unit 1a y2 p2 draft

7/21/2019 UNIT 1A Y2 P2 DRAFT

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UNIT 1A | BRIEF Y2.P2 2013/14 Alisdair Russell with Stuart Buckenham and Chris McCurtin

Forgotten Places

Y2 PROJECT 2 | LEARNING TO DWELL |BEYOND HEYGATEKEY DATES:

PROJECT INTRODUCTION Tuesday, 21.10.2014 | 10.00 am | STUDIO

INTERIM REVIEW DATE Friday, 7.11.2014 | 10.00 am | STUDIO

FINAL REVIEW DATE Friday, 28.11.2014 | 10.00 am | STUDIO

FINAL SUBMISSION DATE Monday, 12.1.2015

A1 Portfolio submission + digital submission (moodle)

The Elephant and Castle has long held a tradition of housing London`s working class. Thedemolition of the failed and notorious Heygate will be heralded by many as `progression`,however it may also be argued as a retrograde step exacerbating the proliferation of wealth inthe city, and displacing both its traditional working class population, but also pricing out thediverse and cosmopolitan social mix it possesses. You will be expected not only to considerthe design of new dwellings but also to consider this in the socio-economic context of thelocale. The future of the area is shaped not only by its housing, but also by its people.

Jane Jacobs seminal text the Death and Life of Great American Cities explored theimportance of social and cultural diversity and a mixture of uses in her native New York. TheHeygate and its Sister Estate the Aylesbury embodied the Utopian Ideals of the LCC and the

Post War rebuilding programme. Based upon the ideals of Le Corbusier and Le VilleRadieuse, the Utopian Dreams were flawed and highly Idealistic and many of the otherBrutalist estates of the 60s across the capital are now faced with demolition.

The Heygate Estate 1975


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You will be expected to study the Genius Loci of the site and the context of the Elephant andCastle throughout the year and make appropriate architectural and programmatic decisionsas a both a catalyst to move forward but in acknowledgement of the traces, memories andremnants of the site which can inform both the material qualities and rationale of yourarchitecture.

Your investigations of project 1 should form a design primer, with key ideas incorporatedaccordingly. We will study various seminal examples of housing from the individual, throughLive/Work and Adaptive Re-use, to Mass Housing. We will look at the architecture but also itsbold social aspirations and how well these were achieved. We will also critically consider thefuture for brutalist housing schemes and estates for example Parkhills contemporary RobinHood Gardens (designed by the Smithsons), London, which is currently planned fordemolition, while Sheffield`s Parkhill gets privatised/gentrified. Much seems to lie in the handsof English Heritage and whether these structures are Listed

Parkhill Renovation, Hawkins\Brown & Studio Egret West, 2013.

Robin Hood Gardens, Poplar, Alison & Peter Smithson 1972.


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Requirements:

Continuing to work together as 2 nd and 3 rd year groups with each group choosing fromseveral pre-selected sites in the Elephant and Castle area.

Second year students will focus on the design of 9 no. Live/Work Housing units, youshould continue working with the 3 rd year students from project 1 who will bedesigning a small public building which will dovetail with the live-work units on thesame site.Therefore the design of the live/work unit (2 nd years) and the particularprogramme of the public forum (3 rd years), which should also inform each other andset up an architectural (spatial, tectonic and programmatic) dialogue. You will benefitfrom both the dialogue with your peers and the acquisition of new skills from yourmore experienced 3 rd year colleagues.

A massing model and site masterplan drawing are to be produced illustrating howyour design interfaces with more widespread site context.

The 9 live(/work) units will consist specifically of 2 different types of units:

o 6 no. smaller unit for singles or couples ando 3 no. larger units for small families.

They would both typically have a studio/workshop or a more public element at GroundFloor to create a dynamic public realm and the accommodation located over but thiscan be evolved as appropriate to your design ideas.

Donnybrook Quarter, London, Peter Barber, 2006

Your focus will be the detailed design of both typologies as well as the design of thewhole ensemble and its massing, siting, which is also critical.

As the 3 rd years are designing the public building you should have a constructivedialogue with them about the masterplan and they can also therefore advise you onmassing, siting, articulation etc. of the 9 units as a whole.

You should not spend too long on this stage, ideas should be generated fast viagroup brainstorming sessions, which each member then going on to develop theseideas in more detail individually.

As the particular design and siting of the individual live/work units develops, this maythen feed back into ideas for the masterplan/massing.


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It is very important that you buy-in to this idea of the reciprocal nature of design to

avoid getting stuck and/or running out of time (i.e. you have to dive in).

It is expected that you develop your work iteratively through large scale models andsectional perspective drawings.

The project is to incorporate touchstone ideas from project 1 and is to be evolved

through iterative development and high quality physical model making in particular.

Students will be expected to reconcile spatial design with programme, however theresolution of qualities of materiality/faade attuned to the particular site condition areof equal importance.

You will have to evidence your knowledge from your tectonics and environmentaldesign lectures and use this project as a case study for putting this learning intopractice.

Following on from Project 1 a 1:20 sectional model through one of the live/work unitsis a key outcome and students you will be expected to evolve the design through themodeling process, initially working with simple card models, adding and refining detail

as the Architecture develops.

Royal Road, Elephant and Castle, London, Panter Hudspith Architects


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Newhall BE, Essex, Alison Brooks Architects, 2010

Chimney Pot Park, Salford, Manchester. Shed KM, 2008

Schedule of Accommodation:The following is intended as a guide to help you with what may be expected within a typicallive/work dwelling, however: You are encouraged to make places for activities rather thanrooms; places for eating, sleeping, talking, cooking, thinking, and ablutions. Each dwellingmust include or have attached a distinct working space for the dweller. The subject of thisworkspace is left for each group within the unit to decide based on the themes being pursued.


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Indicative Schedule of Accommodation

Ground Floor Studio

Studio 25 - 30m2

Store 6m2

Wc 3m2

First Floor Living

Living/Dining Space 17.5m2

Kitchen (open plan) 7.5m2

Bedroom 1/Office 9m2

(En-Suite) 6m2

Second Floor Living

Bedroom 2 12.5m2

(En-Suite) 6m2

Bedroom 3 12.5m2

(En-Suite) 6m2

General Circulation Space 10% (as an overall percentage of accommodation)

This is based upon a footprint of 9000mm (d) x 5000mm (w) (45m2) arranged over 3 stories. Therefore

the overall accommodation is 135m2.This schedule is indicative but provides guideline areas for alive/work unit suitable for a small family with 2 children.

Amenity Space

You should also consider the following:

- Parking space for one car per unit (2400mm (w) x 4800mm (d)- Balconies/Juliet balconies- Cycle storage- External drying space- Amenity areas

In addition there should be an internal public space within the composition, which has afunction and relevance to the subject matter being pursued. The running and functioning ofthis space will be directly linked to the purpose of the project. This public realm should notexceed 1/3 of the floor area of the rest of the building. This should be outlined on yourdrawings but will be designed in detail by one of your 3 rd year group colleagues.

Intended Learning Outcomes:This is a key design project in the undergraduate course. It looks back to the learningachievements of year 1 and forward to the skill building in preparation for Semester 2 andyear 3. As such it refers to the typology of projects researched and developed in year 1; asingle and particular dwelling space and at the end of the year a small public building. Project

2 in year 2 now develops these familiar ideas into more complex spatial and functionalarrangements of private and public space. Looking at typologies over time, through examples,


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and focusing on activities to determine spatial qualities are two key and important aspects ofthis project.

In addition the scale of the project has been judged to allowed research and development oftechnical knowledge relating to the making and performance of the building with specialemphasis on sustainability.

As such emphasis and therefore assessment will be on the following criteria:

Contextual siting physical and historical The site resolution Functional planning Spatial composition An understanding of construction and structure An understanding of the environmental performance of the building Sustainable attainment Developmental Processes

Greenwich Milennium Village, London.Proctor Matthews, 2000-2004.


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Image courtesy Erin Byrne - Bartlett Dip.Arch, Unit 11, 2010


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Technical DesignYour environmental science lecture series has to date covered many issues that relatedirectly to the design of dwellings. It began by introducing you to guidance and requirementsassociated with lifecycle techniques such as the Code for Sustainable Homes andPassivHaus and in so doing gave you an example of a development in Sweden thatembraced many of the concepts associated with these techniques.

As part of your dwelling design, you are expected to reflect upon the information andguidance presented within this lecture series and bring this into your dwelling project. Assuch, you will be expected to address key and pertinent areas that arise out of a thoroughunderstanding say of the Code for Sustainable Homes, PassivHaus standard and so on. It isentirely your choice to decide which areas you deem are relevant to your design and it is notthe purpose of this exercise for you to collect points the objective of the exercise is to usethese techniques as a way of informing design and getting you to consider areas that youmay not have otherwise been aware of.

It is important, however, that you do address the likely environmental impact, notably energyrequirements and CO 2 emissions from your dwelling. This will of course cover areas such asthe siting and orientation of your building, beneficial (or detrimental) solar gains, exposure toprevailing environmental conditions, configuration and specification of the main elements thatcomprise your building envelope, appropriate placement and sizes of openings and so on. Ofequal importance, you will be expected to consider the position of the occupant in this and theways in which your designed environment affects their mood, comfort, health and well-being.The exercise does not expect you to do an energy audit on your building, however, it doesexpect you to demonstrate that through the design process, you have made informed andintelligent decisions about the configuration and realisation of the dwelling as a whole.

To achieve your stated aims and objectives, it is important that you engage with precedentand examples from the literature included in the bibliography below and your lecture coursematerial for K12 ESA. Part of your submission will require you to undertake a critical analysisof precedent from similar typologies and make a decision as to how they can inform yourdesign. You are required to submit 3 A2 panels; (see submission requirements below).

Studio Project Construction As part of the K12TSB module students will be required, working as individuals, to show thatthey have a detailed understanding of the construction of their building. A separateassignment will be given within this module and the last two weeks of Term 1 have been setaside to enable the completion of this aspect of your work. However as you design you shouldconstantly be aware of and consider tectonic strategies.

Above, Alison & Peter Smithson, Solar Pavilion 1962 Above (Right), Dovecote House, Haworth Tompkins


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Methodology:Suggested Tools for presentation and development:

Sectional models (Mandatory)

These could be utilising grey card, wood, wire, fabric, concrete/plaster sheet metal etc. etc.

Sectional Perspective Drawings

Pen & Ink, Photomontage, mixed media

As with Project 1 we expect the design to evolve as an iterative process, you are required todevelop and test your ideas through iterative development at large scale in three dimensions.You may use plan and section drawings to augment your 3D studies, or your models anddrawings may be combined to create 2.5D drawings. Developing in 2D only is notappropriate, nor is developing your ideas in sketchbooks.

We expect spatial conditions, forms, materiality and surface treatment to evolve throughcontinuous remodelling.

We are open to other approaches and forms of investigation by discussion and agreement.

Sectional Casting, Bartlett Summer Show 2012


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Tutorial/Review Schedule:

Palazzo delle Esposizioni: Atelier Bow-Wow, Venice Biennale, 2010

Week 1

Tuesday 21st October

Prior to the field trip please provide a written synopsis of not more than 500 words whichprovides a critical reflection upon your project 1 investigations and a statement of intent forthe Architecture you wish to create in Project 2, this should be an evocative piece whichencapsulates your ideas and the programme for your Architecture, it may be informed bynarrative, film or photography. (Any written or visual medium which encapsulates the essenceof the project). The purpose of this exercise is to have a useful and informed site visit whereyou are beginning to consider a design approach and ideas, we do not expect this to be byany means fixed but it will provide you an opportunity to perform critical investigations duringyour site visit.

You should also use the weekend following project 1 as an opportunity to research housingprecedents (from the list) and propose topics of interest and potential influences for project 2;this could be form and massing, the material and tectonic, spatial strategies or interestingthreshold conditions formed between the interior and exterior envelope. We have compiled acomprehensive list of references which are there to aid you, on one hand you need to becreative with your design, however you should also learn from the history of housing design tomake informed and critical decisions. As you are designing a housing scheme of multipleunits, this will rely on the comprehensive inter-relationship of massing blocks within theconstraints of tight knit urban sites. It is also an opportunity to learn the many ways architectscan deal with complexities of public and private realm.


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Friday 25 th October

Continuing to work in your groups this is an opportunity to analyse the site throughphotography, mapping, collection of touchstone materials etc. and also to test your intitialideas. During this week (working as a group) you should obtain OS maps of the site toproduce a Nolli plan, which can be read with a series of carefully curated photos explainingyour site approach. As with project 1, it is expected that your investigations are bothphysical/analytical and also phenomenological, your designs should be attuned to a sense ofplace which personally interest you.

This is an opportunity to test your ideas in relation to the site condition. We will be available todiscuss any ideas with you throughout the day.

Kew House, Sectional Model, Piercy Conner


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Week 2

Tuesday 29 th October

Minimum 5 no. sectional models in grey card and wire at 1:100/ 1:50 scale, or other materialsappropriate to your investigations testing your initial architectural ideas, and are to be takenthrough the key spaces in your architecture. These are to be quick studies and need not takemore than 3 hours per model, this is an opportunity to work quickly and fluidly with ideas.

We expect you to be testing ideas in plan (to scale), and throughout the process to quicklytranslate your studies into three dimensions. No plans in sketchbooks please.

Initial Section Study (Concrete Casting)


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Friday 1 st November (pin up presentation)

Refinement and iterative development of initial models and perspective drawings which beginto pay particular attention to the key architectural drivers in the design, these may be dramaticdouble height spaces and light wells, adaptable kinetic facades, lightweight skeletal steelstructures which hover and dance across the site , or heavyweight concrete elements whichpunch and bury into existing buildings.

Please present your Urban research (site plans/sections photographs in a carefully curatedmanner)

Tuesday 4 th November

Continued design development, 1:50 sectional models/sections. Site massing models (1:200)Initial interior Perspective studies.

Developed Section Study model/2.5D Drawing (Grey Card)

Friday 7 th November (Interim Review)

You should have a comprehensive series of (1.50) models and drawings (including plans oraxo`s) illustrating the design. This should be a carefully curated, and presented piece and

may include made/found objects which have informed or enriched the design and a writtenreflective piece which succinctly outlines the essence and intentions of the project.


Friday 14 th November

The design should now be evolving into larger scale models (1:20/1:10) testing material andsurface conditions and control devices in greater detail, the design should have a convincinglevel of technical and structural resolution. Any process studies, development drawings andtests should be carefully photographed and curated.


Final refinements to design and presentation.


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Site Model and Site render in Presentation Case

Friday 21st November

Pin up Presentation, a draft of all drawings and models paying careful attention to choice ofmedia, composition, typeface etc.


Final refinements to presentation.

Friday 28 th November (Final Review)

In addition to your core model/3D studies you should also provide:

1:200 or 500 site plan1:100 or 50 main plans1:50 or 25 short section(s)Developmental sketch/notebook Technical work

We are open to other ways in which this information may be presented by agreement withyour unit head.


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Precedents:To achieve your stated aims and objectives, it is important that you engage with precedentand examples from the literature. Part of your submission will require you to undertake acritical analysis of precedent from similar typologies and make a decision as to how they caninform your design. Once again, the way in which you present this information is entirely up toyou.

David Adjaye, Twin House, 1997 Caruso St John, North London Studio House, 1994

Please study the following precedents:

HOUSING

General/Historical References in Grey, Unit based references in black, IDA Study projects inblue

MODERNIST HOUSING:Wiessenhofsiedlung, Stuttgart 1927 Le Corbusier

Walter GropiusJJP OudMies van der Rohe

Kiefhok Housing 1930 JJP OudWerkbund Estate 1929-32 Hoffman/Holzmeister

/Loos under Josef FrankIsokon/Lawn Road Flats , Hampstead 1933-34 Wells CoatesKent House, Camden 1935 Connell, Ward & LucasHighpoint I &II, Highgate 1935 Berthold LubetkinKiefhok Housing 1930 JJP Oud

Werkbund Estate 1929-32 Hoffman/Holzmeister/Loos under Josef Frank


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BRUTALIST HOUSING:

Unite dHabitation 1947-52 Le CorbusierParkhill, Sheffield 1957-61 Jack Lynn/Ivor Smith under

J L Wormersley2005-13 Hawkins Brown/Studio Egret

WestRoehampton (Alton West) 1958 LCC (Howell, Killick & Amis

under Colin Lucas/MichaelPowell)

Brunswick Centre, London 1967-72 Patrick HodgkinsonRobin Hood Gardens 1967-72 Peter & Alison SmithsonThe Barbican, London 1965-76 Chamberlain, Powell & Bon

Andrew Melville Hall, St. Andrews, Scotland 1968 James Stirling Alexandra Road Housing 1968-1978 Neave Brown/Camden BC

LATE MODERNISM:Span Houses 1948-69 Eric LyonsHam Common Housing, London 1955-58 James StirlingMurray Mews 1963-6 Team 4Bledlow Housing, Buckinghamshire 1977 Aldington, Craig & Collinge

Byker Wall Housing 1968-82 Ralph ErskineCONTEMPORARY EXAMPLES:Grand Union Canal Housing 1988 Nicholas GrimshawDublin St Lane Housing , Edinburgh 1994 Richard MurphySpittelhof Estate, Switzerland 1996 Peter ZumthorLangerak Housing, Utrecht 2001 Maccreanor LavingtonGreenwich Millenium Village, London 2004 Proctor MatthewsSocial Housing, Mulhouse 2005 Lacaton & VassalRestello 2006 Piercey ConnerDonnybrook Quarter, London 2006 Peter BarberChimney Pot Park, Salford 2007 Shed KM & Urban SplashCarabanchel Housing, Spain 2007 Foreign Office Architects

Newhall Housing, Essex 2013 Alison Brooks Architects

HOUSES

INDIVIDUAL HOUSES:Villa La Roche 1923 Le CorbusierVilla Savoie 1928 Le CorbusierBarcelona Pavilion 1929 Mies van der RoheThe Aalto House 1936 Alvar AaltoVilla Mairea 1938-39 Alvar AaltoFarnsworth House 1945-51 Mies van der RoheMaisons Jaoul 1954-56 Le CorbusierCase Study House #21, LA 1959 Pierre KoenigSolar Pavilion 1962 Peter & Alison SmithsonKappe Residence, LA 1962-67 Ray KappeCreek Vean 1964-66 Team 4 (Foster/Rogers)Rogers House 1968-69 Richard RogersGehry House 1977 Frank Gehry6 th Street Residence 1987-92 MorphosisHauer King House 1994 Future SystemsKew House 1996-97 Sean GodsellHouse, Kensington 1997 Seth SteinCarter Tucker House 1998-2000 Sean GodsellHouse, Bordeaux 1999 Lacaton & VassalStudio House, Hackney 2000-04 Sergison BatesBrick House 2001-05 Caruso St. JohmSunken House 2007 David AdjayeTwin House 2007 David Adjaye


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ADAPTATION/EXTENSIONS/RENOVATIONS:

Maison de Verre, Paris 1928-32 Pierre ChareauNorth London Studio House 1994 Caruso St. JohnMews House, Edinburgh 1995 Richard MurphyRenovation, Brutalist House 2011 Duggan MorrisThe Jewel Box, Islington 2011 Fra-Her ArchitectsTransformer House, Hong Kong Gary Changhttps://www.youtube.com/watch?v=WB2-2j9e4coWater Tower London ARCBrasschaat Water Tower Belgium Jo CrepainGarage Conversion France Fabre de MarienSpan House 2009 Friend & Company

OTHER

RE-USE:

Dovecote Studio Aldeburgh, Suffolk Haworth TompkinsCaixa Forum Madrid Herzog & De MeuronKranspoor Rotterdam, Trude Hooykaas

Cement Factory Spain Ricardo BofillYoung St Offices Edinburgh Malcolm FraserPainting Studios, RCA London Haworth TompkinsHighline New York, Diller, Scofidio & Renfrew

Archway Studios London Undercurrent ArchitectsPumpenhaus Bochum, Germany Heinrich BollSchool of Architecture Nantes, France Lacaton & Vassal

GENERAL:

Atelier Bow Wow Models etc..John Pawson MinimalismMaccreanor Lavington Housing - GeneralProctor Matthews Housing - GeneralLacaton Vassal Industrial AestheticEdouard Francois Planted Buildings


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Core Reading (Housing)

Ching, Francis D K Architecture : Form, Space and Order

Colquhoun, Ian RIBA book of British Housing : 1900 to the present day

Curtis, William J R Modern Architecture since 1900

Frampton, Kenneth Modern Architecture : A Critical History

French, Hilary Key Urban Housing of the 20 th Century Plans Sections &Elevations (Laurence King Publishing)

Hatherley, Owen A Guide to the New Ruins of Great Britain

Littlefield, David (Architectural Press) The Metric Handbook 3 rd Edition

Richardson, Phyllis XS: Big Ideas : Small Buildings

Ryker, Lori Off the Grid Homes: Case Studies for Sustainable Living

Vale, Brenda & Robert Time to Eat the Dog? The Real Guide to SustainableLiving (Thames & Hudson)

Weston, Richard Key Buildings of the 20 th Century Plans Sections &Elevations (Laurence King Publishing)

Hatherley, Owen A Guide to the New Ruins of Great Britain

Llewelyn Davies Urban Design Compendium

http ://www.homesandcommunities.co.uk/urban-design-compen dium?page_id=5542&page=203

http://www.homesandcommunities.co.uk/urban-design-compendium?page_id=5610&page=204

Reading List (Supplementary)

20 th Century Society Housing the Twentieth Century Nation

Bachelard, Gaston The Poetics of Space

Borden, Iain Strangely Familiar

Bloszies, Charles Old Building, New Designs (Architecture Briefs)

Cobbers, Jahn, Gossel Prefab Houses

Corner, James Taking Measures across the American Landscape

Dillon, Brian Ruins

Finnimore, Brian Houses from the Factory

Heath Robinson, W. Contraptions

Ioan, Augustin Kombinat: Industrial Ruins of the Golden Era

Lim C J Devices

McLeod, Virginia Detail in Contemporary Residential Architecture

Norberg Schulz, Christian Genius Loci: Towards a Phenomenology of Architecture Pallasmaa, Juhani The Eyes of the Skin: Architecture and the Senses

Rendell, Jane Art & Architecture, A Place Between
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Rensbergen, Henk Van Abandoned Places

Sheil, Bob Manufacturing the Bespoke

Slavid, Ruth Micro : Very Small Buildings

Smout Allen Augmented Landscapes (Pamphlet Architecture 28)

Tschumi, Bernard Event Cities

Woods, Lebbeus War & Architecture (Pamphlet Architecture 15)

Film

Keiller, Patrick London

Kelly, Paul How We Used to Live

BB4 `Time Shift` High Rise Dreams https://www.youtube.com/watch?v=k8oO8amRptI Nuttgens, Patrick Flight from Utopia http://www.youtube.com/watch?v=gK4cUk93l0s

http://www.youtube.com/watch?v=FHFI5UN0Bss

Blog

Carruthers, Simon Heygate Estate

http://collectivesencounter.wordpress.com/2010/12/02/simon-carruthers-heygate-estate-london/

Southwark Notes, Heygate, Regeneration and Gentrification in Southwark

http://southwarknotes.wordpress.com/heygate-estate/

General References/Student Projects

Detail Magazine

Peter Salter

Cedric Price

Gordon Cullen

Bartlett Yearbooks

RIBA Presidents Medals

Diller & Scofidio Highline
http://www.youtube.com/watch?v=gK4cUk93l0shttp://www.youtube.com/watch?v=FHFI5UN0Bsshttp://www.youtube.com/watch?v=FHFI5UN0Bsshttp://www.youtube.com/watch?v=gK4cUk93l0s


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Friend and Company, Span House, (Re-Interpretation, 2009)


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appraise building briefs of diverse scales and types, to define client and userrequirements and their appropriateness to site and context;

7 Have an understanding of the structural design, constructional and engineeringproblems associated with building design; the investigation, critical appraisal andselection of alternative structural, constructional and material systems relevant toarchitectural design and strategies for building construction, and ability to integrateknowledge of structural principles and construction techniques and the physicalproperties and characteristics of building materials, components and systems, andthe environmental impact of specification choices.

8 Have an adequate knowledge of physical problems and technologies and thefunction of buildings so as to provide them with internal conditions of comfortand protection against the climate; principles associated with designing optimumvisual, thermal and acoustic environments and systems for environmental comfortrealised within relevant precepts of sustainable design and strategies for buildingservices, and ability to integrate these in a design project.

9 Have the necessary design skills to meet building user requirements within theconstraints imposed by cost factors and building regulations; prepare designsthat will meet building users requirements and comply with UK legislation,

appropriate performance standards and health and safety requirements. Although each of the above criteria will inform all teaching approaches within the Y2 studio,the units can also emphasize different criteria according to their thematic focus.

GENERAL Y2 ASSESSMENT CRITERIA

Based on the main points above and as these relate to the revised ARB/RIBA Criteria and theQAA benchmark statement for architecture, an archit ects core skills are defined as:

ARB/RIBA criteria, GC1: Ability to create architectural designs that satisfy both aesthetic andtechnical requirements.

QAA: The defining skill of the architect is design - the ability to conceive of, and elaborate on,physical artefacts that meet human needs and evoke aesthetic response.

Both highlight the duality of (1) aesthetics and (2) physical/technical skills as core skills. Thelevel of an appropriate and creative translation of an abstract idea into a physical/technicalconstruction solution is crucial to support an interesting project.

In Y2 studio the general assessment criteria are therefore:

1. The spatial and formal aesthetic achievement of the design project.2. The degree of success of the technical (structure, construction, material, environment

etc.) translation into a physical artefact.3. The degree of understanding of the influences of the wider context on architecture

and evidence of their interpretation and integration into the project.4. The level of independent design work, evident in general creativity and originality ofthe project.


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ARB/RIBA CRITERIA EFFECTIVE 09/2011

Prescription of qualifications:Revised ARB Criteria at Part 1 (effective from 2011/12)

Interpretation of Requirements at Parts 1 and 2 To interpret the document for Part 1 coursesand assessments, the General Criteria at Parts 1 and 2 as a whole, including the numberedsubsections, should be read along with the Graduate Attributes for Part 1. Similarly, for Part 2,the General Criteria including subsections should be read along with the Graduate Attributesfor Part 2. No weightings are given to the areas within the General Criteria with the exceptionof Design, which is to constitute at least half of assessed work at Part 1 and Part 2 levels.Theterms knowledge, understanding and skills are used in the General and ProfessionalCriteria to indicate the nature of achievement required as the studentprogresses throughqualifications at Parts 1 and 2.

The General Criteria at Part 1 and Part 2

GC1 Ability to create architectural designs that satisfy both aesthetic and technicalrequirements.

GC1 The graduate will have the ability to:

.1 prepare and present building design projects of diverse scale, complexity, and typein a variety of contexts, using a range of media, and in response to a brief;

.2 understand the constructional and structural systems, the environmental strategiesand the regulatory requirements that apply to the design and construction of acomprehensive design project;

.3 develop a conceptual and critical approach to architectural design that integratesand satisfies the aesthetic aspects of a building and the technical requirements of itsconstruction and the needs of the user.

GC2 Adequate knowledge of the histories and theories of architecture and the

related arts, technologies and human sciences.

GC2 The graduate will have knowledge of:

.1 the cultural, social and intellectual histories, theories and technologies thatinfluence the design of buildings;

.2 the influence of history and theory on the spatial, social, and technological aspectsof architecture;

.3 the application of appropriate theoretical concepts to studio design projects,demonstrating a reflective and critical approach.

GC3 Knowledge of the fine arts as an influence on the quality of architecturaldesign.


.1 how the theories, practices and technologies of the arts influence architecturaldesign;

.2 the creative application of the fine arts and their relevance and impact onarchitecture;

.3 the creative application of such work to studio design projects, in terms of theirconceptualisation and representation.

GC4 Adequate knowledge of urban design, planning and the skills involved in theplanning process.


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.1 theories of urban design and the planning of communities;

.2 the influence of the design and development of cities, past and present on thecontemporary built environment;

.3 current planning policy and development control legislation, including social,environmental and economic aspects, and the relevance of these to designdevelopment.

GC5 Understanding of the relationship between people and buildings, and betweenbuildings and their environment, and the need to relate buildings and thespaces between them to human needs and scale.

GC5 The graduate will have an understanding of:

.1 the needs and aspirations of building users;

.2 the impact of buildings on the environment, and the precepts of sustainable design;

.3 the way in which buildings fit into their local context.GC6 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.


.1 the nature of professionalism and the duties and responsibilities of architects toclients, building users, constructors, co-professionals and the wider society;

.2 the role of the architect within the design team and construction industry,recognising

the importance of current methods and trends in the construction of the builtenvironment;

.3 the potential impact of building projects on existing and proposed communities.

GC7 Understanding of the methods of investigation and preparationof the brief for a design project.


.1 the need to critically review precedents relevant to the function, organisation andtechnological strategy of design proposals;

.2 the need to appraise and prepare building briefs of diverse scales and types, todefine client and user requirements and their appropriateness to site and context;

.3 the contributions of architects and co-professionals to the formulation of the brief,and the methods of investigation used in its preparation.

GC8 Understanding of the structural design, constructional and engineeringproblems associated with building design.


.1 the investigation, critical appraisal and selection of alternative structural,constructional and material systems relevant to architectural design;

.2 strategies for building construction, and ability to integrate knowledge of structuralprinciples and construction techniques;


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.3 the physical properties and characteristics of building materials, components andsystems, and the environmental impact of specification choices.

GC9 Adequate knowledge of physical problems and technologies and the functionof buildings so as to provide them with internal conditions of comfort andprotection against the climate.


.1 principles associated with designing optimum visual, thermal and acousticenvironments;

.2 systems for environmental comfort realised within relevant precepts of sustainabledesign;

.3 strategies for building services, and ability to integrate these in a design project.

GC10 The necessary design skills to meet building users requirements within theconstraints imposed by cost factors and building regulations.

GC10 The graduate will have the skills to:

.1 critically examine the financial factors implied in varying building types,constructional systems, and specification choices, and the impact of these onarchitectural design;

.2 understand the cost control mechanisms which operate during the development ofa project;

.3 prepare designs that will meet building users requirements and comply with UKlegislation, appropriate performance standards and health and safety requirements.

GC11 Adequate knowledge of the industries, organisations, regulations andprocedures involved in translating design concepts into buildings and

integrating plans into overall planning.


.1 the fundamental legal, professional and statutory responsibilities of the architect,and the organisations, regulations and procedures involved in the negotiation andapproval of architectural designs, including land law, development control, buildingregulations and health and safety legislation;

.2 the professional inter-relationships of individuals and organisations involved inprocuring and delivering architectural projects, and how these are defined throughcontractual and organisational structures;

.3 the basic management theories and business principles related to running both anarchitects practice and architectural projects, recognising current and emergingtrends in the construction industry.


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The Graduate Attributes for Part 1

GA1 With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 1will be awarded to students who have:

.1 ability to generate design proposals using understanding of a body of knowledge,some at the current boundaries of professional practice and the academic disciplineof architecture;

.2 ability to apply a range of communication methods and media to present designproposals clearly and effectively;

.3 understanding of the alternative materials, processes and techniques that apply toarchitectural design and building construction;

.4 ability to evaluate evidence, arguments and assumptions in order to make andpresent sound judgments within a structured discourse relating to architecturalculture, theory and design;

.5 knowledge of the context of the architect and the construction industry, and the

professional qualities needed for decision making in complex and unpredictablecircumstances; and

.6 ability to identify individual learning needs and understand the personalresponsibility required for further professional education.


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UG MARKING CRITERIA

GRADED ASSESSMENT higher spatial and aesthetic complexity achieves higher result individuality/originality

achieves higher result. technically further developed/sophisticated scheme (contemporary/advanced

technologies and structures) achieves higher result. critical awareness of own scheme in relation to other architecture, theories or

cultural/physical context achieves higher result. skilful/clear imaginative presentation in various media achieves higher result.

CLASS MARK DESIGN PROJECT WORK

FIRST 80% - 100% Excellent in all areas of work. Clearly demonstrates originality,creativity, imagination, synthesis and critical thinking in allareas of work.

68% - 79% Excellent in most areas of work. Demonstrates originality,creativity, imagination, synthesis and critical thinking in mostareas of work. Excellent level of design resolution andcommunication skills.

2:1 60% - 67% Very good in most areas of work. Demonstrates a broadunderstanding of architecture with some evidence of criticalthinking. Very good level of design resolution andcommunication skills.

2:2 50%- 59% Good in most areas of work. Demonstrates a goodunderstanding of architecture. Generally competent with a

good level of resolution and communication skills.

THIRD 40% - 49% Basic level of achievement and understanding of architectureoverall or an uneven performance combining some good andincomplete areas of work. Demonstrates a basic competencein all areas of assessment. Not fully resolved orcommunicated.

FAIL 30%-39% Some signs of competence but outweighed by otherwiseshallow, unresolved or incomplete work. Does not adequatelycover all the assessment criteria.

1% - 29% Significantly incomplete work. Little evidence of basiccompetence or imagination. Shows little understanding of thesubject.


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GUIDANCE ON ECFs . University of Nottingham

unit 1a y2 p2 draft

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