There we go. I thought I should just briefly share with you another precedent since I've prepared it. I apologize that the meeting this morning at 9:30 didn't take place.

'cause I was asked to come to tutorial session instead which was a staff meeting instead, which is always fun, OK?

I take it you can see that.

Yeah.

So quick reminder, in case you hadn't realized, but we are now in week seven or in State three, whether or not we get to talk about structure and construction today, I'll wait and see.

Probably more important point to make is that we have got another student LED interim review this Friday for our studio group, so it's an important point for you guys to some important milestone to just summarize the project and try and test run whether your ideas kind of have have merit and take on board comments from some of your.

Colleagues as well as an honest gonna invite.

Students some, so some more senior students to to have a look at your projects and hopefully that will be as useful or maybe even more useful than the student LED review we have during the Elevation project.

Just to remind you, these were the kind of project themes we highlighted at the beginning. You know, we we expect you to to cover all of this eventually, but hopefully most of you are well on their way to answer these questions. So the idea of establishing a context, understanding the context in which you operate predominantly means the site and the surroundings, but might well and in some cases already seen.

Evidence of this might be context in a broader sense. OK, make sure that you define what the context is. Then make sure you are clear on your response, focusing on opportunities and constraints. Identify good things about the context that you want to reinforce. Identify problems with the context that you want to address, and don't dwell on problems that you can't solve. OK, there will be plenty.

No project is perfect, but be clear on your strategy under positive about it. By the end of the week and hopefully today we will be talking about planning. You know, we do expect a building layout and I'll I hope you'll you know you will all have plans to scale drawn in context, please is what we're really expecting. And then, although I'm not expecting kind of construction drawings, I think he should be able to talk about.

New ideas for materials and material. T you know what is the primary components or the primary materials you're proposing to use in your building? Is it a timber building? Is that a concrete building? Isn't a brick building? Is it a solid bit of construction or is it a framed structure? Those kind of things. I think he should be able to take a position on right now.

We

early on all seem that much evidence of it in my future group. To be honest about the idea of maybe focus on a keyspace. I still think that has a lot of merit, and if you haven't done it and you know if you've got time, of course I would encourage you to investigate a keyspace, but even if it isn't, the boat haulers to key space. I think the important is really the idea of focus. Don't try and do everything. Spread yourself too thin but instead maybe focus.

On the key drawing or a key space or a key diagram that really explains your scheme clearly. And that's something to to do, even for for the end of the week. OK, just a quick another precedent which I think is quite appropriate for many of what you're doing. This is the Tate extension in Saint Ives down in Cornwall. It's not relevant to all of you, but it's a nice piece of architecture I think, and there's a few lessons that we can learn from it, but it again, it tells you.

How to tell the story of a project from beginning to end in a way not the kind of stuff that you might want to include. So the idea of the killer image, the main image. Obviously this is a photograph of the finish scheme, but in some ways it still does the same thing. It it shows the building and it shows to context. It's all about its relationship with some items to see beyond perversely, and this landscape, which I'll talk about a little bit more.

This is giving you an idea of the location, so this is the site that is the existing Tate Gallery in Saint Ives and this red line. Here is the site for the extension and of course the rest shows you the town. Its topography is indicated, although not as clearly as it could be and you can sort of see that it sits at the edge of the town. Here are some key photographs of the site so this is here in the Middle East. Existing Tate Gallery.

At the site is actually just behind that block of flats, there adjacent to the Cemetery. So you can see the Cemetery in the distance, then a block of flats and then the Tate Gallery and our extension site is just behind sort of hidden from view. But the context in this case is Saint Ives, the beach, the sort of historical town, the conservation area surrounding it which pose particular challenges for this architect. And then there is. This is the site here. This is before so I should have said.

These block of flats are proposed to haven't yet been built at the time of the buildings design phase. Back in 2013. Back in 2013, it was still three separate block of flats, so we're going to be changed to a single one, which I'll show you in the next image. But this shows you the context. Again, the city in the background, the beaches, the harbor and then the site here, and there's a specific problem. Functional problem with the existing Tate Gallery in Saint Ives and others.

Don't get any artwork into it, which is a bit of a problem when you're designing or when you've got an art Gallery. The only way they could get large pieces of artwork into the Gallery was the hiring a crane lifting the artwork up onto the roof level, then dropping it down through through a hatch in the roof. Essentially bit of a fundamental flaw, so that was one of the key drivers for an extension. OK, how to get artwork into the building.

OK, and then this is the site and this is probably quite relevant in terms of context. Context isn't necessarily just surrounding, it is also understanding the potential and future constraints. So although this was the site back in 2013 when the building was designed, the architect already knew that the three blocks of flats were going to be remodeled or changed into one block of new flats, and equally some of the houses at the back of the site.

We're going to be demolished and changed, and although that might not be the status quo when he start designing, they didn't know this is what was going to be there by the time their building was going to be designed and built. So in the design phase, you take account of future changes so the context is defined by the architect at this point. This is the surrounding in which they are designing. Even though the buildings in the background did not yet exist, they just knew they were going to be built.

And then I think the key drawing that they identified was the section OK. And in that section they show the existing Gallery in the background that take Gallery is just conceived just about an outline of it. The dotted line is one of the block of flats that is being demolished and then in the background that outline is the existing buildings and the height of them. And then here at the front you've got this new block of flats that were going to be built and actually the site.

Is here in the middle, and is on a very sloping steep Hill, which is why I think it's quite interesting and relevant to our project to build.

Work with this help on the topography and So what they decided to do was they wanted to create a building that would solve the problem of building behind an existing building, but they also wanted to make sure that they didn't inconvenience any of the existing residents or future residents in these blocks. So this is the key drawing that they produced which shows the proposed Gallery sunken into the hillside very much in the same way that many of you are talking about.

And what I think is the key part that the architect identifies with this point is that maybe some of the main spaces for their design is actually not the new enclosed spaces in the Gallery, but in.

Open landscape above and many of you are talking about a submerged building, which I think is perfectly fine and and probably appropriate even for many of you. But the realization that actually when you put something below ground, you're also creating a new roof level which is at grade with the surroundings. Just like here there's a car park that is adjacent level.

From which you can enter this landscape and then this landscape has got enormous potential. It's got these great views out over the sea, but actually there also make the point that this knew intervention actually protects the land. The residents at the bottom of the Hill while in the previous proposal when you stand at the top of the car park, you can actually look down into the flats from this elevated position. There's a new proposal. You actually.

Blocking the view, and it's a very kind of clever way of putting a positive spin on the fact that this new proposal is protecting the privacy of these spaces while completely ignoring the fact that this new proposal is also cutting out an enormous amount of daylight into these flats.

It's not our role I think always as architects to be entirely objective and we are trying to sell an idea. And in this case you know that emphasizing the positive, providing shielding from from the public view. But of course, we all know that there's also some negatives, but you don't start your interim review presentation saying I proposed to put a building here, which will cut out all the natural light to this block of flats down there. That's for someone else to point out to you. OK, I think you put a positive spin on it.

And you say this new intervention will create this amazing landscape and actually protect the residents from this overlooking that is currently in existence.

And then here are the kind of key drawings. Again, don't think your drawings need to be super.

Beautiful, I think this is quite a rough sketch, but when you see the finished proposal, you understand why it's important it has all the key elements already defined. The idea of a volume here kind of pavilion, and then these elements in a landscape. And there's a hint of the landscape as well, and this really is what the entire scheme is about, because what they? What? They focused on boss? This Green Park that sits slightly below the car parking adjacent to it.

And above on the roof of the new Gallery spaces with these quite intriguing and quite sculptural light welds that let light down into the lower level. My criticism of these drawings is that they don't show anywhere near enough context. You know, they isolate the proposal and you don't really understand how they relate to the car park. They don't give a view of the sea beyond, mostly they don't even show the existing Gallery that they're extending, so.

Top marks for showing all the context, but I think it is sort of the party drawing for them.

And then there you can see the building being proposed and and ultimately what the architect decided was that they're building shouldn't have an elevation they didn't want the building to have a huge physical presence on the town and the surroundings, and in fact they made a virtue of the constraints and the problems by hiding the new building behind this new block of flats. It's quite a, you know. It's quite a modest proposal in that respect not to scream and shout about the new building.

But in fact, to try to hide it as much as possible, and So what they did is they dug into the hillside even more and sunk this entire volume into the Hill with them, creating a new landscaped garden park above. OK. And here again, which out of all the drawings that could produce in order to explain the scheme they chose the section which I think will probably be the most important drawing for some of you. This time they have included the.

Existing Gallery, but you see the ground line.

And you can see the new volume sitting in that hillside with these amazing kind of sculpture. Light welds going up into the garden space and then a very modest new pavilion in the background, which is actually the back door. The staff entrance because the public for the Gallery come in through the front into the main building. The only thing that this drawing is missing in my opinion. Again, this may be a little bit more context of the car park, certainly a bit more context on the left so you could understand where the.

Where the viewers on the C and the last thing I probably would have liked to have seen in this drawing is a dotted outline of the block of flats, so he could also explain that this new intervention is hidden behind the flaps.

And then, but this is the the 3D view that they chose to sell it with. So you've got the existing Gallery, the block of flats which, when they did, the CGI was still proposed, haven't been built. And then there is the. There's the scheme under the picture tries to make the point, in my opinion, of how little impact the intervention will have rather than kind of celebrating the building as an object as a sort of oh look at me. I'm all shiny and new and amazing. Instead it says.

So you can barely know.

Once you know it's suppled little change that you won't kind of be drawn to it whether or not they succeed, I'll leave up to you, but I think as a strategy it's a valid one. OK, and then here we have a set of drawings in the same way that you would be expected to produce a set of scale drawings following drawing conventions at scale and maybe important thing is in which order you presented. In this case, they start at the top, so this is the.

Upper level OK, this is the entrance into the building. Quite modest. This is the staff entrance you come in. There's the reception down the corridor to the staircase and the staircase is the primary form of circulation for South. They do have access to a lift while this route for disabled access, but actually the lifts main purpose is actually to serve a loading Bay. This solves the problem of how to get artwork into the building, so there's now a new delivery Dora back door.

Stuck with the artwork and come in to the left and then be brought down through all the levels. Then on the next floor down they go. The staircase continues down. There's a fire lobby up something that said the same level again. There you go. Does the next level down so you can have a toilet block and then you've got the open Plan Office for the staff dares to lift arriving also serving this level but then the the main level for the the art workers on the.

Hello, this is again the meeting space lift now carries on down. You've got some plant equipment hidden at the back completely without any news air handling and storage. Getting back here. These spaces don't even have any natural light. Don't need any natural light in the plant or the Air Handling unit. Not sure who these people are these desks? I wouldn't want to work there OK and then this is actually the kind of main level this is. The point where you connect from the existing Gallery across into the nuance.

In this case, there's sort of three Gallery spaces. The dotted line shows a potential extension in the future, and then this core carries all the way down with toilets and so on. So the main level from the public is actually the kind of base level to the buildings designed upside down, with the entrance at the top on the kind of sense of arrival at the lowest level of the extension. Unless of course you're a member of the public, in which case you enter it through the existing Gallery.

On the left hand side and again the the elevation drawing of course shows the pavilion, but I think what the elevation drawing really tries to achieve is to show the proposal blending in with its surroundings being as unobtrusive as possible. I think rather than drawing attention to itself.

Then again, some key views there is the pavilion. This is proposed at planning stage quite a small volume to try and limit the visual impact without even from the car park on this public footpath, you're still meant to have the view dominated by looking out to see rather than this little pavilion that pops up.

The models of simple. They're looking at volumes as opposed to you know, hugely detailed. They're using foam in this case, but could have just as easily be made out of cart like can't, and then the only thing they put more detail in is on this pavilion in order to explain materiali T, but it's a very simple handmade model looking at massing as opposed to detailed volume studies of even the Gallery spaces at this point.

And then this is, I think, the key space of the proposal. It's this landscape that is formed by these light wells that LED light down into the into the gallery's and then this very modest pavilion next to the car park.

Masterkey drawing again just to remind you that this tells you the whole story, how to get into the building. The key Gallery spaces that are being produced, and the context in the background.

And here is the kind of construction drawing the explores materiali T OK, it doesn't try and solve the whole building, you know. Look at that section there. They could have decided to investigate the construction of the pavilion. They could have tried to explore the retaining structure of the plant room. They could have decided to try and look in great detail about how the back of the Gallery is going to be supported and the interaction, but instead they decide. And I think correctly, that the key drawing that.

Really.

Plains most of the scheme is this section here, which is, you know, this new wall data sitting behind the blocks of flats and really focusing on how light will come down through the through the light world structure. OK, so my suggestion is don't pick necessarily the most complicated part of your building. Don't necessarily pick the whole building, but focus on a key area.

The one with the greatest architectural merit, and I think that that's the one that they've done. In this case, it's the triple height space and how the light will come down into it. And even in this construction drawing, you get a sense of material tea. You can understand that there is a roof build up with some sort of greenery on top. You can see there's some sort of in situ cost concrete at work, or they can't see the details yet. You can get a sense of scale with the person in it. Maybe they should have put a little bit more context in.

To show that this is above ground on that this is below ground essentially, but it's no doubt a very nice high quality drawing.

And then this is the key Gallery space. OK, it's using concrete, which I wouldn't necessarily recommend you use, but in this case they had to use becausw. The entire construction is really a result of the fact that it's me underground, so the building works very very hard at retaining the existing Hill. So you can imagine many cutter kind of four story void into a hillside. This Hill.

Face wants to topple over, essentially. So you need to stabilize and you need to hold it back, which means you have huge amounts of lateral forces. Sideways forces pushing against the building, and that is the that results in.

Default themes that work really, really hard at stopping these lateral forces, stopping the Hill from pushing the building over or tumbling down the hillside, and that structural requirement becomes the architectural quality within the space. So there there there that deep because they work very hard, but they're not hidden there, in fact, become part of the architectural expression so that when you end the Gallery you look up and all structure is exposed.

And then the light world sit as sort of, you know, light filled blocks above the structure and light filtering down and then in order to make the Gallery kind of conventional Gallery space, there is a white plasterboard ceiling that wraps all the way around and I would say the walls and floors are all makes it quite ordinary and the exciting stuff is the structure above and that's where the effort and the work has gone OK.

Don't.

And maybe then the last thing is a little Bay elevation for the pavilion, which talks about sort of using the nuclear local dry stonewalling within these.

It's a simple rainscreen cladding.

When you look into the detail, it's actually made of beautiful glazed tiles, but in some ways I think there's already a kind of material palette that is being suggested at this point, which may be something that you could consider doing, not necessarily. For this week I appreciate, but for the end of the project, this base study under something that we've shown you before because I think it is a very effective way of.

The reality zoom in on one part of your building and go into further detail with what the material uses are OK.

OK then one last little point, I will talk about this more next week, but.

Sometimes when students plan buildings, there is a kind of tendency to design spaces within a big box. OK, honestly, kind of your draw big box and I'll try and do it badly. You know you kind of go over, right? You know, let's draw a big box and then people start drawing the individual spaces. I need a need, a big space with other boat. All I need a medium size space, you know, let's make that another boat all need a storage space and you kind of start filling.

The square with all the different types of accommodation you need, and once you've finished doing that, you end up with some circulation. The space in between and as that shaded area shows you know the circulation really becomes the space leftover after planning.

And I would argue this is a bad way of doing it becausw this shaded area this the circulation space is really quite unfortunate in its proportion and in its layout OK, and instead you if I asked you to design me a circulation space, I don't think anyone would ever draw it in this shape, and my suggestion is that circulation can be incredibly helpful to organize your plan and your layout.

You can organize your accommodation around the circulation, and another Torsten, and at the end of the semester, one or first year last year talked to you about this idea of linear spaces and centric spaces. So maybe if you, if you haven't already, consider your circulation spaces and maybe the circulation spaces should be the first thing you draw, or could be the first thing you do all along. Sorry, along linear space.

That shows the you know a route out or view out to the sea, maybe, and then off that circulation space you organize the other spaces. Or maybe the circulation space is like a spine that separates the served part of the building from the serving part of the building. And again, maybe it's a long corridor with views out to the sea. On one side, you know and then feed into the boat houses. At the end. I mean these are very quick, simple little sketches, but I hope you get the idea.

Don't ignore your circulation space.

And Secondly, not all of you have got circulation spaces. Many of you are, you know, using spaces as the route into the next space, which in some ways is incredibly traditional when it comes to architecture, some of Regency architecture where actually 1 space leads to the next space. You don't go to a corridor to to get to the next one. I mean this is Ryan Rainham Hall in Norfolk and this is sort of a key image. I'm not.

Please don't get me wrong, I think all this decoration really is rather opulent, but the point you probably are familiar with this kind of view where one room leads to the next room leads to the next room leads to the next room. There is purposely no circulation and that is of course a perfectly valid response, but if you do that, if you decide to just connect one space to the next to the next to the next, I would urge you to pay some attention to these transitions.

Where you leave one space and go into the next. Is that really just a series of doors where you just leave one space and you go straight into the next? Or is there an opportunity for these thresholds to be an architectural experience in their own right? Are there kind of little sunken spaces, dark spaces that you know connect one to the next, and maybe each one of these spaces actually has a bigger impact if you enter them?

Through a little lobby space or an empty space, A space before. Maybe this grey spaces are kind of constant, so you understand that space A is sort of medium tall of medium height and you go through the same space before you enter the next one and then you reset yourself because before you go into the next one and maybe by having this constant, the grey space in between that you enter before you go into the next, he actually heightened the architectural experience.

Of each one of these other spaces, rather than just letting them bleed from one to the next to the next. But anyway, that's just something to think about. I will talk about that more next week hopefully, but at that point I'm going to stop.

Try and get out of here.

And ask whether there are any general questions.