutter on the
roof takes rain water to a rain chain that, in
turn, directs the water to the grass beneath.
The rain chain allows us to retain the lightness
of the floating roof much better than a gutter
would.

Above:
Roof to column
detail
Left:
Axonometric of
different material
build up

Above:
Window meets wall detail
Left:
Roof to wall detail

GC 1 2 3 4 5 6 7 8 9 10 11 59
Architectural History: Culture + the City
[ARHI08007]
Architectural History: Culture + the City was an invaluable
course as part of my undergraduate education. It widened
my understanding of the discpline further than just facts and
figures to a wider social context in which we exist. Through the
presentation, essay and final exam assessment, I was able to grow
my knowledge base.
I looked at the major architectural, social and structural factors
that have initiated innovation in the design of shops in my essay
and at Richard Rogers’ Madrid Barajas Terminal 4 for the class
presentation. I looked at a variety of social issues affecting urban
dwellers in history as well as in recent times.
GC 1 2 3 4 5 6 7 8 9 10 11
Learning Outcomes
LO 1.
Demonstrate knowledge and
understanding of connections
between architecture and social,
economic and political circumstances
within which it is located - tested by
the Essay.
LO 2.
Demonstrate the ability to evaluate
urban phenomena in social contexts
- tested by the Exam at the end of
semester.
LO 3.
Research, analyse and present in
written and report form themes
appropriate to the course content -
tested by the Tutorial Presentation.
Course Description
The course looks at the notion of the City as the exemplary
setting of our social condition. Whilst the city is understood
to embody organising principles and to be constituted
according to the commands of political thought, the course
concentrates upon the city conceived also otherwise. It is the
scene of self-conscious community and is our monument
to shared memory. If the essential act of the city, politically
conceived, is one of walling or penning, the city conceived
socially is a scene of processing and gathering- together. The
architecture and city planning of accord is the subject of the
course. The lecture programme falls into two parts, the first
dealing with our acts of pilgrimage and congregation for the
purposes of religion, entertainment and improvement. The
second part deals with our celebration in architecture of what
we share metaphysically social memory and the memorial.
60
Architectural History: Culture + the City
[ARHI08007]
Essay
Question 6: What are the major
architectural, social and structural
factors that have initiated innovation in
the design of shops? Your answer should
refer to examples from the eighteenth
century to the present day.
Introduction
There are many socioeconomic,
structural and architectural design
factors that have contributed to the
innovation in design of shops, particularly
from the eighteenth century onwards.
The concepts of retail and consumerist
society are relatively modern. This essay
will discuss the stages of development
of shops from the earliest form to
contemporary mass market retailing.
I shall look at social and economic
factors, primarily in France and the
United Kingdom, such as the Industrial
Revolution and Colonialism through to
both World Wars and the postwar period.
This essay will discuss the ways in which
advancements in technology benefitted
the design of shops and will also look at
the Bon Marché, Paris as a case study
which is described as a ‘monument
to bourgeois culture’ and the rise of
consumption.
GC 1 2 3 4 5 6 7 8 9
Paragraph 2 [extract]
The beginnings of designated retail space
lies in eighteenth century France with the
majority of trade previously conducted
at outdoor markets and fairs. In 1715,
Philippe II Duke D’Orleans constructed
the first boutiques at the Palais Royal in
Paris, providing sheltered arcades in
which society’s bourgeois could partake
in trading in relative comfort compared
to previously. The popularity of such a
shopping format led to the later creation
of ‘galeries’ and ‘passages’ or indoor
arcades such as the ‘Passage du Caire’
of 1798-99 which reflected the fashions
and trends of the French Empire and its
self identification as a great civilisation
like Ancient Egypt. The passage, with
visible exoticism in the motifs, reflected
the French society of the time and the
rising distinction of a class system. The
enclosure of retail units in a controlled
environment was born from the
requirement to control the clientele and
to protect exclusivity and security of the
retailers within. The added comfort of a
passageway covered with a glass roof
was appealing and improved the
upper-middle class consumer’s
experience of shopping. However the
10 11
arcades remained strictly organised due
to the strict guild system which forced
retailers to be located by type rather than
social or economic order until the French
Revolution.The Guild system put a
stranglehold on the freedom of trade and
entrepreneurship in France with tight
regulations on craftsmanship. The
system was arguably unfair and offered
certain trades privileges over others until
trade liberalisation post revolution.4
...
Conclusion
The innovation in the design of shops
has been deeply influenced by major
architectural, social and structural
factors since the eighteenth century.
From the beginnings in France, to the
current day liberated consumerist society Above:
of the twenty-first century, the innovation Passage du Caire, Paris, France
in the design of shops has reflected or
reacted to the societies in which they
reside. Consumerism is ever dominant
over the lives of the majority of the Key Reading:
world’s population and therefore the
design of shops is arguably one of the Brewer, J. and Porter, R. (1993). Consumption and the world of goods. Oxfordshire.:
Routeledge. p. 1-94
most important architectural elements Miller, M. (1981). The Bon Marché. Princeton, N.J.: Princeton University Press. p. 1-169
in the functioning of contemporary Wit, L. and Vernet, D. (2007). Boutiques and other retail spaces. New York: Routledge.
mankind.
61
Architectural History: Culture + the City
[ARHI08007]

Presentation

GC 1 2 3 4 5 6 7 8 9 10 11 62
Year 3
Semester 1
Projects V
Urban Design I
Living Madrid [in Spanish]

Semester 2
Projects IV
Urban Design II
Graphic Design [in Spanish]
Expressive Art [in Spanish]
Journalistic Writing

Erasmus
Universidad San Pablo CEU
Madrid, Spain
Erasmus
Universidad San Pablo CEU
Madrid, Spain

Moving to study on exchange in Madrid was an

extremely exciting time for my personal and academic
development. I was able to learn some new skills
outside of architecture or related to architecture
including a language I have never learned before.

I now have the experience of moving to another

country to live and seek to do this again in my career.
I will continue at Master’s level in Urbanism abroad
thanks to this experience.

The experience wasn’t without difficulties though,

and adapting to the different culture and being away
from home was tough. We were required to organise
our timetables ourselves at CEU and had more
courses than normal at Edinburgh. It was a challenge
to balance this different workload. In the second
semester I was able to really handle this with much
more ease to make the most of the experience.

All of the courses in Spain are without learning

outcomes or grading criteria. I have self-assessed
following the RIBA criteria throughout and aimed
to describe the courses as accurately as possible
however the work and development is evident. I have
introduced each project at the beginning of every
course.

Above:
Gran Via, Madrid

64
Projects V

Projects V was an tough course for me to complete. It demanded

a fair amount of work whilst trying to get to grips of my new life
in Spain. This meant that I was unable to submit properly in
December and instead completed a five-hour design exam in June.

The project was to transform Teatro Albeniz and Hotel Madrid in to

a new civic space under the theme of programmatic obsolesence.
The aim was to let nature take over the architecture in such a
crowded part of Madrid. The initial stage was group work with the
entire studio followed by individual research and initial design
proposals.

All:
Historical images from the Teatro Albeniz,
Madrid, Spain

GC 1 2 3 4 5 6 7 8 9 10 11 65
Projects V

Site Research
We identified some of the problems with
Madrid’s environmental characteristics so that
it would be possible to formulate a proposal to
relieve the urban area from these concerns.
The site is in a condensed urban zone with
a variety of heavily paved public spaces and
pollution. It is around a great deal of textile
shops and the underground system goes
directly underneath the theatre and hotel. The
different climatic conditions of Madrid were
challenging when thinking about strategies. It
was the first time I had worked on a project in
such a dense urban condition.

Top right:
Section and location of
the site
Bottom right:
Photographs of the
adjacent environment

Above: Above:
Madrid infographics Site history

GC 1 2 3 4 5 6 7 8 9 10 11 66
Projects V
Bathing Typology Research
Madrid’s distinct lack of public bathing
pools in the city proper as well as scorching
temperatures in the summer pushed me to
turkish baths
Roman Thermae or hot baths are where
many of our modern bathing traditions
as well as the Hammam or Turkish steam
bath find their origins. The Hammam is
probably the oldest surviving bath tradition
in the world. Its popularity has not faded
over time. On the contrary. This ancient
steam bath ritual has gained popularity.
HISTORY
Constantinople was ruled by the Romans until
taround 1450 the Ottomans conquered the city.
The Turk Ottomans brought with them their own
bathing traditions but encountered the Roman
bath habits. They merged these with their own.
And thus evolved a whole new cleansing ritual
conform the requirements and rules of Islamic
religion. The Turks called it Hammam, spreader of
warmth.
A WOMAN’S ESCAPE
At first the Hammam was strictly for men. Later
women who had been ill or who had given birth
were also allowed to visit the Hammam, but
obviously never at the same hours. Over time all
women were allowed to visit the Hammam. This
could have been influenced by Mohammed who
had voiced that the warmth of the baths would
enhance fertility. On a social level many women
GC 1 2 3 4 5
researching bathing culture and how something
like that could be exectuted in a European city.
I looked at a large amount of precedents.
considered it their daily escape from being isolated
at home. A remarkable fact is that at some point
in time a woman had legitimate reason to file for
divorce if her husband prohibited her to visit the
Hammam.
Camekan
To start with, you enter the often impressive
entrance hall, called the camekan or the warm
room. Its function can be best compared to the
locker room in a swimming pool. This is where
you undress and get ready for the Hammam
experience. Some Hammams have private
wooden cubicles for a little more privacy. You will
also receive a peştemal which is a special thin cloth
to cover your body, and nalın, wooden slippers.
Hararet
Then the tellak or masseur will escort you to the
main hot room or hararet. This room typically has
a dome with small windows to create half-light.
The göbek taşı, or belly stone, is a raised platform
built entirely from marble. The marble is warm and
the room is hot and steamy. The tellak will tell you
to lie down on the belly stone. You will soon start
sweating and the pores of your skin will open up
in anticipation of the great cleanse. After a while
the tellak will come in and massage and wash you
vigorously with a traditional soap with olive paste
and often a thin cloth. The suds and dead skin cells
are washed away with bowls of clean water.
left: much-loved turkish baths have ori-
gins from Roman innovations. bath ro-
man baths is one of europe’s best kept ru-
ins that show a perfect example of roman
bathing. the site is now only used as a mu-
seum due to the water being unsafe because
of supply coming from lead ppes
6 7 8 9 10 11
Sentō
Sento are a fading tradition but still dotted
throughout Japanese suburbs, and even
central Tokyo has a few ornate temple-like baths
left. The rise of having bathing facilities at home
has led to the decline in provision for sento.
Men and women bathe separately however
銭湯
often sento are divided only by large free
standing walls in a basic, cost effective set up.
after entering, there is a changing room in which
to strip and prepare to enter the cleansing zone.
Users then preceed to use lined up faucets to
clean and remove remenants of the outdoors
from themselves.
Some Japanese find social importance in going
to public baths, out of the theory that physical
proximity/intimacy brings emotional intimacy,
which is termed skinship in pseudo-English Jap-
anese. (Skinship. The term “skinship”originated
as a pseudo-English Japanese word (wasei-ei-
go), which was coined to describe the intimacy,
James o’ jenkins photography series: Sentō
top right: man uses lockers and brushes teeth to pre-
or closeness, between a mother and a child). pare to enter
right: 3 older men relax side by side in the most modest
manner
below: Child plays in empty Sentō baths with retro background. bottom left: personal washing faucets allow users to
completely cleanse before and after
bottom right: the utilitarian baths provide
opportunity for complete relaxation as people use
the space comfortably and at peace
Top left: turkish bath traditional
top right: Turkish bath at arling-
ton bath club, glasgow
Bottom: janine shroff turkish
bath
Left:
Images and text on
Turkish bath research
Top right:
Images and text on
Japanese sento baths
research
67
Projects V

Processes Research
Part of the brief of Projects V was to develop an the City’ to inspire me about ways to create
environental strategy and process of reclamtion important and new civic typologies. I proposed
of the land. I read Bruno Taut’s ‘The Crown of a process of reclamation.

01 process of reclamation 02 water data

SECURE THE SITE
STRUCTURALLY
> Allow contractors to work on basic
structural work to make sure that
Teatro Albeniz and Hotel Madrid are
safe for habitation
> Secure foundations and other
elements to enable further work to
begin in the future
> Install basic facilities for community
to be able to inhabit
LET GROUPS OCCUPY WHILST LOBBY CITY GOVERNMENT
WORK CONTINUES FOR FUNDING AVERAGE RAINFALL IN MADRID ON AVERAGE, MADRID RECIEVES CATCHMENT AREA Public bathing facilities are likely to
consume vasts amounts of water.
> Begin occupation of the ground floor of > By taking community ownership of the
63 OUT OF 365 DAYS > length (m) x width (m) = catchment area
Coinciding with a regular need for
irrigation (60% of water usage in Spain
Teatro Albeniz and Hotel Madrid Teatro Albeniz and Hotel Madrid, the
community can begin to work towards proving > JANUARY 40mm 9 days PER YEAR OF PRECIPITATION domestically and agriculturally),
> Use scaffholding as a tool to temporarily the need for community space in Centro > FEBRUARY 40mm 7 days net. runoff solutions such as using roof tops of
neighbouring structures may be
designate spaces and let activity take place > catchment area (m²) x annual rainfall (mm)
in-between > After initial interventions, the community > MARCH 30mm 8 days > July and August are the driest months in
Madrid, whereas April and November are the x run-off co-efficient = net. runoff
needed. Due to Madrid’s climate, it is
unlikely water needs will be always
can look to the city government and even
> Secure space within Teatro Albeniz as a base private partnerships to get higher levels of > APRIL 50mm 10 days wettest. People will be more inclined to use a
(run-off co-efficient 80% for a conservative
met.
bathing facility, particularly outdoor areas,
for the community to get active in transform-
ing the site
funding > MAY 40mm 11 days during drier times of the year. However estimate) Filtration systems that can reuse the
> JUNE 30mm 6 days sustainable supply depends on the wettest
periods to be of any value. > 5700m² x 436mm x 0.80 = 1,988,260 (l) per year
water that has been used will be the
best way to maximise resources and
> JULY 10mm 3 days based on the Teatro Albeniz being fully
covered
minimise reliance on the grid. Water
> Madrid lies in the continental zone of spain masses such as an olympic sized
> AUGUST 10mm 3 days with under 436mm a year of precipitation on swimming pool (1250m²) don’t require
2/3 catchment area = 1,312,251 (l) per year
> SEPTEMBER 20mm 6 days average. This low rainfall makes outdoor
activity perfect but hard to supply. Systems
constant changes in water, simply
cleansing and filtration.

MEANTIME ASPIRATIONS BEGIN TO MAKE FUNDEMENTAL > OCTOBER 40mm 10 days that can reuse the same water are desirable.

ACHIEVED DESIGN CHANGES > NOVEMBER 50mm 9 days

> DECEMBER 50mm 10 days
> The current civic ecology community goal is > After more substantial funding flows, larger
achieved and the building fulfills its intended scale changes to Teatro Albeniz, Hotel Madrid > Westland Magic Garden [2012]
purpose and Plaza de Pontejos can begin Chelsea [UK], Diarmuid Gavin

> Achievement of a civic ecology process and > Materials no longer required can be reused
base is not static however as new issues and

ogy
for creation of new functions such as bathing
aspirations will crop up and change the Teatro facilities

co l Albeniz, Hotel Madrid and Plaza de Pontejos

e > The building can expand and spread

ivic
> The site will suffer various societal changes influence in the Centro neighbourhood of
and cultural shifts over time and may fall to
c disrepair in its primary function as a place for
bathing, however new civic ecology goals will
Madrid through effective design

> With flexibility and ability to move some

be evolved functions around, the community can keep
steering the future of the site even after 1 Olympic sized 1 five minute shower 1 sixty minute irrigation
external architectural intervention swimming pool requires 45 litres of cycle for each nozzle
requires 2,500,000 water requires 456 litres of
> Ability to adapt over time as the city changes litres of water water
and new issues are faced by the population (7.6l/minute)

5700m² approx.

GC 1 2 3 4 5 6 7 8 9 10 11 68
Projects V

Processes Research
I researched in to how water systems could them to be visually dominant in the design of
be designed specifically for my project and my building and to integrate natural elements.
influence the programmatic layout. I wanted The water could help for strategic planting.

03 WATER SYSTEMS 04 natural bathing pools

3 Transfer System
> Natural swimming
> Water systems will be a key piece of infrastructure at
1 Dry System
SUSTAINABLE pool by Clear Water
Revival, Bristol [UK]
Teatro Albeniz, Hotel Madrid and Plaza de Pontejos as
they offer the opportunity to make the building water overhead bathing
self-sufficient. As well as being a practical element, the
exposure of pipes and rotational elements can and underneath > The architectural blurring of garden and wet
architecturally add to the beauty of the building by
giving users a transparent cycle of how the water they
> Straight from collection
to tank.
space is interesting and achievable through
the use of natural swimming pools/bathing
smart systems
are using is recieved. Water will be omnipresent in areas. Natural swimming pools are low tech
every element of the design, overhead and underneath. and more environmentally friendly. > Pools and bathing areas can be remotely monitored from a
> Water is transfered centralised area to deal with occasions where flow rates are
through use of a pump to > Use of gravel, clay and potentially recycled reduced or pumps are malfunctioning.
2 Wet System locations much further
away.
material instead of concrete to form the
surroundings of the bathing areas. > Pumps can be low energy with a lower turnover rate
without need for chemicals.

FILTRATION > Water collected at a

water
BIO-FILTRATION 3 STAGE FILTRATION > By monitoring the bathing areas remotely, there is no need
lower level and overflows
up to the tank for use. > Aquatic plants can be used instead of > From the pool (1) water is drawn into the pump > The skimmer circulation system is designed to keep for constant checks by on-site staff that the water level is
collection chlorine to provide natural purification of the
water.
through a duct or a connection fitted to the wall of the
pool (4). On the pressure side the water flows through a
the surface of the water clean and to supply water to
features such as waterfalls or and streams (8). A
safe and that the balance is correct. Wifi signal and sensors
can feed back information.
systems > Plants can provide oxygen and a habitat for
multi-staged biofilter (5) If plants are desired it then
flows back to the pool via a diffuser (7) in the base of a
mechanical pressure filter can be incorporated into the
skimmer system when necessary. > [Turnover is the amount of time the entire volume takes to
aquatic eco-systems which can help cleanse planted filter (2). pass through the filtration system]
the pool.
> The biofilter contains tested filter granules and other [VOLUME/FLOW RATE [l/min]] / TURNOVER RATE
visibility > Small fish and native shrimps can be used to
eat mosquito lavae and unwanted insects in a
unique substrates which aid the development of
microbiology important to the cleaning process, and 1 Swim zone 2 Planted filter zone if desired 3 Skimmer 4
bathing pool. help balance the pool chemistry e.g. pH and alkalinity. Suction Fitting 5 Pump & biofilter assembly 6 Biofilter
> By connecting every element return line 7 Diffuser 8 Water Feature 9 Waste line 10 Filter
STORAGE through a series of pipes that in
places water can be seen freely
> Max. temperature 30 degrees celcius. > Following filtration the water arrives either directly return
back into the pool or via an interim chamber.
moving, the amount of water
consumption can be appreciated
to make users aware.

> Visibly enabling water to flow

freely from its place of use to
place of filtering for reuse will be
a key design feature as illustrated
in the quick sketch of shower
facilities/

PUMPS

GC 1 2 3 4 5 6 7 8 9 10 11 69
Projects V

Processes Research
As well as bathing pools, as part of the garden. My proposal intends to soften the harsh
programme I proposed a variety of green urban landscape and to offer a sanctuary in the
strategies to make the environment in to a city city.

05 AQUATIC PLANTING 06 VERTICAL PLANTING

Green walls are a contributory factor to the
> SUBMERGED > floating > shallow > waterside creation of an eco-system, especially in an
urban setting where space is limited. Green
[oxygenate] marginal walls can act as habitats for insects as well
as helping to improve urban air quality.
Green walls can add extra insulation to a
building whilst helping bring down noise
pollution. Volumes can be kept cooler as
green walls will not store the sun’s energy > SOUTH / WEST
like traditional walls. Plants on walls can also
deflect water away from walls during heavy
rain, protecting the intergrity of the
FACING PLANTS
structure and erosion.

> DIRECT GREENING

> BROOKLIME
[veronica beccabunga] > Most simple method of vertical
> RED HYGROPHILIA > LILY PADS
[hygrophilia sp.] [nymphaeaceae] > VAR. WATER CELERY > GIANT COWSLIP > WATER MINT planting
> Herbal plant
[oenanthe javanica] [primula florindae] [mentha aquatica]
> Can help clear nutrients
> ANACHARIS
> Produces long leaves and
branches out to provide
> Flowering plant
> Promotes pollinating insects such > Provides food for wildlife > Delicately scented > Grows on damp areas
from a pond whilst
providing surface cover for
> Self-attaching climber plats use the
facade as support to grow up and
> LIVING WALL
[egenia densa] variation as bees to help improve the and promotes bio-diversity > BLUE PICKERELWEED > Decorative side planting > Helps to control erosion vertibrates > Planter box style in an engineered > CALIFORNIA LILAC > BASTARD SENNA
> Grows well in shallow bog ecosystem [pontederia cortada] > Attracts pollinators and areas prone to erosion around [coronilla senna ‘citrina’]
> Submerged in shallow > Spreads across the water solution [ceanothus]
> Competes with Algae for zones > Good in temperate environments water > Adds fragrance to the surface
nutrients > Good for small fish > Self-sustaining polination > Thrives in the sunshine water edge > Helps tackle algae and > Various climbers are possible in sun
> Fern-like leaves strategy and in partial shade > Attracts pollinators and and shade such as wall shrubs and > Climber plants such as Japanese
allows tadpoles to thrive
Creeper can climb up the structure
> Shape that acts like a
filter for water > DEEP > Blue flowering
> Attracts pollinators
butterflies
> Useful to humans
> Attracts polinators and
butterflies
fruit trained trees
from the planter base > NORTH / EAST
> Shade and spawning > Has a leafy canopy
material for fish
MARGINAL FACING PLANTS

WATER
DEPTH
BOG > INDIRECT GREENING
50mm
> JUNGLE VAL > MARE’S TAIL > COMMON REED POND EDGE > Constructed with planter boxes
[vallisneria americana] [hippuris vulgaris] [phragmites] meaning plants have no need to climb

> Background planting > Covers large areas of > Provides height and prvacy when > A substructure can be built in to an
> Shallow water and
atmospheric
surface water
> Produces large amounts
fully grown
> Reaches a maximum height of 3.5m > POND PLANTING WATER LILLIES AND
existing structure or on top of it to
create this method of green wall
> Perfect shelter for fish of oxygen >Classic cleansing plant for natural SUBMERGED AQUATICS
and invertibrates > Remains green all year swimming pools and ponds
DEPTHS 330mm
> BOSTON IVY/JAPANESE > CHOCOLATE VINE
> The make up of green walls can be designed to create interesting CREEPER [akebia quinata]
DEEP WATER [Parthenocissus tricuspidata]
patterns and combinations that defines an architectural facade

GC 1 2 3 4 5 6 7 8 9 10 11 70
Projects V

Initial Proposal
I sought to create a city bathing place and
inner block garden in Madrid. I wished to use
the elements of rainwater collection and water
movement as key parts of the architectural
expression whilst using the existing building
but removing parts of the interior.
I wished for the architecture to retrain its
character as a theatre and the civic granduer
of the past but with a new, more fitting and
modern day function.
It was unfortunate to not be able to develop
the project further on this occasion but I felt
excited by all of these initial movements that an
enjoyable scheme could’ve been produced. This
course was a major learning block for me in my
education.

Above:
Ground floor plan
Left:
Fourth floor plan

Above:
Initial section of scheme

GC 1 2 3 4 5 6 7 8 9 10 11 71
Urban Design I

The Urban Design I course was one of the most exciting and
new experiences for me when on exchange in Madrid. This
course covered a great deal of subjects to do with quality of
living, environmental considerations, building density, aesthetic
requirements, sustainable cities and understanding the local
culture and building typologies.

The first stage of the semester was individual work to find a

site in Palomeras Bajas, Madrid, to conduct an urban density
and typology study. In the second half, we then developed
neighbourhood proposals for new schemes to improve the density,
accessibility and quality of living. I worked together with fellow
student Daniel Wood to form a proposal.

Above:
Impression of what the neighbourhood
design project could look like

GC 1 2 3 4 5 6 7 8 9 10 11 72
Urban Design I
Urban Density Study
Fragment Description
Palomeras Bajas fragment is an interesting and
diverse area. The area attracts a great deal of
pedestrian foot traffic and seems to have a thriving
community. On observation it seemed like there
was a strong sense of community in the dense
neighbourhood with children playing on the streets
and elderly people sitting around chatting.
Currently there are small scale building works and
improvements to infrastructure as part of the road
is cornered off. The general state of the roads and
pavements is fairly poor compared to Central Madrid
and the area is in much need of investment to make
it a more enjoyable place to congregate. Despite
being a central focal point, the main square of the
fragment is a road but feels like the natural space to
meet. This is problematic in creating friendly spaces
for residents.
On the street, there is a lack of furniture to sit down
on so many people resort to sitting on steps and
leaning against surfaces. Trees have been planted
recently it seems to soften the streetscape but it will
take time for them to take the harsh quality of brick
and concrete away from being the primary feature
GC 1 2 3 4 5 6 7 8 9 10 11
of the area. The area lacks any sort of green space,
however it should be noted that there is a park
across the main avenue. The fragment boasts a large
amount of variation in commercial premises from
office space to pharmacies and supermarkets.
Many of the residential blocks house commercial
premises on the ground level, particularly facing
the main thoroughfares. The housing stock on the
fragment are all apartments with just one dwelling
being one storey high and an individual house.
Pavements are wide however the majority of open
space is consumed by car parking which creates
an unplesant environment.
Urban Data
Gross residential area / Average dwelling size
= total number of residences on site
36,084.6m2 / 100m2
= 360.846
360.846 / 4.30 Ha
= 83.92 residences per Ha
Total volume: 331,627 m3
Top:
Urban plot data
Bottom:
Volumetric representation
of the neighbourhood
73
Urban Design I

Urban Density Study

Left:
Street widths and setbacks
Top:
Building plots

Right:
Neighbourhood and
building typologies

GC 1 2 3 4 5 6 7 8 9 10 11 74
Urban Design I

Neighbourhood Proposal
Palomeras Bajas, Madrid: Overview The scheme places an emphasis on active
travel and active street frontage. All dwellings
This was a neighbourhood proposal design receive the required daily sunlight throughout
project to transform a delapidated and low the year. There is significant creation of public
density neighbourhood block in the south realm linking with new culture and education
of Madrid in to a high density, mixed use buildings to service the greater population.
development. We transformed the site of
originally two storey housing in a to a variety
of blocks with commercial units to achieve a
housing density of 112.1375 dwellings per Ha.

Left:
Palomeras Bajas site
deliniation
Bottom:
Existing amenities

Above:
Neighbourhood design volumetric
model with zoning and traffic
movement

GC 1 2 3 4 5 6 7 8 9 10 11 75
Urban Design I
Urban Data

Neighbourhood Proposal
Palomeras Bajas, Madrid: Project Description

Our proposal for Palomeras Bajas provides a good balance

between creating an urban environment and offering ample
recreational space for the community who will inhabit it. Our
proposal presents a 76.3% increase in the housing density of the
fragment which adds pressure to cater for the new population. We
have decided to create a new central axis that links the existing
high school with a new primary school to the north. Along this
route, we have created a high street that offers essential
shops to ensure that residents never need to travel far for
necessities. A key consideration in our development has been
active travel and the safety of school children moving through
the residential area. We have designed the road network to be
a one way system with limited parking to promote walking and
cycling as quicker and easier methods of movement. Cyclists and
pedestrians command the highest proportion of space that links
to existing infrastructure in the most natural and efficient way
possible and enable easy transfer to the buses on Avenida de
Palomeras.

Above: Right:
Neighbourhood impressions Sun tests to ensure minimum
Left: sunlight during the winter
Volumetric model of
neighbourhood proposal

GC 1 2 3 4 5 6 7 8 9 10 11 76
Living Madrid
[in Spanish]

Living Madrid was an enjoyable course that aimed to help

international students integrate in to their new homes. Without
speaking a word of Spanish before arriving in Madrid, I found
that I needed to get out and make the most of living there so
that I could learn. We went on a variety of trips where we viewed
art and architecture whilst getting to know our classmates. This
contributed to a fantastic experience on Erasmus.

Top:
Royal Monastery of San Lorenzo de El Escorial
Left:
New friendships with classmates in San Sebastian,
Basque Country

GC 1 2 3 4 5 6 7 8 9 10 11 77
Living Madrid
[in Spanish]
Viviendo Madrid: Mi experiencia
Living Madrid: My experience
Viviendo en Madrid ha sido un momento
emocionante, con muchos nuevos
desafíos y oportunidades para explorar.
Venir a España y no hablar español ha
sido complicado, pero siempre estoy
tratando de mejorar y espero desarrollar
mis habilidades aún más en el nuevo
año. No hablar español ha hecho para
momentos muy graciosos y siempre
usando mis manos para describir cosas.
Viviendo Madrid ha sido muy
emocionante para mi y me ha ayudado
a explorar y acostumbrarme a la ciudad.
Mi viaje favorito fue Toledo. Toledo
fue una hermosa ciudad donde tres
antiquo religiones se unen (Judaismo,
Christianismo y Islam). Viajamos en
autobus desde Monteprincipe por la
mañana. Fue un día muy caluroso y
Blanca bromeo Steffan, Pauline (dos
Alemanes) y mi (Escocés) estaban
agotados y constantemente necesitaban
agua. ¡Hay muchas colinas en Toledo!
Todos los Españoles y Sudamericanos no
se molestó que era divertido. Caminamos
por el casco antiguo y admiramos
GC 1 2 3 4 5 6 7 8 9
toda la arquitectura. Blanca hablaba
muy lentamente en español, lo que
significaba que podía escoger cosas
y entender un poco más sobre Toledo.
(¡Todo el mundo en España habla tan
rápido!) Explicó que Toledo es la capital
de la autónoma ‘Castilla de la Mancha’ y
que anteriormente era la antigua capital
de España. Mi edificio favorito era Iglesia
del Cristo de la Luz que se señala hacia
La Mecca. Curiosamente, una nueva
estructura de acero Corten se ha erigido
junto a algunas ruinas existentes. Una
hermosa yuxtaposición. Me gusta que
España no tenga miedo de diseñar y
construir una arquitectura moderna
junto a la antigua, algo que la gente en el
Reina Unido a menudo son muy reacios
a hacer. Tuve una comida grande con los
Alemanes que me hizo muy soñoliento
después. Toledo es una ciudad muy
bonita y no puedo esperar a volver.
Otro gran viaje fue para El Escorial,
solo un corto viaje desde Madrid. El
escorial se sintió muy diferente del
resto de España. Me sentí casi como
10 11
si estuviera en Escocia al admirar el
paisaje accidentado de las montañas
desde el Gran Terraza. Me encantó la
ubicación de un edificio prístino con
sus cuatro torres contra un paisaje tan
accidentado. Su escala monumental es
asombroso. El tutor explicó que Felipe
II busco que ciudad puede ser el capital
(Toledo, Sevilla, Lisboa). Felipe II inició en
El Escorial. La facada principal es muy
impresionante y muy Italiano. Entramos
la pbuerta principal cerca la biblioteca.
Hermoso granito nos rodeó. El edificio
es un rectangle principal y similar a
un edificio medieval. La gran cupola y
panteón es muy bonito. La grân bascillica Top:
Toledo ancient city sketch
estaba silencioso hasta que llegaron Left:
niños ruidosos. Es en el centro del Toledo cathedral sketch
edificio y muy vistoso. Juntos comimos
una comida fantástica y caminamos un
largo paseo. ¡El vino del almuerzo me hizo
dormir en el autobús a casa! Fue un día
tan divertido.
78
Projects IV

Projects IV was an extremely enjoyable course, and far easier to

manage for me in the second semester of my time in Madrid. The
brief was to create a residence for elderly people in the Biarritz
resort town in France.

The course focussed primarily on the concept and development of

the beginnings. It was key to the project to look at the surrounding
environment and to be inspired by predecents. The course
required students to be aware of social issues and challenges
affecting elderly persons and to develop a proposal in response.
The social elements of architecture featured heavily in my
designing stages.

Left:
Mapping the spaces and cultural hotspots
of Biarritz resort town on the Bay of Biscay,
France

GC 1 2 3 4 5 6 7 8 9 10 11 79
Projects IV

Project Introduction
‘A Home for Elderly Creatives’ is a project that seeks
to tackle isolation and to create a sustainable
community for elderly residents in the spa town
Biarritz, France. For creatives and artisans, giving up
their passion and trade is simply not an option, but
being able to retire to a more peaceful and relaxed
environment is plausible.

Located on the beach front, the project houses 50

artisans from a variety of backgrounds within 5
different building typologies. Central pavillions
dominate the site with water based activites,
communal eating zones, market temporary market
areas and collaboration space in an effort to promote
community cohesion. The site is designed to be
particularly open with the surrounding community
and has space for livestock and cultivation.

‘Inbetween space’ is is key to providing space

for thought and creativity. Open and permeable
architecture encourages fluid use and movement.
The design has direct connections to the sea with
Thalassotherapy pools extending out in to the ocean
from the central point of the site. Key active streets
are created within the design.

Self-contained feeling of community is important in

making a sustainable and long-lasting development.
The ‘colony’ of houses look upon each other to create
a closed, safe and pleasant environment whilst
providing private, seperate living space. Inspiration
for the homes comes from the traditional Arabic
home with its private, internal courtyard.
Above:
Plan of the development
GC 1 2 3 4 5 6 7 8 9 10 11 80
Projects IV

To begin the project, as well as mapping the normal site information

and connections with the town - which are very important for a project
concerning the elderly - I sought to create some images of what I thought
the development could look like.

I wanted to create distinct architectural expressions for different housing

and creative typologies for residents and to harness a community feeling.
The project ended up resembling a series of active streets.

A Home for Elderly Creatives

Biarritz, France

5 different types of home and creative space that will impact the
h kiln tow
ers architectural expression in the colony of homes and creative
skyline wit spaces.
Varied
POTIER

ARTISAN / ARTISTE
POTIER

ARTISAN / ARTISTE

BOU
LA
POTIER

POTIER

ARTISAN / ARTISTE ARTISAN / ARTISTE NGE

R/P
ATIS ÉCR
SIER IVAIN
R
ISSIE
/POÈ
/PAT
ARTISAN / ARTISTE TE
ER ÉCR
BOU LANG IVAIN
R
POTIER

AGE
/PO
ÈTE
ROM
ARTISAN / ARTISTE

E/F
ÉCR
IVAIN
R
FITU /PO
CON
ARTISAN / ARTISTE ÈTE
ÉCR
IVAIN
/PO Écrivain/Poète - Writer/Poet
ARTISAN / ARTISTE Close workshop connections ARTISAN / ARTISTE ÈTE

SIER
Views, quieter spaces, book storage, strong outdoor connection
ÉCR
PATIS
IVAIN Poiter - Potter
ER/
/PO
LANG
ÈTE Kiln, working space, drying racks, place to exhibit/sell

BOU Artisan/Artiste - Artisan/Artist

Creative zone, strong outdoor connection, place to exhibit/sell

ARTISAN / ARTISTE
Boulanger/Patissier - Baker/Patissier
Ovens, cooling area, large amount of kitchen space, display/
consumption area

Confiture/Fromager - Preserves/Cheesemaker
Kitchen space, refrigeration area, display area,

34 homes/creative spaces
for 50 residents
Michael Mallinder-MacLeod
Proyectos 4

Above: Above:
Vertical mapping of different housing/ Visionary collage dealing with the
creative typologies representationally to relationship to water, architectural
create a close community expression and creative living

GC 1 2 3 4 5 6 7 8 9 10 11 81
Projects IV

Both above:
Sketches of active community environment

Above:
Mapping of the site with programmatic
zoning and initial building placement

GC 1 2 3 4 5 6 7 8 9 10 11 82
Projects IV

All above:
Five different building typologies with
internal courtyards inspired by the Arabic
home and the privacy it offers but with
selected openness to the street. The homes
have no internal doors between creativity and
living

Far left:
Variety of sections showing the public and
community spaces of the development
Near left:
Sections of selected typologies showing the
creative studios of the elderly residents

GC 1 2 3 4 5 6 7 8 9 10 11 83
Urban Design II

The Urban Design II course built upon the previous knowledge

gained from Urban Design I. This course looked at precedents
across the world that were good examples of urban design with
high building density, localised aesthetics, sustainablity principals
and fitting with local cultures.

The first stage of the semester was group work to investigate

a European urban design project to conduct an urban density
and typology study. I worked together with Daniel Wood on this.
We researched the Bo01 development in Malmö, Sweden. In the
second half, we then developed neighbourhood proposals for a
large, vacant site in the Vista Alegre area of Madrid.

Above:
Illustrations of the proposed neighbourhood
project

GC 1 2 3 4 5 6 7 8 9 10 11 84
Urban Design II
Study of Bo01 Malmö
Introduction
Bo01 (or ‘City of Tomorrow’) is a brownfield
development on an ex-industrial site on the artificial
island of Västra Hamnen in Malmö, Sweden. It was
completed for the European Housing Exposition in
2001 and is well known for its architectural diversity
and ecological credentials.
...
Paragraph 1 [extract]
Previously, the site was a harbour, shipyard and
centre for heavy industry, but economic changes in
Malmö and the Øresund region changed the city’s
economy completely. Today, with the introduction
of the Øresund Fixed Link Bridge in 2002, Malmö
is part of an international economic zone that is
well connected with Denmark and continental
Europe and has attracted small to medium sized
industry, services and IT businesses (similar to many
European countries). The development comprises
around 600 homes, services, offices, shops with
good provision of public buildings, and is the first of
planned urban renewal projects on the island.
GC 1 2 3 4 5 6 7 8 9 10 11
Bo01 is the centre of regeneration in the city, and
features Sweden’s tallest building: the Turning Torso
by architect Santiago Calatrava.
...
Paragraph 5 [extract]
Sustainable energy sourcing and waste disposal
have been well considered at Bo01. 100% of the
area’s electricity needs comes from wind turbines
and a fifth of its heat comes from solar collectors.
Geothermal heating sources are also used in the
development, and organic waste is used to generate
electricity at the city’s biogas extraction plant. Other
waste is able to be recycled using vacuum tubes for
collection.
...
Housing Density
Gross floor area (R): 197435 m² / 100 m² =
1974.35 / 32 = 61.7 dwellings per Ha Above:
Bo01 in Västra Hamnen, Malmö, Sweden
Right:
Photographic study of Bo01
85
Urban Design II

Study of Bo01 Malmö

Urban Data Analysis

We studied the vast array of building typologies and housing styles

which can be reflected in the urban data analysis. Very few of
the buildings are the exact same size. The style of the buildings
reflects the heterogenous nature of European cities such as
Malmo. I learned how to calculate this urban data and ways to
analyse urban spaces.

Left:
Urban data analysis
Right:
Sustainability credentials and
environmental considerations

GC 1 2 3 4 5 6 7 8 9 10 11 86
Urban Design II
Neighbourhood Proposal
Vista Alegre, Madrid: Overview
Our redevelopment of Vista Alegre aims to
reconnect the vast site with the neighbourhood
by redesigning the void left by the demolition
of Carabanchel prison. We designed a dense
neighbourhood achieving a housing density of
110.73 dwellings per Ha.
The key feature of the site is the vast swathes
of green open spaces. The neighbourhood faces
a variety of challenges but through the use of
greenery and the introduction of public spaces
Housing Density
Gross floor area (R) = 232537 m² /
100 m² = 2325.38 / 21
= 110.73 dwellings per Ha
GC 1 2 3 4 5 6 7 8 9
that provide relief for pedestrians and cyclists,
these problems can be mitigated and harsh
borders can be softened. The site
allows restricted vehicular traffic and allows
pedestrians and cyclists free reign - connecting
with existing rail infrastructure. The focus is
on creating an active and liveable streetscape,
primarily for families, that is compact and
easy to walk around. There are periphery
blocks (containing residential, commercial and
services units), free-standing blocks and two/
three storey terraced housing on site.
Above: Above:
Volumetric model of Masterplan for Vista Alegre showing different
neighbourhood proposal housing typologies and newly formed green
spaces
10 11 87
Urban Design II
Introduction
Bo01 (or ‘City of Tomorrow’) is a brownfield
development on an ex-industrial site on the artificial
island of Västra Hamnen in Malmö, Sweden. It was
completed for the European Housing Exposition in
2001 and is well known for its architectural diversity
and ecological credentials.
...
Paragraph 1 [extract]
Previously, the site was a harbour, shipyard and
centre for heavy industry, but economic changes in
Malmö and the Øresund region changed the city’s
economy completely. Today, with the introduction
of the Øresund Fixed Link Bridge in 2002, Malmö
is part of an international economic zone that is
well connected with Denmark and continental
Europe and has attracted small to medium sized
industry, services and IT businesses (similar to many
European countries). The development comprises
around 600 homes,, offices, shops with good
provision of public buildings, and is the first of plan.
GC 1 2 3 4 5 6 7 8 9 10 11
Paragraph 4 [extract]
The street pattern follows the boundaries and
restrictions of the site’s shape, which transitions
to a more formal geometrical shape that reacts to
particularly busy areas of interest such as crossing
and movement points. Between the formal layout
lies breakout areas to give way for leisure activity
and community interaction. Continuous layout
allows for easy comprehension of the urban space
with direct connections for pedestrians and cyclists
a priority in making liveable streets. Pedestrians
and cyclists always being able to move in a direct
manner is key to the project’s success, whilst
still maintaining playful curvature and primary
semicircular public areas.
...
Above:
Axonometric of proposal with transport
connections and movement
All left:
Masterplanning sketches and continual
redesigning
88
Graphic Design
[in Spanish]

Graphic Design was an opportunity to improve my presentation

skills to compliment my modes of architectural representation.
The course was taking purely in Spanish so it was a constant
challenge to communicate things as clearly as possible through
visual means instead of broken speech.

The course contained a variety of design briefs with the main

focus of the semester on creating a visual identity for Madrid
based gallery Fundación Juan March. The work was then compiled
in a dossier for presentation.

Above:
Mock up promotional poster for
Bilabo aratusteak/carnavales

GC 1 2 3 4 5 6 7 8 9 10 11 89
Graphic Design
[in Spanish]

Poster design

Above + right: Both above:

Promotional posters for Bilabo Promotional posters for Trianero
aratusteak/carnavales theatre performance

GC 1 2 3 4 5 6 7 8 9 10 11 90
Graphic Design
[in Spanish]

Corporate Identity
I intended to rebrand Fundaciòn Juan March with a simple but
recognisable identity. I used a strong symbol for the logo by taking
inspiration from the silhoutte of the institution’s iconic building.
Creating visual mock ups and final presentation pieces was a
great experience for me. I was able to learn how to create an
interactive PDF for the first time and take some new knowledge
from the course in to my design course.

Top left:
Corporate tote bag
Top right:
Corporate letter, compliments
sheet, business card
Far left:
Presentation dossier contents
Near left:
Business cards

GC 1 2 3 4 5 6 7 8 9 10 11 91
Graphic Design
[in Spanish]

Corporate Identity

Above:
Typeface and logo for Fundación
Juan March with corporate colours
Left:
Example corporate letter template

Above:
Alternative promotional use

GC 1 2 3 4 5 6 7 8 9 10 11 92
Graphic Design
[in Spanish]

Book Cover Design

Both above:
Covers for Desde Madrid Al Clielo

GC 1 2 3 4 5 6 7 8 9 10 11 93
Expressive Art
[in Spanish]

The expressive arts course was a chance to be creative and

experiment with new ways of working and representation. The
first stage of the course focussed on life drawing which I found
challenging. Previous to this, I had little experience of drawing
the human body. We then moved on to more architectural
representation through studies of the university building and
of the Hipodromo de Zarzuela racing course in Madrid. I used a
variety of materials and collage in my work. This was a thorougly
enjoyable experience which finished with an exhibition at the race
course itself.

Above:
Exhibition of work at the Hipodromo
de Zarzuela

GC 1 2 3 4 5 6 7 8 9 10 11 94
Expressive Art
[in Spanish]

Life Drawing
The life drawing section of the course was fast-paced and each
piece of work was constructed within very limited time frames as
dictated by the tutor. This was my first time working at such speed
and the trial and error methods used led to some interesting
results. This trial and error approach is beneficial to take through
to other pieces of work.

All:
Miscellaneous life
drawing pieces

GC 1 2 3 4 5 6 7 8 9 10 11 95
Expressive Art
[in Spanish]

CEU Building/CEU Edificio

I used material from various media to create all of these
collages alongside paints, regular pencils and pens to represent
perspectives in an abstract manner. The CEU university building is
particularly regular but bursting with activity in the main spaces
that I aim to represent.

Left:
Main Hall
[Sala Principal]
Right:
Bleachers steps
[Escaleras de grader]

GC 1 2 3 4 5 6 7 8 9 10 11 96
Expressive Art
[in Spanish]

CEU Building/CEU Edificio

Left:
Building facade
[Fachada de edificio]
Right:
Lightwell and corridor
[Pozo de luz y pasillo]

GC 1 2 3 4 5 6 7 8 9 10 11 97
Expressive Art
[in Spanish]

Hipodromo de Zarzuela
I used material from various media and photographs to create
all of these collages alongside paints, regular pencils and pens
to represent perspectives in an abstract manner. The Hipodromo
de Zarzuela is a beautiful building in the modernist style by
architects Carlos Arniches and Martín Domínguez.

Left:
Colour and material infill
[Color y material de relleno]
Right:
Audience on the seating stalls
[Audiencia en los puestos de asientos]

GC 1 2 3 4 5 6 7 8 9 10 11 98
Expressive Art
[in Spanish]

Hipodromo de Zarzuela

Left:
Leisure seekers in the entrance hall
[Buscadores de tiempo libre en el hall de entrada]
Right:
Foreground, middleground, background
[Primer plano, middleground, fondo]

GC 1 2 3 4 5 6 7 8 9 10 11 99
Journalistic Writing

Journalistic Writing was an extra-curricular course when studying

at CEU San Pablo that helped me develop my interviewing and
writing skills. We did various assignments and a final exam to
complete the course. The course was run by a reporter from El
Pais - one of the largest newspapers in Spain. I was lucky enough
to get the chance to visit the newspaper’s Madrid HQ. I believe the
skills learned on this course can compliment my architectural
knowledge and contribute to future career opportunities.

[Other reports]

Top:
Excited by the mysterious or haunted by
anonymity? - Semana Santa Seville 2017

Bottom:
The MET Gala 2017: Celebrating the
genius of Rei Kawakubo & Comme des
Garçons

GC 1 2 3 4 5 6 7 8 9 10 11 100
Journalistic Writing
Interview with Torben Ankjærgård: Founder of elderly co-housing project
Herfra til Evigheden, Roskilde, Denmark [From Here to Eternity]
Getting old is inevitable. Inevitable, too, is
struggle the majority of governments in
Europe and wider world face in housing
the increasing demographic of older
citizens. Coping with their health and
social demands is proving difficult, with
the future only looking more uncertain
as to the best way to progress. In
Denmark however, a group of forty-seven
- fifty percent retired and fifty percent
working age - people have taken it upon
themselves to design a community and
home that will make their lives easier
as they grow old with the aim improving
their quality of life in old age. Residents
of ‘Herfra til Evigheden’ have designed
and realised the homes that they will
live in for the rest of their lives with a
wide spectrum of methods employed
to tackle challenges that all elderly
people will face such as loneliness.
Torben Ankjærgård, founder of the
project ‘Herfra til Evigheden’ in Roskilde,
Denmark, gives me an in-depth tour of
the project and takes me through the
lengthy process that it took to realise the
unique social housing project.
GC 1 2 3 4 5 6 7 8 9
It is early January and I arrive in to
Roskilde, thirty kilometres west of
Copenhagen, not knowing what to expect
from from my visit to ‘Herfra til Evigheden’
and the small city of fifty thousand
people. Famed for one of Europe’s largest
music festivals and an impressive gothic
cathedral that remains the burial site
for Danish monarchs, Roskilde is full of
charm. ‘Herfra til Evigheden’ lies to the
north east side of the city, bordered by
typical Scandinavian wooden homes
and a vast expanse of open space with
trees dominating the background.
Torben Ankjærgård waits for me, dressed
appropriately for the harsh Danish winter,
and chuckles warmly that I am not. With
a strong sense of excitement to share his
community and home, we waste no time
getting started.
...
10 11
Ankjærgård invites me in to the heart
of the community where daily Danish
newspapers are placed for residents.
He presents me with a warm coffee and
a generous helping of Danish pastry
and begins to tell me more about the
project’s logistics. It wasn’t easy to get
to this stage of stability and community
he explains whilst sipping on his coffee.
The project took from 2004-2009 to
complete and continues to be a working
progress in realising the vision set out
at the beginning. Only time will tell as
all of the residents get older whether it
is a truly successful model for old age.
Five to six meetings take place each year
with a fair voting system to ensure that
everyone has an input in to the running
of ‘Herfra til Evigheden’. Residents even
have their own website to communicate
and keep everyone informed. “The ethos
of the community is that everyone can
contribute something to the life of it” Top left:
Community art work
Ankjærgård says. Bottom left:
Torben Ankjærgård in the com- Right:
... munity courtyard The Ankjærgård’s living room
101
Year 4
Semester 1
Architectural Theory
Architecture Dissertation

Semester 2
Architectural Design:
Tectonics
Professional Studies
Academic Portfolio: Part 1
Architectural Theory
[ARCH10002]

Learning Outcomes Course Description

The Architectural Theory course was thoroughly engaging and

complimented my work during dissertation writing. I particularly
enjoyed the journal writing which gave me the opportunity to read
further and to use precedents from the arts and architecture
alongside a newfound theoretical analytical ability. The essay
offered an opportunity to investigate one particular topic to
a greater extent. I focussed on the complicated issue of ways
to commemorate and remember. This course was particularly
formative and will inspire my later studies.
LO 1.
Demonstrate knowledge of
contemporary design theories and
the ways in which they can inform
specific approaches to, and practices
of, architectural design.
LO 2.
Demonstrate and analyse through
careful argument how architectural
production fits within wider
philosophical, historical, social,
political and economic discourses.
LO 3.
Demonstrate ability to research
issues in architectural theory, to
critically reflect upon them, and
to organise and present those
reflections in the format of scholarly
writing.
The course will consist of eleven lectures of approximately
one hour and ten weekly tutorials also of approximately one
hour. The theme of each tutorial will be the content of the
previous week’s lecture. In Week 1 there will be a general
course introduction, in addition to a thematic lecture. In
week 11 the course will conclude with an online lecture
that reviews writing strategies and gives tips for the final
assignments. In week 13 an essay writing clinic will be
offered on a drop in basis. The slides for each lecture will be
available on LEARN. Audio recordings will also usually be
available.
There will be three items of essential reading each week.
These should be reviewed before the lecture, and read closely
before the tutorial. Copies must be brought to the relevant
tutorials. The tutorials will help you to develop critical
reflections for your journal, which in turn will be beneficial for
developing essay themes.
Readings are all available via the library through the Talis
Aspire Resource List. A link is available on LEARN.

GC 1 2 3 4 5 6 7 8 9 10 11 103
Architectural Theory
[ARCH10002]
Journal 3: Burma’s New Capital City: A Suburban Haven for an
Authoritatian Regime
Burma’s new capital, Naypyidaw, was
constructed from scratch as a sanctuary
for the Southeast Asian nation’s military
government in 2005 (BBC 2012).
The nouveau riche aesthetics of the
environment feel like a manifestation
of what a successful city ought to look
like under the illusion of popular culture
and architecture exported primarily from
America (Scott Brown 1973, 387-388).
In reality the city has been designed for
maximum control. I wish to critique the
Burmese authorities with their romantic
view of nature and preference for
suburbanisation.
The thriving, anterior capital of Yangon,
has been shunned for a distant and
suburban city where an image of excess,
authoritarianism and extreme over-
capacity (figure 3) is prevalent. It is far
easier to resist public pressure if you
are completely detached from most
of them. Planners have followed in
Key Reading:
Jacobs, Jane. 2000. “The kind of problem a city is.” In The death and life of
great American cities, 428-448. London: Pimlico.
GC 1 2 3 4 5 6 7 8 9
similar footsteps to the Levittowns of
1950’s suburbanising America (Scott
Brown 1973, 388) in employing pastiche
architecture, but with a Southeast Asian
twist and centered around a multitude of
empty roads. Naypyidaw’s key landmark,
the Uppatasanti Pagoda, is a hollow,
synthetic copy of the ancient Shwedagon
Pagoda in Yangon (Guardian 2015). The
landmark feels like something from Las
Vegas but without commercial motives.
Instead it is a symbolic assertion of the
regime’s power that yearns for global
recognition and legitimacy that brings.
Amidst the false facades lies a multitude
of ‘natural’ leisure space – similar to
what Jane Jacobs criticises in ‘The
kind of problem a city is’. The act of
sentimentalising a confused image of
nature can have catastrophic effects
on the real thing (Jacobs 2000, 459).
Rural expanses have been exchanged
for suburban Naypyidaw’s, 4,800 square
Scott Brown, Denise. 1973. “Learning from Pop.” The Journal of Popular
Culture 7/2: 387-401.S
10 11
meter sprawl that is complete with four
golf courses, a desolate zoo and lengths
of shrubbery-laden boulevards (Guardian
2015). The flawed development has
similarities to Ebenezer Howard’s Garden
City plan (1902) which looks at urbanism
as a problem of simplicity – analysing
correlations between two variables
(Jacobs 2000, 448-449) – and not as a
problem of organised complexity which
Jacobs makes a valid case for.
In one of the most impoverished
countries in Southeast Asia, the
expenditure on such a mega-project
is fraught with ethical consequences
(BBC 2012). American pop culture’s
influence in Naypyidaw’s is undeniable.
However, under the Burmese regime, this
manifestation has a distinctly dystopian,
and authoritarian flavour. Naypyidaw’s
future is as bleak as its present.
Above:
Empty twenty lane motorway
Naypyidaw, Burma
104
Architectural Theory
[ARCH10002]
Journal 5: Haussmann’s City of Light: The Beginnings of Large-Scale
Gentrification
Georges-Eugène Haussmann’s
redevelopment of Paris remains highly
controversial. The city’s infamous grand
boulevards and architectural style are
contested as being orchestrated for the
political control of the masses (Willsher
2016). I wish to argue that Haussmann
was a pioneer in capitalist urbanisation
and gentrification.
The Second Empire Paris was born
out of a mid-nineteenth century crisis
of vast unemployment, social unrest
and stagnating capital accumulation
(Harvey 2013, 7). Louis-Napoléon
Bonaparte’s took advantage of social
unrest and staged a coup, becoming
France’s emperor in 1852. Haussmann,
commissioned by Bonaparte, set out to
transform Paris as a way of absorbing
the capital surplus that capitalism
produces and to generate growth. Twelve-
thousand buildings were cleared, ripping
through working class neighbourhoods
Key Reading:
Harvey, David. 2013. “The Right to the City.” In Rebel Cities: From the Right to
the City to the Urban Revolution. London; New York: Verso. 3-26.
GC 1 2 3 4 5 6 7
and displacing residents (Willsher 2016).
Haussmann followed Saint Simon’s
ideology in undemocratic development –
deciding what is best for society (Kaminer
2017). Through utilising debt-finance to
pay for large-scale developments, new
markets and urban lifestyles could be
created and associated opportunities
to cater for them– a model which we
have seen executed repeatedly. Paris’
transformation to “the city of light,”
– referencing to the omnipresence
of places for consumption - saw
neighbourhoods created exclusively
for the wealthy with hoards of retail
establishments created to absorb
capitalism’s surplus (Harvey 2013, 8).
Haussmann was responsible for colossal
social engineering – not dissimilar to the
modern movement of the 1960’s (Branzi
2006). The capitalist urbanisation project
failed fifteen years later with stagnating
capital accumulation and social unrest
once again rearing its head. The same
Branzi, Andrea. 2005. “No-Stop City: Archizoom Associates 1969-72.” Martin
van Schaik and Otakar Macel [eds.] In Exit Utopia: Architectural Provocations
1956-76. Munich; Berlin; London; New York: Prestel. 177-84.S
8 9 10 11
forms of urbanisation under Keynesian
economics can be seen throughout the
West and Soviet Union aftet the war
(Kaminer 2017). The system continually
repeats itself in constant plight for
capital absorption - producing
ostentatious urbanisations such as
Dubai or Abu Dhabi (Harvey 2013, 12).
Relying on debt-financing, with the risks
that lending entails, has continually
produced economic recession’s such as
in 1968 and 2008.
History, as shown, will repeat itself
under the same system of capitalist
urbanisation as a means way of
absorbing and producing further capital.
Constant pursuit of profit consistently
marginalises the poorest and pushes
them further from the city. Perhaps
it is time to move on from capitalist
urbanisation and to leave Haussmann
firmly in the past.
Above:
Haussmann’s Parisian design radiating from
the Arc de Triomphe
105
Architectural Theory
[ARCH10002]
Journal 7: Ambiguous Design: A Memorial to Homosexuals Persecuted
by the Nazis
Homosexuals and minority victims
have often felt overlooked when it
comes to the subject of Holocaust
remembrance. (Knischewski and Spittler
29-30). Germany only decriminalised
homosexuality in 1969, arguably delaying
social demands for a memorial to
remember gay victims (Connolly 2017).
I wish to argue that Michael Elmgreen
and Ingar Dragset’s ‘Memorial to
Homosexuals Persecuted Under Nazism’
(2008) is a successful design thanks to
its ambiguity.
The memorial manifests as a simplistic
concrete cube, with an individual square
window displaying a film of homosexuals
kissing (Stiftung Denkmal n.d.). It is
particularly intimate. Perceivable as a
positive celebration of same-sex love
and human connection against Nazi
barbarism. The artists sought to create
a visual reference to the main Jewish
memorial - which is in close proximity
Key Reading:
Derrida, Jacques A. 2007. “A Certain Impossible Possibility of Saying
the Event.” Critical Enquiry 33, no. 2 (Winter): 441-461. https://doi.
org/10.1086/511506
GC 1 2 3 4 5 6 7
- but to also challenge current LGBT+
persecution across the world (Spiegel
2008). The memorial ambiguously
straddles between past and the
present, embodying hope for the LGBT+
community in the future.
Germany has forever been gripped in
debate over Holocaust remembrance.
Substantial questions have been raised
about how to avoid “heirarchization” of
victims’ suffering as well as avoiding
proportional or numerical manifestations
of memorial (Knischewski and Spittler
2005, 29-30). Knischewski and Spittler
suggest, in relation to Peter Eisenman’s
Jewish memorial, that ambiguity may
be the best-case manifestation for
remembrance. “…All closed systems
with a closed order are doomed to fail,”
deemed Eisenman, prompting belief
that mourning shouldn’t be a prescribed
ritual (Knischewski and Spittler 2005, 33).
In the case of Elmgreen and Dragset’s
Knischewski, Gerd and Spittler, Ulla. 2005. “Rembering in the Berlin
Republic: The debate about the central Holocaust memorial in Berlin.”
Debatte Journal of Contemporary Central and Eastern Europe 13, no. 1: 25-
42.
8 9 10 11
work, a similar essence of openness can
be interpreted - helping to somewhat
avoid fatal criticism. Jacques Derrida
states that, “I simply don’t have the right
to forgive. It’s always the other who has
to forgive. I cannot forgive on the other’s
behalf,” prompting thoughts that physical
memorials cannot be sought as a means
for forgiveness (Derrida 2007, 455). No
‘saying of the event’, Derrida argues, can
fully represent the actual ‘event’ to such
a completely honest and accurate degree
as its pure happening (Derrida 2007, 447).
Installation of an ambiguous memorial
such as Elmgreen and Dragset’s, under
this belief, is far preferable then.
The simplistic design refrains from
implying how one should mourn or
remember. The memorial, I argue is a
successful mediation of a tough debate
with its successes lying in its ambiguity.
Above:
Memorial to the Homosexuals Persecuted
under the National Socialist Regime in Tier-
garten, Berlin, Germany
106
Architectural Theory
[ARCH10002]

Essay: Remembering July 22nd 2011: The Utøya Memory Wound Memorial
Introduction Temporary and Immediate Memorial Conclusion
[extract]

Jonas Dahlberg’s memorial (Figure 1)
for Norway’s worst attack in peace time
has proved extremely controversial. So
much so, that the Norwegian government
took the decision to cancel the project
completely in 2017, six years after the
massacre (Henley 2017). In this essay,
I will discuss whether the Swedish
artist’s proposal was appropriate for
the Norwegian people to remember
the victims of July 22nd. I will look at
various opinions on Dahlberg’s design
and the way in which the Norwegian
people immediately reacted to the attack
through informal modes of memorial. I
will also look at the ongoing concerns
around Norway’s far-right and debate on
immigration in relation the Dahlberg’s
design to gauge its appropriateness. In
doing so, I aim to suggest that memorial
should be less indicative and more
relevant to the present reality following
the event.
Hans Dahlberg’s design does little to
address the political past or future of
the critical event’s occurrence. Breivik
continues to receive messages of support
from sympathisers and radicals who
recognise the deeply political intent of
his actions (Andersson 2012, 425). The
depoliticising of his attack - as carried
out by a crazed, alien man against the
majority - does nothing to quash the
extreme ideologies existent in Norwegian
society (Lödén 2014, 169-171). Dahlberg’s
design is arguably a manifestation of this
depoliticisation. Dahlberg wounds all of
Norway when he excavates the ground
- not a particular ideology or narrative.
It stands idle amongst a turbulent
environment and discussion taking place
across Europe.
I believe that Hans Dalberg’s ‘Memorial
Wound’ design to remember the victims
of the July 22nd 2011 attack by Anders
Behring Breivik is not fully appropriate
in acknowledging the critical event. The
design is explicitly indicative of how
mourners should feel - the feeling of
pain and of their land being physically
wounded - and is stuck in a reality prior
to the critical event. The design doesn’t
address the new national psyche or the
intense ongoing debate about immigration
and multiculturalism. It is a manifestation
of the depoliticisation of the attack
that alienates Breivik as a crazed lone-
wolf against Norway and its people.
Therefore, due to the complex nature of
such a memorial, a more abstract design
interpretation would be better employed
to facilitate remembrance.
Above:
Visualisation of Jonas Dahlberg’s Memory
Wound on the Sørbråten peninsula

Key Reading:

Andersson, Mette. 2012. “The debate about multicultural Dastur, Françoise. 2000. “Phenomenology of the Event: Waiting Derrida, Jacques. 2007. “A Certain Impossible of Saying the Löden, Hans. 2014. “Peace, love, depoliticisation and the
Norway before and after 22 July 2011.” Identities: Global Studies and Surprise.” Hypatia 15, no. 4 (Fall): 178-189. http://dx.doi. Event.” Critical Inquiry 33, no. 2 (Winter): 441-461. https://doi. domestic alien: national identity in the memorial messages
in Culture and Power 19, no. 4: 418-427. https://doi.org/10.1080/ org/10.1111/j.1527-2001.2000.tb00360.x. org/10.1086/511506. collected after the terror attacks in Norway 22 July 2011.”
1070289X.2012.684442. National Identities 16, no. 2: 157-176.

GC 1 2 3 4 5 6 7 8 9 10 11 107
Architecture Dissertation
[ARJA10002]
The Architecture Dissertation course was a fantastic opportunity
for me to explore themes that I have great passions for. I was able
to research about the way people use London’s Underground
transportation system in alternative ways and to make new
discoveries along the way. The topic I persued had very little
previous research out there so I gained a lot by trying something
new. The success and development that I enjoyed on this course
has pushed me towards further studies in urbanism - with
particular focus on the social complexities of the city. This course
was one of my greatest moments of my education.
GC 1 2 3 4 5 6 7 8 9 10 11
Learning Outcomes
LO 1.
Demonstrate detailed knowledge of
the chosen subject demonstrating
sufficient understanding of relevant
cultural, historical and philosophical
themes.
LO 2.
Demonstrate ability to construct and
synthesise an intellectual argument
expressed against stated objectives
and presenting original conclusions.
LO 3.
Demonstrate ability to product
a substantial piece of academic
writing, coherent, attractive,
illustrated, well-written, using correct
referencing conventions and the
acknowledgement of sources.
Course Description
This course provides the student with an opportunity to
investigate an architectural topic negotiated with a member
of academic staff. The student will undertake sustained
and in-depth research and present a coherently argued,
fully referenced and appropriately illustrated piece of
academic writing. Preparation and research for the course
is undertaken in the first Semester; this provides the
student with an opportunity to plan and organise the study
materials and research methods required in the writing of
the Dissertation. This process culminates in the submission
of a synopsis and bibliography. In the second Semester, the
dissertation is developed and written. Aims - The course
will: 1. Develop research methods relevant to writing a
dissertation. 2. Develop the student’s intellectual curiosity
relating to the dissertation topic. 3. Gain knowledge of a
specific aspect of architecture, history and theory, technology,
environment, architectural design or related disciplines of
arts, cultural studies and landscape and its application in
critical debate. 4. Develop skills in the use of library and
research sources including the use of websites and electronic
methods of deriving information. 5. Develop skills in correct
writing style, grammar and syntax and the correct use and
acknowledgement of sources.
108
Architecture Dissertation
[ARJA10002]
Abstract
‘H-actics on the Tube: Urban Appropriation
on Physical and Immaterial Networks,’ is
a look in to the heterogenous, multiple,
rhizomatic world of London Underground
and social media. These two networks
work in tandem with each other as
physical and immaterial spaces, where
everyday citizens employ tactics to
appropriate the city.
Michel de Certeau’s book ‘The Practice
of Everyday Life’ provides key concepts
of tactics and strategies that help bring
clarity to London’s complex Tube system.
The concept of Hactics combines tactics
with hacking - derived from the world of
technology. Everyday citizens employing
tactics in the city are constantly
hacking someone else’s property and
appropriating it. Gilles Deleuze and
Felix Guattari’s concepts of rhizomes
and nomadism, Marc Auge’s non-place
theory and others, complement a range of
contemporary sources and social media
content throughout.
A variety of documented case studies on
the Tube - taken from the lens of social
media - are collated and discussed as the
GC 1 2 3 4 5 6 7 8 9
main focus of this dissertation. This acts
as a textual mapping of hactic practices H-actics
on the
followed by a variety of images taken
from social and popular media outlets.
The particular topic focus is largely
under-analysed, with the relationship
Tube
between each element relatively new. It is
extremely relevant to society today as it
deals with two networks that are crucial
to everyday, modern, urban life.
This dissertation aims to contribute to the Urban Appropriation
discussion around urban appropriation on Physical and
and to prompt thought about the way Immaterial Networks
people use seemingly homogenous
spaces. H-actics are constantly in motion
- converting to strategies in several cases
before returning to h-actics - and are
particularly pronounced in the Tube’s
unique spatial environment. The h-actics
taking place everyday on the Tube are
concentrated reactions to the city’s
diverse culture or societal issues.
Left:
Dissertation front cover
Michael Mallinder-MacLeod Top right:
The University of Edinburgh No Trousers on the Tube Day
Architecture Dissertation 2017 Bottom right:
1
Women Eating Wherever the Fuck They Want
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Architecture Dissertation
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Chapter 5: Case Studies [extract]
There are particular spatial qualities
that make the Tube network a focal point
for h-actics. I would describe London’s
sprawling, rhizomatic transport network
as a conglomeration of extensive non
places, such as the theory of Marc Augé
in his book ‘Non-places: An Introduction
to Supermodernity.’ Augé describes
nonplaces as homogenous, universal
spaces that are disconnected in someway
from their immediate geography - all with
a character of ‘anywhere’ or ‘nowhere.’ As
these case-studies will show, upon the
employment of momentary h-actics, these
non-places are transformed in to
heterogenous spaces of activity. The
network is transformed to become a
space not just of movement or exchange
but of unexpected appropriation.
There are a variety of reasons why the
Tube network is so susceptible to h-actics.
Augé cites ever-growing demands in
tourism, globalised economic exchange
and technology as creating more non-
places than ever:
“unprecedented extension of spaces
of circulation, consumption and
communication corresponding to the
phenomenon we identify today as
‘globalization.’” (Augé 2008, IX)
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In many ways, a successful, global city seclusion and privatisation are now
can be measured by its level of access to extremely present in the local. Augé
the exterior from the interior. London is a cites a universally romanticised view of
master of import and export of all sorts movement and transportation which can
and is in a constant drive for openness help us to understand why non-places
to compete with other global cities. are a target for the h-actical to push an
High profile architects are constantly agenda (Augé 2008, XIII). The image of
commissioned to design in a transnational prestige and efficiency can be disturbed.
style that in some way epitomises the H-actics can be successfully employed
modern political and economic climate in sanitised space that represents the
(Augé XVII). London’s stations - particularly current economic system and political
those towards the end of the 20th century ideologies.
and beginning of the 21st century - ... Top left: Top right:
embody these transnational ideals. The Grindr tube badge Circle Line Party
rhizome has continually been strategically
extended in pursuit of maximum openness
and economic prosperity (Augé 2008, VII).
I argue that the multitude of non-places
provide a catalyst for h-actics aiming to
transform nonplace to active space.
The diverse mix of people living in London
means it is bound to see more diverse
appropriation h-actics taking place there.
“Every big town is a world, even though
it is a recapitulation, a summary of the
world with its ethnic, cultural, religious,
social and economic diversity,” illustrates
the intensity of relationships in the
modern day, globalised city (Augé 2008,
XII). The world’s big issues of inequality, Bottom:
People on the Underground Instagram
10 11 110
Architecture Dissertation
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Conclusion
The ephemeral, monetary h-actics taking
place in London’s transport network
are constantly in motion and diverse in
nature. These h-actics constantly
operate in the realm of others’ spaces; in
this case between the two rhizomatic
networks of the Tube and social media.
They appropriate seemingly homogenous
spaces transforming them to become
heterogenous environments. H-actics,
once publicised and archived through
social media, have the ability to be re-
appropriated by institutions and those in
control of the Tube as strategies. They are
never dormant, complete or stuck in time.
They are much like the wider culture and
societal issues taking place above ground
- constantly developing and reactionary.
In the future, London’s transportation
network will continue to physically
grow. Crossrail, or the Elizabeth Line, is
the most significant transformation taking
place within the network at the moment
as Europe’s largest engineering project
(Hebbert 2014, 171). The city’s population
is forecast to see grow by a million over
the next ten to fifteen years and the
existing, primarily Victorian infrastructure,
faces unprecedented crowding issues
(BBC 2017). Regional trains will be able to
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pass from the east to the west of London
upon the opening of the Elizabeth Line, as
opposed to terminating at one of London’s
many railway stations (Hebbert 2014,
171). An extra 1.5 million people are
expected to be brought within forty-five
minutes of central London (Crossrail
2017). As the scope of London’s transport
network expands, so too does the
possibility for diverse, unpredictable
h-actics to take place and react to new
spatial realities. New social, political and
economic predictions surround much
of the expansion’s discourse but not the
way in which people will appropriate
the extended space (Comber and Arribas-
Bel 2017, 13-14). Only time will tell
how everyday citizens will employ h-actics
to make this homogenous, strategic
environment in to a heterogenous space.
In this dissertation, we grasp the diverse
nature of particular h-actics that
take place thanks to the Tubes particular
spatial qualities. The dominance of
visual advertising, speed of movement
through the network, vast quantities of
people using the system, the trapping
nature of travel and the vast amount of
institutional control over the space make
it a hotspot for the h-actical. The Tube
10 11
is a concentrated, rhizomatic environment
that is vital to London. Social media
networks are also vital in modern society
and are heavily interconnected with
the physical transportation network. We
see how certain h-actics utilise and
appropriate the online, immaterial
network to appropriate the physical
network of the Tube. These work in tandem
with one another to influence each other
and to make h-actics possible.
I believe readers of this dissertation
will now possess a broader scope of the
unpredictable possibilities on physical
networks and their relationship with
immaterial networks. Through application
of the case studies discussed to Top:
localised contexts, I wish for there to be a Sadiq Khan holds Love is Love Roundel
Left:
more open critique and discussion Whitechapel Tube Station where Crossrail
over urban appropriation. It would now be will call
difficult not to notice h-actics taking
place in localised contexts. The
possibilities for morphing and influencing
urban space and society are limitless.
They are insuppressible and continue to
transform the homogenous to
heterogenous. H-actics will continue
to thrive in physical and immaterial
networks.
111
Architecture Dissertation
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Key Reading:

Augé, Marc. 2008. Non-Places: An Introduction to

Supermodernity. Translated by John Howe. London: Verso
De Certeau, Michel. 1988. The Practice of Everyday Life.
Translated by Steven Rendall. Berkeley: University of California
Press.
Deleuze, Gilles, and Felix Guattari. 1988. “1227: Treatise on
Nomadology - The War Machine.” In A Thousand Plateaus:
Capitalism and Schizophrenia. Translated by Brian Massumi,
351-423. London: Athlone Press.
Deleuze, Gilles, and Felix Guattari. 1988. “Introduction:
Rhizome.” In A Thousand Plateaus: Capitalism and
Schizophrenia. Translated by Brian Massumi, 3-25. London:
Athlone Press.
Dörk, Marian and David Monteyne. 2011. “Urban Co-Creation:
Envisioning New Digital Tools for Activism and Experimentation
in the City.” Accessed October 21, 2017. http://mariandoerk.de/
urbancocreation/hpc2011.pdf
Garrett, Bradley L. 2013. “Grails of the Underground.” In Explore
Everything: Place-Hacking the City, 107-176. London: Verso.
Gerbaudo, Paolo. 2012. Tweets and the Streets: Social Media
and
Contemporary Activism. London: Pluto Press.
Hartwig, Fischer. 2011. “Foreword.” In Hacking the City:
Interventionen in urbanen und kommunikativen Räumen. 10-11.
Essen: Museum Folkwang.
Hayes, Rebecca A., Caleb T. Carr and Donghee Yvette Wohn.
2016. “It’s the Audience: Differences in Social Support Across
Social Media.” Social Media + Society: 1-12. https://doi.
org/10.1177/2056305116678894
Hochman, Nadav. 2017. “From Site-specificty to Hyper-locality:
Performances of Place in Social Media.” In The SAGE Handbook
of Social Media Research Methods, edited by Anabel Quan-
Haase and Luke Sloan, 367-385. London: SAGE Publications.
Hofmann, Romy, Martina Mehren and Rainer Uphues. 2012.
“Hack the City: A Somewhat Different Mode of Field Work.”
European Journal of Geography 3, no. 3: 23-32. http://www.
eurogeographyjournal.eu/articles/HackingtheCity
Kaplan, Andreas and Michael Haenlein. 2010. “Users of the
world, unite! The Challenges and Opportunities of Social Media.”
Business Horizons 53, no.1 (January-February): 59-68. https://
doi.org/10.1016/j.bushor.2009.09.003.
Paul, Virilio. 2006. Speed and Politics: An Essay on Dromology.
Translated by Mark Polizzotti. London: Verso.
Quan-Haase, Anabel and Luke Sloan. 2017. “Introduction to
the Handbook of Social Media Research Methods: Goals,
Challenges and Innovations.” In The SAGE Handbook of Social
Media Research Methods, edited by Anabel Quan-Haase and
Luke Sloan, 1-10. London: SAGE Publications.

Far left:
Ad-hacker changes London Underground
advertising space
Nearest left:
Israeli politician holds up anti-Israel ad-
hack found on the Tube

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Architectural Design: Tectonics
[ARCH10003]

Learning Outcomes Course Description

Architectural Design: Tectonics has been by far the most

challenging but exciting design project during my degree.
Through groupwork and individual proposals, I feel that we have
experimented in new ways through a proposed design thesis.
Learning Outcome 2 was a distinctly advanced element of this
course, with skills deployed in two- and three- dimensional
representational techniques and projects that describe tectonic
qualities.
The first stage of the project was creation of a Parasite with
Jessica Thomson, Hailey Oliver and Ana-Carolina Laterza followed
by individual work. I thoroughly enjoyed elements of this new way
of working and believe I have learned a lot to take in to the next
stages of my master’s studies. Table making and video making
throughout were new skills that I acquired on this course.
LO 1.
Demonstrate an understanding of
tectonic, structural, constructional,
environmental and contextual
matters.
LO 2.
Research, analyse, synthesize and
integrate with design an appropriate
technological approach.
LO 3.
Demonstrate skills in deploying
specified two- and three-dimensional
representational techniques
correspondent with accepted
architectural conventions.
This course is focused on extending students’ capacity to
operate with different approaches to architectural design.
Students are asked to develop specific approaches to
design problems in a coherent manner, deploying skills
in architectural design and communication gained in
earlier Stages. The course concentrates on developing
architectural designs that integrate programmatic, formal,
material, structural and budgetary considerations. The
course is offered in a number of parallel design studios that
sustain the overarching pedagogical aims through varying
and distinctive sub-themes. Students produce coherent
architectural designs of moderate complexity communicated
with clarity and precision.

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Architectural Design: Tectonics
[ARCH10003]

Parasites: Newtongrange
To begin our investigations in to Newtongrange and to create a
parasite, we visited the village and investigated the Lady Victoria
Colliery. Lady Victoria Colliery was the reason for the town’s
creation and its original pivot and focus. We began looking at
Enric Miralles Ines Table as inspiration for what we could create to
MANAGING [NÓMOS] / THE PIVOT

represent the changing landscape of Newtongrange.

Above: Top left:

Newtongrange images Coal Seams
Left: Top right:
Lady Victoria Colliery Model Lady Victoria Colliery sections

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Architectural Design: Tectonics
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Parasites: Haldane’s Table

Creation of Haldane’s Table was a lengthy process that required a
great deal of collaboration and design as a group. It was inspired
in its form by a mining excavation machine in section and the map
of newtongrange is cut in to the wood. It took a great deal of craft
to use and I became extremely competent in the workshop.

The Parasite was invaluable in its help in creating an architectural

design for my territory in Newtongrange. It’s form was highly
tectonic from the offset. We used the table as a presentation piece
throughout the various studio exhibitions we had. I thoroughly
enjoyed the process of a working model that helped us investigate
Newtongrange and will take these skills forward. We also created
a video to show the entire process of creation.

Top left:
Table survey drawing
Far left:
My model on the table
Near left:
Final exhibition
Near left:
Mid-term exhibition and
table in plan

HALDANE’S TABLE
SCALE / -

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AUTHOR / MICHAEL MALLINDER-MACLEOD
115
Michael Catalogue.indd 11 14/05/2018 19:02
Architectural Design: Tectonics
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Oíkos [Nómos] Abstract
Introduction
Oikos Nomos deals with the former mining
town of Newtongrange, Midlothian. The
project originates in the understanding
of Newtongrange’s historic management
as a ‘household’; a layering of economies,
managed centrally and dictatorially
by Mungo Mackay of the Lothian Coal
Company. A 1:1 furniture piece, ‘Haldane’s
Table’, offers a satirical recreation of
Mackay’s infamous Green Table, and a
replacement management device for a
future Newtongrange.
The table piece, or para-site, becomes
a manifestation of the nomos; through
which Newtongrange’s many oikos, or
economies, can be investigated.
The Catalogue and the Table
The catalogue can be reconfigured
according to two different organisation
strategies.
The first of these arrangements is derived
from the three primary components of
the para-site: The Locker, The Surface and
The Pivot. These categories respectively
embody notions of containment,
of surface and sub-surface, and of
movement.
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AMBIENT GREEN ROOF
OÍKOS
EAGLE
OÍKOS
Moreover, Haldane’s Table became a
means to investigate the management
of three different oikos within
Newtongrange: the geological, the
animal and the landscape. In turn, these
three economies, and their individual
relationships to the para-site, informed
independent proposals: Ceramic Oikos,
Eagle Oikos and Roof Oikos Oikos. A
fourth proposal, Management Nomos,
encompasses the management of
these three economies. These four
total investigations form an alternative
organisation strategy for the catalogue;
and are each represented throughout by
their individual colours.
CERAMIC
OÍKOS
Haldane’s Table
The table piece was designed for the
great Edinburgh physiologist John
Scott Haldane; who first recognised the
dangers of toxic gas in the mines, and
introduced the use of canaries for its
detection. Its overall form is derived from
a piece of excavation machinery used at
Lady Victoria Colliery, and the surface
comprises a 1:1000 map of Newtongrange.
As the table opens, moving about the
machinery’s pivots, areas of the landscape
are displaced. Left:
The three oikos and MANAGING
Managing [Nómos] [NÓMOS]
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Architectural Design: Tectonics
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Managing [Nómos] Abstract
My project, Managing [Nómos], is
comprised of a planners office and
debating chamber that acts as a new
pivot for Newtongrange. The site of
my building is placed next to the Lady
Victoria Colliery within the heart of
Newtongrange Village. It’s position and
form is determined by the tables geometry
and movement that helps us to define
the new boundaries of the area. The other
three group projects propose new ‘oíkos’
in these new territories. My project seeks
to be an architecture that can enable
to the community to take ownership
of the expansion and development of
Newtongrange through more democratic
means than the past.
I propose looking at the ex-mining
community of Newtongrange as a jaded,
visual remnant of its former economic and
domestic characteristics. Since the Lady
Victoria Colliery’s closure in March 1981,
the village has transformed from being a
place of work, residence and community
to life into a dormitory settlement. I will
focus, in particular, on the modern history
of Newtongrange.
Through looking at Newtongrange as
an economy or oikos-nomos in ancient
Greek, I wish to critique the way in
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which the village has been traditionally
managed, in an effort to propose a
possible future. Oikos means household,
in an all-encompassing sense and nomos
describes management or distribution.
The domestic lives - and economic
fortunes - of those in Newtongrange
have always been reliant on those who
managed their affairs on their behalf.
Whilst controversial political decisions
of Margaret Thatcher’s Conservative
government and the divisive management
the Scottish National Coal Board’s Albert
Wheeler are hotly debated in regards to
their ethics and moral judgement, they did
remove a circular, and arguably entrapping
economy in Scottish mining towns. The
economics of conservative, free-market
liberals treated the State as if it were a
household economy.
The infamous Mungo Mackay and his
feared green table are an example of a
previous economic dictatorship within
traditional industries. One man held
strangling power over the residents
of Newtongrange’s lives in a complex
wage-labour relationship. Residents
were paid by, housed by, and fed by
the Lothian Coal Company with very
little alternative. If you faltered on your
labour commitments then you would be
10 11
sure to pay the consequences in every
other aspect of domestic life. Even upon
nationalisation, freedom to be released
from traditionally ‘working class,’ manual
labour was arguably limited. It is likely
that, despite the vast social problems
that ensued following the demise of
Scotland’s mining industry, very few would
advocate its return. Many would struggle
to fully identify with such binary class
categorisation today. A varied economy of
choice is to be expected in 21st century
Scotland.
There is a substantial risk in romanticising
the time before Lady Victoria Colliery’s
closure. The architecture that remains of
this by-gone industrial era adds to the
image of a once prosperous past and can
make an impression on the nostalgic.
However, those who prospered under
Newtongrange’s previously circular
economy is of great question. I wish
to propose a means for the residents
of the village to re-appropriate their
environment from something other than
just a visual remnant of the past. There
is no use in forgetting the evocative past,
however I advocate looking at ways to
take ownership of the Newtongrange’s
domestic life and economy as being of far Top:
The New Pivot II - Proposal on Haldane’s
greater benefit. Table and Netwtongrange
117
THE
BUILDING SC
AUTHOR / MICHAEL MALLIND
Architectural Design: Tectonics
[ARCH10003]

Managing [Nómos] Thesis

Architectural Design: Tectonics was the first time I have
ever looked at a design project as a research and thesis
project. It was an exciting time to read further in to the
socio-political history of Newtongrange.

Above:
Group models on Haldane’s Table
Right:
Thesis Collage

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Architectural Design: Tectonics
[ARCH10003]

Managing [Nómos] Design

I used the movement of the table and its form to inform
the form of my debating chamber and planners office for
Newtongrange. The building acts as a new pivot for the village
and to open up the planning process. It is located next to the
Lady Victoria Colliery - the original pivot of Newtongrange.

Above: Top left:

The Debating Chamber Roof - Axonometric
1:50 Detail Section Right:
No Longer the Green Table - Axonometric AXONOMETRIC
SCALE / 1:500
AUTHOR / MICHAEL MALLINDER-MACLEOD

on Haldane’s Table

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 MANAGING [NÓMOS] / THE SURFACE
Architectural Design: Tectonics
A

PLANNERS

[ARCH10003]
OFFICE

TERRACE

KITCHEN
MEETING

Managing [Nómos]
GREEN
ROOM
ROOM
WC

RECEPTION
OFFICE

MANAGING [NÓMOS] / THE SURFACE

WC
C/R

THE DEBATING
CHAMBER
A

A
CAFE/

MANAGING [NÓMOS] / THE SURFACE

BAR
RECEPTION/
WC
BOX OFFICE

FIRST FLOOR - DEBATING CHAMBER/PLANNERS OFFICE

AUTHOR / MICHAEL MALLINDER-MACLEOD
A

SCALE / 1:200
AMPHITHEATRE CAFE/
BAR
RECEPTION/
WC
BOX OFFICE

A AMPHITHEATRE

TERRACE
THE TABLE
AUTHOR / MICHAEL MALLINDER-MACLEOD

ROOM
GROUND FLOOR / HALDANE’S TABLE

A
SCALE / 1:200

AUTHOR / MICHAEL MALLINDER-MACLEOD

Above:

GROUND FLOOR - PUBLIC ENTRY

Haldane’s table on the site
Right:

SCALE / 1:200
1:200 Ground and First floor plans

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Architectural Design: Tectonics
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Managing [Nómos]

MANAGING [NÓMOS] / THE PIVOT

Above:
Split Section 1:200
Right:
Short Section 1:200 - connection
with the gantry
AUTHOR / MICHAEL MALLINDER-MACLEOD

LONG SPLIT SECTION A-A

SCALE / 1:200

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Professional Studies
[ARJA10004]

Learning Outcomes Course Description

Professional Studies gave me an insight in to the everyday issues

and complexities that face the architecture and construction
industries. I believe that this experience will make it easier for
me to get to grips with working in a professional environment - LO 1.
something I have not done before. I have been able to appreciate Develop an understanding of business
management and knowledge of
the importance of the architect in society as well as the
the legal and statutory frameworks
responsibilites we all must assume for safety, business and within which architectural design is
ethical reasons. practiced and delivered.
LO 2.
Develop an understanding of the
role of the client, architect and
related professions in the costing,
procurement and realisation of
architectural design projects.
This course introduces the key aspects of architectural
practice including the architect/client relationship, role of
professional bodies, current legislation and methods of
procurement.
The aims of this course are as follows:
1. Develop an awareness of professionalism and context for
practice;
2. Develop an awareness of forms of practice and how a small
business operates;
3. Develop an awareness of the client/architect relationship;
4. Introduce students to methods of building procurement.

LO 3.
Develop an understanding of the role
of the architect in society, including
knowledge of professionalism and
emerging trends in the construction
industry.

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Professional Studies
[ARJA10004]
Q1 Regulation [Learning Outcome 1]
Introduction
Architectural design in the UK is subject to a
wide range of regulatory requirements. Describe
the governmental purpose and architectural
implications of a selected regulation of the Building
Standards (Scotland). Like never before, building
regulations surrounding fire safety in buildings have
been thrown in to the spotlight following the tragic
fire at Grenfell Tower. The governmental purpose and
architectural implications of the 2005 regulation
on combustible cladding in high-rise buildings
in Scotland are now of great public concern and
scrutiny (Helm 2017).
...
Paragraph 3 [extract]
Since 2005, regulations for high-rise buildings in
Scotland have been somewhat more stringent than
those south of the border. Regulations changed to
state that only non-combustible cladding may be
used on new high-rise buildings and when added to
existing high-rise buildings. Since 2005, they also
Key Reading:
Scottish Government. 2017. “Domestic - Fire.” Technical
Handbooks 2017. Accessed January 13, 2018. http://www.gov.
scot/Resource/0052/00521750.pdf
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require sprinkler systems to be installed (Scottish
Government 2017). However, no provision has
yet been made for domestic high-rise buildings
constructed or retro-fitted prior to 2005 due to high-
costs and no current legal requirements (Rutherford
2017).
...
Conclusion
Fire safety regulations are in place to ultimately
protect the public and it is important that architects
embrace this responsibility in building design.
Despite certain architectural constraints, atrocities
such as that of Grenfell Tower can’t be allowed to
happen again. Architects should strive for buildings
that are as fire safe as possible, not just those that
tick regulatory boxes.
Designing Buildings. 2017. “BS 8418 Fire performance of
external cladding systems.” Last modified September 18,
2017. https://www.designingbuildings.co.uk/wiki/BS_8414_
Fire_performance_of_external_cladding_systems
Q2 Office Structures [Learning Outcome 1]
Introduction
An increasing number of architectural firms are
choosing to organise themselves as an Employee
Owned business. In what circumstance is this form
of office structure advantageous, and why?
In recent years, there has been a growing trend
in architectural firms moving towards Employee
Owned Business (EOB) models. Fifteen of the top
hundred practices in the UK have now adopted
employee ownership for a variety of advantageous
reasons such as the business longevity, tax changes
in 2014 and emphasis on collaborative culture and
transparency (Marrs 2018).
...
Paragraph 3 [extract]
Involving employees to varying degrees within the
everyday running of business matters has obvious
advantages in promoting the uptake of responsibility
and feeling of inclusivity. Collaboration across all
fronts of the business can cement the egalitarian
Key Reading:
Marrs, Colin. “Power to the people: the rise of the employee-
owned practice.” Architect’s Journal, January 12, 2018. https://
www.architectsjournal.co.uk/news/power-to-the-people-
the-rise-of-the-employee-owned-practice/10026872.article
values that most architectural practices promote
and potentially improve productivity levels (Glenday
2017). EOB’s can be advantageous in breaking down
damaging hierarchies that heavily focus on firms’
top architects and not everyone that the business
requires for operation. A greater focus is placed on
transparency and accountability. By having a stake
in the business, employees demand responsible
leadership and sensible financial decisions (Scott
2016).
...
Conclusion
The multitude of advantages in architectural firms
becoming EOB’s are clear. EOB’s are equipped to
sustain the succession of senior stakeholders,
improve collaboration and transparency as well as
taking advantage of beneficial tax policy. It is no
wonder that an increasing number of architectural
firms are choosing to become EOB’s.
Gov.uk. n.d. “Tax and Employee Share Schemes.” Accessed
January 21, 2018. https://www.gov.uk/tax-employee-share-
schemes
123
Professional Studies
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Q3 Contracts [Learning Outcome 2]
Introduction
An architect’s design responsibility varies
considerably between ‘Traditional’ and ‘Design and
Build’ contracts. The clients’ preference for either
contract has profound implications on the entire
process of delivery. I will look at the difference
between the two in consideration of the architect’s
design responsibility.
...
Paragraph 2 [extract]
‘Traditional’ contracts are the most common route
of procurement. Clients appoint architects and
consultants to produce detailed project designs
which will then be put out to tender. The necessity
for thorough design details beforehand offers the
client an opportunity to review the design quality
before the tendering stage. Contractors are then
invited to compete for the opportunity to construct
the project without any responsibility for the design.
...
Key Reading:
Patel, Sonali. “A vote for traditional procurement at the right
time and in the right place.” Thomson Reuters Practical Law
Construction Blog, January 5, 2011. http://constructionblog.
practicallaw.com/a-vote-for-traditional-procurement-at-the-
right-time-and-in-the-right-place/
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Paragraph 3 [extract]
The ‘Design and Build’ procurement route takes
the responsibility for design away from the
client - including the risk of escalating costs and
project timescale. Responsibility is transferred to
one organisation who then subcontract suitable
consultants who can complete the job for a lump-
sum and shorter timescale.
...
Conclusion
‘Traditional’ and ‘Design and Build’ contracts are by
no-means binary and are adaptable to suit client
requirements (The NBS n.d.). ‘Traditional’ contracts
place emphasis on quality architecture and
increased design responsibility upon the architect
to provide a more bespoke final product whereas
‘Design and Build’ contracts place emphasis on
efficiency and subvert the importance of quality
design in pursuit of guaranteed costs. Neither of
these procurement routes are perfect or without
their risks.
Turina, Natasa, Mladen Radujkovic and Diana Car-Pusic.
“‘Design and Build’ in comparison with the traditional
procurement method and the possibility of its application
in the Croatian construction industry.” Accessed February 2,
2018.
Q4 Professionalism [Learning Outcome 2]
Introduction
The Architects Registration Board (ARB) is
responsible for safeguarding the architect’s
title and function in the UK. Under Section 20
of the Architects Act 1997, the title of ‘architect’
is protected and only valid for use in company
names where someone is ARB registered and has
completed full architectural education, training and
experience (ARB 2017). I argue that the ARB is only
partially successful at protecting the architect’s
title, and less successful in protecting the architect’s
function.
...
Paragraph 4 [extract]
Ultimately, the title of ‘architect’ with ARB
registration only means so much and does not
celebrate the immense diversity of backgrounds
and skills that architectural designers in the UK
and wider world posses. Anyone in the UK is able
to submit a planning application, meaning that the
quality and value of an architect or architectural
Key Reading:
Finch, Paul. “Why on earth does the ARB continue to
exist?” Architects Journal, April 4, 2017. https://www.
architectsjournal.co.uk/opinion/why-on-earth-does-the-arb-
continue-to-exist/10018807.article
designer is better gauged by their portfolio of work
and skillset (Frearson 2012). Architects, despite
being unified under one title, can be completely
ideologically opposed and hold diverse fields of
knowledge. They have little legal responsibility
compared to other protected professions such as
medicine (Stott 2013). The ARB does little promote
the industry or to successfully protect the function
of the architect - instead focussing on the title with
its aforementioned limitations.
...
Conclusion
The ARB only partially succeed in the protection
of the architect’s title and struggle to safeguard
the architect’s function. The institution’s attention
is focussed on a singular title that does not take
in to account the diverse reality of a globalised,
international industry of talented designers. The
title of architect cannot in itself guarantee quality.
Instead, only an architects portfolio of work and
skillset can safeguard the industry’s function.
“What we do to Regulate use of the title ‘Architect’.” ARB,
December 6, 2017. http://www.arb.org.uk/public-information/
regulate-use-title-architect/?download_pdf=4431
124
Professional Studies
[ARJA10004]

Q5 Fees [Learning Outcome 3] Q6 Construction Management [Learning Outcome 3]

Introduction
Lump Sum fees offer clients more predictability
about project costs and can help architects have
more control over profit expectations (Rodriguez
2017). In Lump Sum fee contracts, the parameters of
the project must be clearly defined from the outset
so that both parties can agree upon a fixed price
(RIAS n.d.). However, due to the nature of defining a
fixed price at the beginning, there are clear risks for
both parties that must be accounted for.
...
Paragraph 3 [extract]
Due to the restrictive nature contractual agreements
and conscious negotiation of which party is liable
for a multitude of eventualities, there is scope for
contractor/client relations to break down with legal
repercussions. If the signed, contractual agreement
isn’t clear from the beginning, then scheme revisions
and alterations could result in large costs for
either party and raise tensions. The RIBA provides
a ‘Standard Form of Appointment’ template to
assist architects in forming a contract (RIBA 2015).
In the case that something goes wrong, claims
and disputes could arise such as the architect
requesting damages for project delay costs because
of the client. It is important that the architect can
make a clear case in showing that their employer’s
bad timekeeping or organisation has resulted in
project delays or disruptions resulting in additional
costs (Hughes-D’Aeth 2011).
...
Conclusion
Lump Sum fee contracts have their advantages for
architects and clients, but aren’t without their risks.
Contracts and designs must be fully resolved with
suitable clauses at the beginning to minimise the
risk of any financial and legal disputes that could
otherwise arise. If both parties are confident that
the Lump Sum fee is suitably comprehensive, then
there is no reason why it cannot be of great benefit,
particularly on independent build projects.
Introduction advances in the industry is extremely beneficial
but smaller firms should not be left behind in this
Building Information Modelling (BIM) enables migration towards BIM.
all information needed for construction projects ...
to be compiled in one piece of software. Across
architectural practice and the construction industry, Conclusion
there is a big move towards BIM and standardisation
in pursuit of maximum efficiency (The NBS n.d.). BIM BIM offers a multitude of benefits for efficiency in
offers a multitude of advantages for the industry, but architectural practice and across the construction
is not without its challenges. industry but is not without its challenges. There
... are opportunities to reap the rewards of early
adoption of this transformative technology, but the
Paragraph 5 [extract] challenges disproportionately affect the industry’s
smaller players (Maguire 2014). BIM will become an
There are clear economic advantages in the UK essential tool across the sector once its adoption is
government pushing BIM uptake. The government universal.
states that, “the UK is now recognised by its peers as
one of the leading nations in the exploitation of BIM
technology and processes with an internationally
respected centrally-led programme” (Gov.uk n.d.). By
getting ahead in the game, UK based firms can have
a competitive advantage over their international
peers by being able to rid of inefficient practices and
costs. Being at the forefront of new technological

Key Reading: Key Reading:

Hughes-D’Aeth, John. “Do’s and Don’ts: Common mistakes in...
lump sum contracts.” BLP Law, March 1, 2011. http://www.
blplaw.com/expert-legal-insights/articles/construction-and-
engineering-common-mistakes-in-lump-sum-contracts
RIBA 2015. “It’s useful to know.” Accessed February 17, 2018.
https://www.architecture.com/-/media/gathercontent/
dispute.../itsusefultoknowdoc.doc
Gov.uk. n.d. “Building Information Modelling: Industrial
strategy: government and industry in partnership.” Accessed
February 16, 2018. https://www.gov.uk/government/uploads/
system/uploads/attachment_data/file/34710/12-1327-
building-information-modelling.pdf
Mineer, David. “Pros & Cons of Using a BIM Model for your
Next Project.” Construction Monitor, December 3, 2015.
https://www.constructionmonitor.com/blog/2015/12/03/
pros-cons-of-using-a-bim-model-for-your-next-project/

GC 1 2 3 4 5 6 7 8 9 10 11 125
Academic Portfolio: Part 1
[ARCH10005]

Learning Outcomes Course Description

The Academic Portfolio course was a chance for me to reflect

on what I have learned and achieved during my four years of
undergraduate education. It was an opportunity to bring together
such a large volume of work in to a presentation format that can
be easily understood. I was afforded the ability to be able to think
about my experiences and what I wish to persue.
LO 1.
Compose a coherent, well designed
and integrated architectural
design portfolio that documents
and communicates architectural
knowledge, skills and abilities, and
that synthesizes and presents work
produced using diverse media (sketch
books, written work, computer work,
drawings and models, etc).
LO 2.
Integrate knowledge in architectural
design, technology and environment,
histories and theories of architecture
and the related arts, professionalism
and regulatory frameworks as
evidenced through the content of the
portfolio.
This course requires students to curate the academic
work produced during their BA/MA degree and present it
in the form of an integrated academic portfolio - defined
by the Architect’ Registration Board as: ‘a comprehensive
chronological record of student’s design project work
together with all coursework, including reports, dissertations,
sketch books and any other evidence of work, (with project
briefs and examination papers), that have been assessed as
part of the degree leading to an award of Part 1’. The work to
curate and present the portfolio is independent of the work
from the courses themselves. The course emphasizes the
design and conceptualisation skills required to integrate
and present diverse knowledges and media. It is introduced
during Years 1 & 2 to ensure that students document their
work as part of a personal development plan.

LO 3.
Reflect on personal development with
reference to the attainment of the
ARB/RIBA Part 1 Graduate Attributes
through an introductory summative
statement, and understand the
relationship of the General Criteria to
the student’s work, as demonstrated
through a referencing system in the
portfolio.

GC 1 2 3 4 5 6 7 8 9 10 11 126
 Michael Mallinder-MacLeod
s1438662 / MA [Hons] Architecture