爱丁堡大学2020 ESALA 学院毕业展
University of Edinburgh: Edinburgh School of Architecture and Landscape Architecture (ESALA)
不确定地面的体系结构
虚无之城//一切之岛-海岛领土六-曼哈顿
向北看：埃罗尔雕塑公园
在材料中建立:我选择在现有的空地上放置雕塑画廊，它是对面砖厂的材料装载场地。我的建筑参考了工厂的物理体量以及使用其结构产品;砖。在不复制的前提下，借鉴场地周围的形式和物质。绘画作为一种通过建筑思考的方法:绘画提供了构图清晰和色彩理论。通过将这些体量压平，形成它们的足迹;人行道、庭院、楼梯和建筑都在一个表面上形成了形状。如果平面上存在动态内聚，则会转化为挤压形式。色彩对于构成的活力是非常重要的，而形状应该更准确地描述为不同色彩区域的框架。因此本质上;色彩为三维空间的发展提供了框架。
Granton Bikeworks是ESALA工作室第四年“生产性城市——在爱丁堡生活和工作”项目的一部分。该工作室在Granton提出了一系列关于生活在当代城市意味着什么的项目。在这个项目中，我们被要求实验非常规的计划分布，设想生命形式，提出原始的空间分布和安排。该项目将“生产活动”与生活单元合并在一个建筑综合体中，旨在挑战传统的建筑类型和社会经济模式。Granton Bikeworks提出了一个混合使用的城市街区，结合了自行车车间、开放的工作空间和3种不同的居住类型。集成的坡道作为主要的交通工具，允许居民从一层骑车回家。建筑的形式是为了回应基地上已经存在的交通网络，特别是连接格兰顿中心和福斯河口湾的自行车道。该方案旨在增强行人和骑自行车者的体验，并考虑格兰顿(Granton)充满活力的住宅方案，格兰顿是爱丁堡的一个地区，在历史上一直被忽视。
Naples的一堵墙
“生产性城市”邀请我们提出新的类型学，将生活和工作模式整合到当代、后工业城市环境中。该方案旨在将该地区的传统生产本地化，并在当代环境中进行设计。它占据了一块废弃土地的一角，毗邻以前的工业建筑和最近的住宅区。我通过per-meability这个前缀探索了生活和工作的方式。该项目在综合体的一层容纳了详细的纸张生产过程。该项目采用双层玻璃和铁丝网立面，在居民和更广阔的城市之间创造了通透性。
暂停状态的庇护所
暂停的避难所包括曼哈顿历史上的收集池。这片水景曾经充满了工业和多样性，但后来被埋葬在一个由法院和行政权力组成的混凝土世界里。该地区现在的特点是专横跋扈、坚不可摧的建筑;它的重量，无论是身体上的还是象征意义上的，都不协调地漂浮在收藏品柔软的地面上。
该提案通过一个新的公共领域扩大了这种不平衡，在这个领域中，庞大的城市中心被解剖，并向社会的一个截面开放，这些社会截面被限制在“官方”的外围——无证移民。它试图通过建立一个庇护岛来对抗联邦政府非人化的反移民言论;居住在美国国籍以外的人可以寻求庇护。
反对谷物：新的城市接缝
通过从研究到制作的过程，这篇论文揭示了曼哈顿岛是一张重写本的地图。这些地图证明了新自由主义政治通过去工业化、红线和城市更新在小意大利的形成中所扮演的角色，以及威胁到该地区传统和特色的当代超中产化现象。随着论文断言位置创建取代拆迁,它能够识别空置的公寓作为编程干预的机会的时刻,在一系列离散结构模具,路线和反弹到这个新出土Scapeland(景观),欢迎小意大利的边缘飞地沐浴在“不愉快”的光荣在新成立的公共景观。
放眼北部：Errol社区陶器和编织中心
Naples is sinking; the city is undermined by an unreliable substratum, disturbed by sinkholes, landslides, earthquakes and disease. Unlawful construction has moved up the slopes of Vesuvius, as inhabitants forget the nature of the ground they occupy. Concrete constructions within the city have led to collapses in the caverns below, giving new urgency to the adage that Naples is built on nothing. The district of Rione Sanità (sanità, noun. health) stands guard over the highest number of subterranean caverns—many undocumented—in the city. As the city grows upward, Sanità looks down. The skulls of unknown dead are watched over at the catacombs of San Gaudioso, San Gennaro and San Severo, and caverns are utilised by locals to park, store and live. The health of the population of this once-prosperous district is failing, as is the health of its subsoil. The architectural proposals explored in Of/On/Over Tufo are aware of the uncertainties of this Neapolitan landscape and the precarious conditions of Sanità, but also of the intertwining material history of Naples, its people and its substrate: tufo, or tuff stone. A series of social amenities and workshops exploring ground conditions and tectonics reinforce the essential nature of a healthy relationship with ground. New gateways brace the Lotti and Tronari Quarries that allow those working with, on and over ground (fabricators, surveyors, performers) to operate in dialogue with the adjacent Osservatorio Astronomico di Capodimonte.
终身学习中心：福尔柯克（Falkirk）的剧院和表演艺术驻地
零售商店的关闭，Falkirk大街上缺乏多样性和流动性，反映了城镇中心的能量分散。这就需要寻求解决方案，在商业街上重新引入新的、多样化的能源。在更广泛的意义上，福尔柯克也是附近20个依赖城镇的社会和经济中心。因此，福尔柯克高街的复兴不仅对当地社区至关重要，对更广阔的地区也有好处。
沃克斯豪尔烟花公园
Vauxhall Firework Park is a visual entertainment park to explore the spatial pleasure of firework and its art. It is a two-semester architecture design project that Chunxiao Wu and I worked on to finalize our Master of Architecture study.
The design facilities both outdoor and indoor space for people visually and physically experience firework and firework-related architecture. The indoor gallery space is evolved from the apparatus of firework-related spatial quality. Learning from Bernard Tschumi’s way to archive Architecture Montage in Parc de la Villette, we find our way to inform a cinematic architecture language and experience. Instead of the conventional way of viewing firework, we introduced restrained (framed) eye-sights to view and participate in an immersive experience. The outdoor grand talk was extracted from Vauxhall Garden (18century)’s supper boxes and other colonnades gallery. Another contemporary approach of ours could reference to Chinese pyrotechnic artist Cai Guo-Qiang with the use of gunpowder to trigger explosion on monumental architecture in outdoor space and to draw in the paper.
该项目提出了随着技术进步而改变我们的社会习惯的挑战;寻找一个替代未来的汽车零售公园在克雷利斯，反对当前的趋势的社会和城市发展。通过引入一个面向社区的综合体，容纳从采购到升级成品的普通和非传统的贬值组件，该方案结合了休闲、教育和实用功能，促进了该地区面向社区的可持续增强。
分阶段安全-Bishopsgate Bombing 1993
On the 24th April 1993 a vehicle explosive went off in the Centre of the ward of Bishopsgate, creating large scale damage and a turning point for an approach to security within the city. After two decades of destruction and terror in London; as a result of the IRA bombing campaign, the ring of steel was introduced and the city began to be cordoned off.
有序与无序：开垦砖块之旅
The centre collects bricks from demolished buildings in Edinburgh, and processes them for reuse in construction and to create habitable homes for biodiversity within the park. Given that the building is situated within a residential neighbourhood in Craigleith, Edinburgh, it invites the public to participate within its functions. The centre aims to increase local awareness of material reuse in support of an environmental degrowth strategy, as well as increase knowledge of endangered species in Edinburgh, and aims to support local biodiversity.
There are four main catalysts on the degrowth journey to reclaiming brick. The site acts as the foundation that defined the decisions in designing this building. The choice of material - brick - was selected to partake this journey due to its organic composition; a perfect representation of the circle of life. People represent the order in the process, with their interaction with space and material, and participation in the degrowth process. Finally, the biodiversity represents disorder. It is an existence that can never be controlled, but can be manipulated. The final product is a manifestation of all of the above and the success of it lies in how well these catalysts are able to communicate with each other. The architecture therefore acts as the common force that creates a space for these catalysts to interact.
docha-Glenuig的建议建筑/ Samalaman的房屋
Our ‘suggested architecture’ takes the form of an archipelago of buildings for the community of Glenuig which could evoke a renewed sense of place. The collective proposal is thus an antithesis to the centre and a celebration of the existing rural landscape. Connection is an important term in the context of our project. It speaks of urbanization and the relative isolation of Glenuig but it is also critical with regards to how individual components within our project come together to form a totality. Despite formal differences, our individual projects are not scattered fragments but bound as a whole. From the outset, it was decided that each project should have a strong awareness of its place in the community and encourage face to face interaction.
The rooms of each of the three houses are dictated by and revolve around the use of everyday objects within them. Throughout my project, a focus on the rooms conveys a narrative of inefficiency and slowness, thereby capturing moments of everyday life in Glenuig. It is also intended that the rooms of the houses are comprehended by occupation. Therefore, the essence of my suggested architecture is not its programme but its use.
Sonnenallee 9 proposes a building for Berlin: set within a corner plot located on the periphery of a neighbourhood of housing. The building responds to the figure of the corner building, a typology ubiquitous within Berlin’s urban fabric, employing and exemplifying the type’s formal characteristics. Approaching the urban fabric of Berlin in this manner - extracting and engaging a specific typological condition to create a contextually resonant architecture - attempts to enact an engagement with the urban at the scale of the architectural.
Inside the building, polyvalent spaces remain ambiguous and open to appropriation: in its initial configuration, the building accommodates for both for living and working. Very clearly, the architecture's expression borders on the high-tech: as such, the building is conceived as a performative device. This is not, however, a semantic valorisation of technological progress, rather the building borrows its materiality from the banal readymades of the contemporary sprawl: sheds, boxes and warehouses.
Inside the building, polyvalent spaces remain ambiguous and open to appropriation: in its initial configuration, the building accommodates for both for living and working. Very clearly, the architecture's expression borders on the high-tech: as such, the building is conceived as a performative device. This is not, however, a semantic valorisation of technological progress, rather the building borrows its materiality from the banal readymades of the contemporary sprawl: sheds, boxes and warehouses.
通过调查双方的农村类型，高地文化居住的方面以及该地区的精神病护理系统，该建议探索了“两方退缩”的潜力。
不确定地面的体系结构
Naples is sinking; the city is undermined by an unreliable substratum, disturbed by sinkholes, landslides, earthquakes and disease. Concrete constructions within the city have led to collapses in the caverns below, giving new urgency to the adage that Naples is built on nothing. "Of/ On/ Over Tufo" seeks to re-engage Naples with its ground, reminding the city of its volcanic substrate, and that uncertain ground can form the basis for rethinking how Naples builds in and of itself. New architectural proposals within "Of/ On/ Over Tufo" explore a series of social amenities and workshops exploring ground conditions and tectonics that reinforce the essential nature of a healthy relationship with ground within the Lotti and Tronari quarries.
“Woodworks” is one of four segments that bring the quarry masterplan together. Spruce and larch trees are planted within the quarry aiding the conservation of soil, movement of water and providing sustainable material for construction. They grow alongside bespoke spaces for carpentry, joinery and teaching for the passing down of skills. The Woodworks adds civic function with an archive that documents production, sales and growth of the scheme.
从苏塞克斯郡的Knepp野地项目中获得灵感，埃罗尔野地支持中心探索了在佩思郡埃罗尔的野地项目的创建。该建筑旨在支持这一过程，为引进到野外的大型食草动物的处理提供设施，为野生动物救援提供设施，并为研究提供空间。大部分设计是由功能需求驱动的，最明显的是动物处理系统，它是基于Temple Grandin人性化的牲畜处理系统的设计。建筑存在于人与自然的边界上，探索人类过去、现在和未来与自然的相互作用。
Falkirk being a town centralised around its high-street has seen a major expansion of retail sector. The ongoing shift from retail stores to online shopping is expected to heavily influence the high-street and the town centre in general. Through this there is a need to provide alternative social activators for the high-street as well as public attraction for the near housing to link it with the centre. As a result, proposed solution works to integrate existing housing to the high-street by linking the centre with the housing area to the South. In order to invite the public to use this link the project integrates a social hub district area next to the High-Street Steeple. The Social Hub Campus will have a role of culminating public activities in one area with diverse public facilities.
虚无之城//一切之岛
Manhattan can be seen as a City of Nothing- it is dominant on the world stage yet yields little in the way of physical substance. Its products are invisible but operate with extreme force in modern culture and finance. This thesis seeks to engage with the unique way in which the city simultaneously promotes fantastical visions through the reasoning of pragmatism. It imagines an urban landscape that cuts the ground with the same intensity that its towers scrape the sky - an equal wit of earth and air rights. This cutting, splicing, pressing, lifting multiplies Manhattan’s configuration as an island and exposes the infrastructural bowels of the city. A new urban morphology is created; an upper-world of islands and towers that extend from ravine to sky, and a lower-world that offers horizontal expanse in the form of a public topography. The duality of conditions is informed and calibrated by the vertical hinge of Grand Central Terminus: referential scales derived from this iconic structure inform fields of influence throughout the proposals. The resultant landscape presents an exaggerated Manhattan that draws from the topographic ambition of its founding and the fabulous reality of its modes of operation.
Naples, Neapolis, Napule, Napoli, the city has lived through dozen of eras and existed in countless forms. It has been a colony, a capital, a kingdom, a city. It has swelled and split, gutted, bombed and hit, patched and stitched back together again.
Santiago de Compostela is overlaid with an intricate topography of names, within which a complex cultural and political history is inscribed. The contemporary issues surrounding the loss of Galician language and place-names – including that of the erasure of historical consciousness – form the driving narrative of this project. Water is ubiquitous in Santiago de Compostela – it envelopes the city in mist and rain, and spreads through it in the form of rivers, springs and fountains. Historically, institutions of water, such as the many old laundries in the city, were used as a dialogic social spaces where events of the moment were discussed and deciphered. Inspired by the book-reliquary which began the study, the project uses water to interweave a pilgrim’s bath house with a paper-making mill dedicated to the re-establishment of traditional Galician language.
Nalpes的一堵墙
Located in the histroic city of Naples, this regenerative project proposes a piece of infrastructure along the ghost wall line of the old city inspired by historical themes of siege and city guilds. It includes an underpass beneath the ghost wall’s foundations to connect the old city to the railway station lying outside the city boundary, with a reimagined wine guild and market hub sitting above.
Smugglers & Skins imagines a landscape that reconfigures Times Square’s iconic role as an illuminated LED surface of shifting signs, advertisements and information, all calibrated for an audience with neither time nor attention. The design thesis proposes an act of considered unmasking, of scraping, feathering, creasing and folding that reveals what lies beneath and in the process animates another skin, a space between the digital language of Times Square and the existing facades of 19th and early 20th century theatres and office buildings. This double-skin architecture houses spaces for performance on and within the new landscape.
通过废墟，他们是伪造的
Finding its genesis in place attachment theory, this project aims to encourage stewardship towards the Ardeer peninsula, the former site of Nobel’s dynamite factory in Ayreshire. Since the factory’s closure, the landscape has become the focus of great hostility and stigmatisation as it symbolises the decline of the local economy. This project approaches this stigmatisation by exploring the experiences of the local community through memory mapping, using this to build a framework which uses these negative emotions to inform positive reattachment and integration with the landscape.
This idea is explored further in ‘The Unforgetting’ - a landscape led therapy programme which encourages participants to overcome their prejudice towards the landscape through a four stage programme. The focus on memories is not only relevant to place attachment, rather it is essential in understanding and breaking the patterns of neglect within the relationship between the community and the peninsula. One way to do this is to reinforce a sense of understanding and reciprocity within the relationship, which is portrayed in this project as the creation of an empathetic landscape. The selected work highlights some of the key elements of the project which uses both theoretical and physical design interventions to create empathy within the landscape. This is done mainly through the flooding of the peninsula, using industrial ruins as vessels in which water is held, moved, meandered, and released.
The Bird Observation Centre, situated on the banks of the River Tay, marks the completion of a Green Route through Errol.
AquaCulture imbeds the maintenance and harvesting of produce into theprogrammatic ritual and spatial arrangement of the home.
回收奥斯陆的公共空间
The project combines neighbourhood's characteristics and takes the daily life of the residents as a clue and uses "cultivate/cherish", "harvest/cooperation & Share", and "celebrate/enjoy" three themes as design strategies to revitalize the vacant land and unused space to create an unadorned, sufficient, and living rather than high-end, fancy, and rigid community landscape. At the same time, to find a way for people to live in harmony with nature and create a relationship of balanced development between society and the environment. This set of integrated and continuous spatial transformations uncover the most iconic landscape experiences of the neighbourhood and identify the economic benefits and educational significance hidden in these public spaces. However, the importance of this revitalization is not only to build an inclusive, harmonious, dynamic and productive community but more importantly, on the urban scale, it is also of great significance in connecting the ecological corridor from the forest to the city and connecting the fractured urban green network.
In his ‘retroactive manifesto’ Delirious New York, Koolhaas explores how Manhattan became a mythical laboratory for invention as a result of the simultaneous growth of urban density and new technologies. Arguing that each block contains multiple layers of realised buildings existing in parallel with past occupancies and other potentials, Midtown can be understood as an intense archipelago, with the Commissioner’s Grid of 1811 providing the bounding body to a series of individual islands.
（取消）门槛：新那不勒斯实践的门/方法
重生-奥斯陆的布朗菲尔德修复
Public spaces in urban Oslo are well designed. They extend from the forest to the fjord, forming a relatively continuous ecological corridor, which provides a suitable environment for wildlife. In contrast, public space in the suburbs is very scarce. For example, in the Haraldrud area in eastern Oslo, the broad railway and large industrial areas have caused obstructions of the ecological corridors. Habitats and ecological networks have been destroyed and broken into patches. Brownfields are a waste of land resources.
（取消）阈值；新那不勒斯实践的大门/方式
（取消）阈值；新那不勒斯实践的大门/方式
(Un)doing Thresholds explores the porous conditions, temporalities and architectonic specificities of Naples, a place in which processes of “undoing” are—following Andrew Benjamin— understood to be vital to the formation of the city as constructive practices. The project explores this ‘undoing’ as a means of making architecture. Techniques for constructing drawings allow urban thresholds to be (un)done, drawn through one another in a constructive overwriting of form and function based on the immediacy of the city. The result is a series of multiple, porous spaces created through drawing, but situated and developed through the city. Rather than imposing fixities upon space, these porous spaces develop as architectures of ruin, labyrinth and theatre—as described by Graeme Gilloch’s reading of Walter Benjamin and Asja Lacis’ Naples— in which thresholds become programmatically labyrinthine, theatrical or ruinous, or materially or spatially open, exhibiting how the interpenetration of these archetypes might form porous architectural conditions and spaces.
取消）阈值；新那不勒斯实践的大门/方式
(Un)doing Thresholds explores the porous conditions, temporalities and architectonic specificities of Naples, a place in which processes of “undoing” are—following Andrew Benjamin—understood to be vital to the formation of the city as constructive practices. The project explores this ‘undoing’ as a means of making architecture. Techniques for constructing drawings allow urban thresholds to be (un)done, drawn through one another in a constructive overwriting of form and function based on the immediacy of the city. The result is a series of multiple, porous spaces created through drawing, but situated and developed through the city. Rather than imposing fixities upon space, these porous spaces develop as architectures of ruin, labyrinth and theatre—as described by Graeme Gilloch’s reading of Walter Benjamin and Asja Lacis’ Naples— in which thresholds become programmatically labyrinthine, theatrical or ruinous, or materially or spatially open, exhibiting how the interpenetration of these archetypes might form porous architectural conditions and spaces.
As an island, Manhattan’s limits have been constantly challenged over time. Through reclamation, the island has extended itself into the sea to become 30% larger than its original landmass. Now, with climate change exacerbating rising sea levels and storm surges, much of this land is set to be lost back in the sea. The institute reconsiders the park to become a research platform, developing strategies for the city to reconstruct, reform and reinvent its waterfront. It is located on the site of Battery Park at the southern tip of the island, its most vulnerable point, to be at the forefront of the threat.
A series of breakwaters line the landscape, acting as both piers and groynes as well as a structure from which a storm shelter mesh is held from. Behind the shelter line, there are 2 clusters of vessels acting as 2 parliaments operating at a global scale and the other at a governmental scale for the island. These are flood resistant chambers where people gather to research, debate and plan from. Other architectures are developed from existing buildings caught within this landscape. A fortified sea wall protects the surrounding city for now, framing the garden.
Naples is sinking; the city is undermined by an unreliable substratum, disturbed by sinkholes, landslides, earthquakes and disease. Unlawful construction has moved up the slopes of Vesuvius, as inhabitants forget the nature of the ground they occupy. Concrete constructions within the city have led to collapses in the caverns below, giving new urgency to the adage that Naples is built on nothing. Of/On/Over Tufo seeks to re-engage Naples with its ground, reminding the city of its volcanic substrate, and that uncertain ground can form the basis for rethinking how Naples builds in and of itself.
福尔柯克门户（Falkirk Gateway）：大街上的生活与学习
佛柯克门户（Falkirk Gateway）旨在通过在现有购物中心所在地的大型总体规划中增加住宅、社区和教育，振兴佛柯克（Falkirk）大街。这些提案用一系列的大型家庭住宅，较小的公寓和专门为老年居民提供的住宿，以及零售，新的保健中心，自闭症青少年学校和新的社区教育中心取代了目前未被充分利用的结构。
New ways of urban planning are being suggested to reduce the carbon footprints by strengthening local, domestic economies and reducing the use of fossil fuels. By doing so, pre-existing issues such as urban decay are being tackled with developments in renewable energies can be tested on-site to take a huge step towards a net-zero carbon emissions society.
The project degrows Edinburgh’s Craigleith Retail Park, transforming it into a hub for upcycling low-value materials into architectural components. This effectively shifts the site’s focus from a market-driven and car-dominated approach, to one that percolates a philosophy of care, reuse and repair. Hacking the site’s retail infrastructure, the proposal transforms the site into a social hub and forum for the surrounding community and visitors. With interventions including a climbing wall, sports field, running track, performance and event facilities, the proposal reintroduces public space and pedestrians to the site, propagating a more equitable sense of well-being.
Finding value in existing elements on site, the project upcycles 950 shopping carts found on site into ‘gabion-carts,’ utilising their immediate affordances to identify structural, programmatic, environmental and social strategies for the project. These gabion-carts are used to construct transformable structural walls that can be climbed, seated on, played with and used to store goods. The thermal inertia of rubble fill material inspires the invention of a gabion-cart trombe wall-system to passively heat the building. The ability to ‘grow’ the gabion-carts with rubble fill from demolition works weaves an original tectonic system into the material networks of Edinburgh, prototyping the diversion of low-value material streams into architecture, whilst promoting reuse and upcycling as degrowth methodologies.
As the world continues to battle with the pandemic, people are gradually adjusting their lifestyles to a new ‘normal’. Daily tasks, ranging from office meetings to grocery shopping, are being redefined as we learn to adapt to new lifestyles imposed on us. The Aquaponics Village proposal is an investigation into a contemporary form of living that celebrates urban agriculture as a productive activity that can be weaved into our everyday lives, assisted by an aquaponics system integrated into a residential tower.
The number of carehomes in Granton, where the village is set to be located, is particularly high compared to Edinburgh. It is an area that is popular among retirees. However, existing carehomes lack the facilities that support all-round health and wellbeing. Therefore, this project recognises the opportunity to invite the elderly back into society and stimulate a positive economic effect on the wider community. It is hoped that, through introducing fish and vegetable harvesting, employment will be made available to the elderly population in Granton. In addition, the Aquaponics Village will encourage a more sustainable and more local form of food production.
Within Amsterdam, the area of Zuidas, is considered to be the financial district and business centre which have evolved during the last decade. From an architectural point of view, it can be seen as a conglomerate of medium sized, office towers, all arranged around the metro station and A10 highway. This year long design project analyses the specific spatial characteristics of this district, the financial economic parameters, with local, regional and global contexts, focusing on a strategy of implementing non-standard functions and architectural typologies, within this district. Strategies of mobility are also at the core of this research, trying to determine a large-scale urban strategy of spatially weaving together business, finance, start-ups and leisure and arts.
London was the subject of a campaign of attacks by the IRA, (most prolificduring the 1980s-90s) whose aim was to weaken the UK economy. The Baltic Exchange, centre for maritime freight trade in the City of London, was the target in 1992. The bombing of the Baltic initiated plans to defend the City. Construction of London’s ‘Ring of Steel’ began a year later after another devastating attack, a network of increased policing, surveillance and road controls in and around the Square Mile built to defend against future attack.
This proposal addresses the contemporary condition of goods and services transfer in a future zero emissions city working with TFL’s City Streets Plan(TFL, 2018). Using Last Mile Logistics*, the network of land-gateways encircle the City along the line of the Wall, providing the points from which the last mile of goods transfer into the City can be completed via electric and zero carbon emitting forms of transportation.
Glenuig is a small rural community in the Scottish Highlands. As a group of 5 we collaborated to design an archipelago of community buildings which contribute towards the social, mental and physical well-being of the village. Our devised architectures aim to create a renewed sense of place; they are the antithesis of a centre and instead celebrate the existing rural landscape.
We are accustomed to a capitalist mode of production that aims to create products quickly and cheaply. Traditional boat building provides and antidote to this, it instead engages in a market that is driven by quality and skill. The digital revolution has generated virtual connections across the planet, yet access to spaces and tools to create often remains a privilege of city dwellers. Providing the facilities to make brings greater autonomy to rural communities.
Boat building is a craft and occupation that has a long history in the Highlands. A school will provide opportunity for the residents of Glenuig share their skills. Each boat will have an intimate local knowledge weaved into it. As they are sold across Scotland they will physically and symbolically provide a connection to other rural communities, creating a name for Glenuig through craft.
参与有趣的后工业遗址
Meanings are what transform spaces into places. Therefore, in a shift towards a more sustainable future, the focus should not remain solely on the restoration of the damaged ecosystem, but equally the restoration of the relationship which exists between people and their environments. We must ask ourselves: how can we facilitate the social processes of ecological restoration?
My specific approach is to design playful spaces which draw upon the traces of meaning present in the former site of Glengarnock Steelworks, North Ayrshire. Through the act of play, younger generations that visit the area are encouraged to take an active interest in and begin to reflect on their own relationships with the space, leading to the development of landscape meanings over time which go on to shape a distinct identity. In this way, the questions of sustainability, community building and engagement are addressed, and a previously contaminated post-industrial site is flooded with meaning once again.
Key Words: Landscape Meaning, Landscape Identity, Playfulness, Co-design, Nature-inclusive Design, Post-industrial
Harrison’s Workshop(ii) is a landscape and architectural proposal that seeks to address the intricate political, social and environmental challenges attending upon a turbulent political climate, where the relevance of the United Nations in the 21st century has been called into question
Named ‘Pangaea’, the last supercontinent, the thesis offers a multifaceted, critical and highly charged neighbour, housing ‘laboratories’ of change beside the existing structures of the UN campus today. In this case, the term ‘laboratories’ refers to more than a scientific research room. Instead, it alludes to a testing ground for social and environmental concerns that lay dormant.
Pianos - An instrument once largely culturally relevant and significant is nowadays disposed of in abundance. My project explores how through the use of a material library for the upcycling of pianos at Craigleith, their value can be reinvirgorated architecturally, socially and culturally. The scheme is a narrative weaving of reinterpretation of materials and specifically pianos- not as finite objects, but as a lengthy and labour-intensive process with complex inner mechanisms and lives of their own. The culmination of the project is the music school and the performance space where the celebration between people and materials is orchestrated through the medium of music and through the vessel of architecture. While more and more pianos will be thrown away, the music school will grow, directly through the piano frames that will be added and indirectly through a counter-argument to the idea of disposal instead of reuse. Further zooming out, this project could act as precedent for other retail parks, or abandoned buildings situated around the centre which would become obsolete in the future. The parks would therefore turn into nodes of attraction for surrounding areas, creating a further sense of locality, promoting the notion of degrowth and connecting people through culture and music.
一个自我建设的社区//在爱丁堡格兰顿的生活和工作
Autonomous in their spatial and formal production, a pre-conditioned gridded system for each building offers rationality as contrast to the erraticism of the landscape - a distinction between cultural production and natural formation emerges to ascertain the appreciation of both nature and culture as discrete things. An observational focus inherent to Glenuig is appropriated to each building. The tower, the hide, the pontoon and the observatory observe the clouds, the birds, the sea and the stars respectively- the architecture becomes a vessel for observing place. In doing so, a certain symbiosis prevails, between nature and culture, observation and architecture. And so, although formally, the architectural suggestions contrast the landscape, they simultaneously pivot upon the natural sentiment of place through their programme. Distinct structural systems are appropriated to each building as a result of the ground they are placed, and this place, or habitat, is determined by the most suitable area to observe their particular focus. As such, the tower clings to a cliff, the hide is semi-submerged on the shore of a loch, the pontoon floats in the sea, and the observatory rests upon a hill. Each of the buildings are accessible and connected by loosely marked footpaths and when the appropriate lines are traced, the collection of suggestions becomes something akin to a constellation within the landscape.
如何在裸露的城市中穿衣：差异景观中的建筑
Manhattan is a landscape flattened. Once the "Island of Many Hills," it has since been bulldozed and recreated - flattened, stripped naked, and re-dressed. Following investigations into Manhattan's Theatre and Garment districts, nine theatric Architectures unpack across Broadway as a jacket unpacks from a wardrobe, each one a measure in the landscape. The Architectures measure the topographic discrepancies of Manhattan's landscape, and, in doing so, give utterance to the demographic discrepancies of Manhattan as an urban space: Architectures archive changes in height across time, and in doing so create stages for those on the margins of Broadway: vendors, artists, buskers, veterans, poets, peanut sellers and street performers.
合作气候研讨会
This project is a cooperative timber workshop and organisational space for the climate movement-and other progressive movements-based by Regent's Canal in Haggerston, East London.
The workshop sits on the rooftop of an old wharf building, relating to existing 'Antepavilions' by two walkways. The 'Antepavilions' are three rooftop pavilions, annually commissioned by the Architecture Foundation since 2017. Specified in the brief for the Antepavilion 2020 were a number of NATO pontoons; my design subverts their historical military use, using them as a floating design module, interacting with the canal.
加诺克山谷-景观整治
The project is located on the West Coast of Scotland at the mouth of the River Garnock and Just south of the towns of Stevenston and Kilwinning.
The design brief was founded from exploration during site visits and research, identifying the historic traces and con-text of this landscape that influenced its past and could be used to shape the future state.
In the initial phase, I explored the Garnock valley at the regional scale, identifying the key characteristics of the valley specifically focusing on water. Water runs through the entire valley but is often overlooked or not utilised to its full potential. I discovered how the historic uses for water throughout the valley provided a precedent for shaping the valley’s future with the implementation of new water networks using the historic water traces as the basis for doing so.
The design used these traces to create a new canal network based on the Stevenston canal traces to allow for mitigation of flooding in the area, ecological remediation of the landscape over time and for people to live alongside, (through establishing a new housing framework) and interact with the water recreationally aiming to improve perceptions of water in this part of the Garnock Valley.
Puck’s Furrow expands along Houston Street on the Lower East Side of Manhattan, compressing a complex of journalistic pursuit into the liminal spaces that line the Lower East Side. In Puck’s Furrow Manhattan finds its Fleet Street, a melee of the world’s media folded into a shared scapeland where the truths of the day are tested, the fake news is flushed out, and the lies can no longer lie.
Behind the busyness of news rooms and editorial offices, theses folded forms house writers in exile. Collectors collect here too, digging and depositing into an archive that anchors the crumbling grid. All this sits within touching distance of the surviving tenement buildings, witnesses of the ever-changing city.
Puck’s furrow is journalism houses and houses for journalists set in a proximity that demands encounter with the city, and with one another. It happens here because this is where modern Manhattan began, on the ecotone where John Randel Jr. laid his first marble post. It is a proposal that invites Manhattan to look and look again at the truths on which it is built, whilst reflecting on the shifting realities, questionable truths and very real isolation we all felt in the spring of 2020.
Naples之梦：刻写真实的小说和虚拟的现实
In the city of Naples the line between the fictional and the real is unclear. Everyday occurrences are as remarkable as fiction. Outside the church of Via San Gregorio Armeno, craftsmen prepare expansive nativity scenes (presepe) in which the Madonna and Maradonna meet. In nearby Sanita, residents visit the underground city, carved into the rock of the surrounding hills, to tend the adopted skulls of abandoned souls (capuchella) in exchange for heavenly protection. Fiction shapes the city, “everyday harshness turns to a fabulous world”2. Pugliese’s narrative depiction (Malacqua) of Naples presents a derivation and satirical view of the realities faced by the city throughout the 1970’s. The incessant realities of camorra control, waste and the incompetence of the municipality are shown in the pathetic fallacy of relentless rain, which drowns and disintegrates Naples.
Naples之梦：刻写真实的小说和虚拟的现实
A dream of Naples: Inscribing Real Fictions and Fictive Realities traces fictions both into and from reality, inscribing new plot lines on the city. It operates between the manifestation of fictions and the inescapable realities (or the elevation of real conditions to the point of fiction and the grounding of fiction in the foundation of reality) through the construction of architectures that, simultaneously, operate at the level of archetypes and as inhabitable interlocutors of everyday actions. It develops material and programmatic gestures from the thickness of the glaze that binds the narrative imagery of Majolica tiles, to the discarded broken ceramic which lay forgotten in demolishment. From the wire-frame skeletons and plaster flesh of presepe, and their symbolic flourishes of gold leaf and fine silk with which these presepe are dressed, to the mounds of neglected Neapolitan clothing lining the streets of the city center. As each gesture acts as a catalyst for local stories and traditions, the architecture occupies these forms to create new narratives.
Through a series of extraordinary everyday spaces (washrooms and workshops) and an unconventionally conventional set of institutions (ceramic recycling factory and textile recycling factory), it invites entry into a fictive reality of Naples.