Because of the current Covid-19 situation, Young Rogues' Exhibition event unfortunately had to be cancelled due to it involving engagement with communities, collaborators and students.
The whole process has tremendously helped us understand and learn about the pros and cons of holding an event and engaging with people, with consideration on our roles as architects as well as our possible contribution and positive impact we're leaving to the society.
With the project having the potential of being a live project, new doors of opportunity was open for us to work with our collaborator in the future and create new connections along the way. It has been a wonderful experience to be working with TASC, and we wish to continue being involved when given the chance. Despite being cancelled, we're hopeful that the overall process can help contribute to future collaboration and proposals for the project.
We deeply appreciate and are sincerely thankful to all collaborators, lecturers, artists, and students that have helped us in any way throughout the process in making our events fun, educational and interesting!
This would have been the final production outcome, a publication that compiles the participant's design journey. Unfortunately due to Covid-19 outbreak, we could not make this publication into reality. Though, giving readers a recap of the proposed journey, we started off with getting to know the important players of this project ; the TASC collaborators. participants from Year 1 and Year 2 along with Masters year 1 with the supporting players like the Rogue Artist Studios. This journey then would've proceeded to site visits around Manchester, the Science and Industry Museum and the Whitworth Art Gallery. This is to expose participants to understand what is an exhibition space and how does it function.
The publication would have also include a site analysis and measured drawing of the 2nd Floor Hall within the proposed Grade II listed building. As per TASC, it is suggested to be the location for the Rogue Young Artists to exhibit their work.
The highlight of this proposal would have also included a Permanent and Temporary Exhibition design proposal. Where the participants are separated into two groups to propose a flexible fixed (Permanent intervention) and flexible modular (temporary intervention) exhibition space.
This journey would 've then end, with the presentation of proposals to TASC and the publication will be handed to TASC as a composed suggestions of ideas for them to use in any means necessary. Publication such as this could be useful to inform and attract potential investors, either from the general public, government or any interested parties. As TASC is a Community Interest Company, this project can only be realised with potential investor's funding in the future. Thus it is hoped that this project will continue to take a life of it's own even after the Events 20 period has ended.
Going into week 2, our focus would be to plan our creative outputs for our publication and presentation to TASC at the end of the week. We will be based at the Stephen Joseph Studio in the University of Manchester area. This is where we will spend most of the time on sharing ideas, utilise our skills in art, photography and 3D modelling to provide a comprehensive proposal for a creative exhibition space. As we work as a team, Q&A and discussions, also sharing of skills is encouraged and paramount to the success of our publication and presentation. There will be recaps at the end of each days to ensure smooth workflow throughout the following week.
As part of the Architecture summer school, we aim to introduce and teach the young students the fundamentals of an architecture course. Throughout the pavilion project, with the assistance of the BArch students, we will work towards teaching the next generation of Architecture students, all the steps on the development of a project. At the same time, inducing a range of software used in the field, which will help both the high school students and BArch students. This course will also demonstrate the importance of a good portfolio and the role it plays when applying for university and/ or for an Architecture job.
At the end of this 2-days course, all students will be able to present a portfolio of the skills acquired and work produced, as well as gain a better understanding of what is expected from them in the different stages of Architecture.
We are going to have ice-breaking session with all the members, along with introduction on the project. We will then be focusing on understanding the brief. Next, the members will spend time on the site and meet the collaborators. There will be a guest speaker from TASC to further explain about their team and backgrounds. Q&A will be held for a better understanding to the team members. We will then begin discussing concepts and ideas. There will be recaps at the end of each days to ensure smooth workflow throughout the following weeks.
We are aiming to practice skillsharing between our group members. This form of practice would increase the members’ knowledge and sharpen their skills for future career opportunities. These software skills are important as the demands in our current industry keep increasing each year.
This event will become a great opportunity for the students to engage in a live project. The students are going to explore architectural values and concepts that will help to improve and widen their understanding in flexibility of exhibition spaces. We will be working together to produce sets of proposals which will be useful for the collaborators. A few types of outputs will be produced, encouraging teamwork and creativity in achieving high level of production.
The main focus of this project is to bring the young artists, architects and wider community in creating a convenient, flexible spaces for these talents. This event will contribute towards the development of the spaces in the future while educating and implementing architectural values.
Gallery visit to see how exhibitions are curated. A group tour has been organized. We should note whether the exhibitions are welcome to young people.
What could be an improvement? What works and what doesn’t work? With conjunction to the characteristic of the Whitworth Art Gallery as a listed building, we would like to look at the criteria of how we cater the design within the perimeter of the existing building.
We also like to focus on the technicality and the design of the exhibition space of the Whitworth Art Gallery. This study tour will help us in designing a well-curated exhibition space for our upcoming design project.
This is an opportunity for us to know further regarding how the specialist from the Whitworth Art Gallery designing the space for each and every exhibition and what is the standard criteria or guidelines of the exhibition spaces for the artist.
Is the any demand for a designated exhibition space that specifically targeting the young generation?
This will be a fresh idea of introducing the new element of design while improvising the typical exhibition space that already been there since the beginning.
There might be a few design explorations can be made when exhibiting for the young generation. This element become the main design idea for this event because we would like to introduce the research that need to be done at the earliest stage of the design process.
It can be that we need to maintain the existing exhibition space, but this must be a conclusion from the research material and discussion that involve all the students.
At the end, this project will remain as experimental to make it more interesting for all the participants.
Main Design Consideration - Adaptive Reuse of Existing Building
In today’s world, the element of Adaptive Reuse becomes important to be acknowledged by the architect and designer.
The main idea is to understand the importance of adaptive reuse. Buildings with rich histories are finding themselves in need of renovation and rejuvenation and the task when dealing with the existing building is how to preserve the past while planning for the future.
On our perimeter of design, we would like to propose an exhibition space that is environmentally, socially and economically sustainable. This will benefit the builder, occupants and the community that engaged with the building in their daily routine.
Main Design Concept - Permanent or Modular Exhibition Space
All students will be split into 2 groups (2/3 MA students, 5/6 BA students in each). Each group is to design an intervention / exhibition element that will be implemented in the gallery.
The design brief that needs to be answered by all the students are whether they want to design a permanent exhibition space with design consideration of the space given or a modular exhibition space that have mobility elements that is attachable on site and can be detached once the exhibition end without making any changes to the existing building.
Explanation of an output – a single publication detailing each design proposal, with rendered images and photos of a physical model.
Group 14 // Centre Stage // How will our publication help?
Public Consultation - The document published can be presented to the community in order for them to understand the drivers of the proposal. It will clearly communicate the benefits that the project aims to tackle, focusing on an engaging programme for the people of Moston.
Following this consultation, the community can provide feedback to the designers. This will improve the quality of the proposal, directly tackling the needs and requests of the community. In the same way, the community can feel an active part of the design process, and in consequence, they will see the new theatre and community hub as their own.
Group 14 // Centre Stage // How will our publication help?
Collaboration with Trevor Cousins - Working in conjunction with Trevor Cousins, our publication will show the perspective from a qualified architect in the proposal. It will describe the elements which can make the scheme feasible in the early design stages, describing the main architectural qualities which would make it an engaging project.
Group 14 // Centre Stage // How will our publication help?
National Lottery Funding - Our publication will provide a solid background delineating how our proposal will improve life in the community. This will push the project as a strong contender to be awarded The National Lottery Fund, which would make the development of the NWTAC a reality.
The publication will have a strong focus on how the community will benefit itself from being part of the NWTAC Theatre and Community Centre. It will showcase an age-friendly programme accessible to the community, with the spotlight in an attractive performance space which would engage the young community in developing their creative skills.
During the site visit, we would like the group to collect site information comprehensively through various methods, such as measurement, photography, video and audio, etc. This process is aiming to get fully prepared for the coming design since we cannot access the town hall for a second time during the intense week.
Using the trip to the library collection as inspiration you'll be gathering your own collection of Zine's to bring to the table. We'll be discussing the pro's and cons of different styles based on who the Zine is for and what it's content is.
This should build some common themes that we can use to create a master format, something that will be able to highlight the different styles and designs whilst maintaining a cohesive document.
During this event we'll be creating a brief, a basis for the design proposals that will build on information gathered about the site and the community. The key purpose is to identify the challenges to solve before looking for a solution. As a group, the collective research will allow you to find more challenges and together we will look for similarities, crossover and hierarchies to form a manifesto for your design proposals. The solutions to the same challenges will be varied but by designing the brief collectively we can insure we are all working towards the same goal that fits the clients needs.
The digital programmes we would be using fall into three categories: Adobe graphic design applications such as Photoshop, Illustrator and InDesign, Adobe video-editing application Premiere Pro and 3D modelling software such as SketchUp and AutoCAD. These will be the essential tools that we will need to curate the exhibition space and create some exciting graphics!
Part of the Newtopia session plan includes workshops in order to improve our graphic design skills, become inducted into workshop spaces such as the printing room and learn about audio and visual editing software. These workshops will support and inspire everyone and include guest visitors mentioned in previous blog posts.
As a team, we will be looking to propose alternative models to the UK's current development model for housing and regeneration. To do this, we will be researching into alternative approaches to living and working, whether that is through encouraging circular economy, more sustainable ways of living or through social initiatives used to re-invigorate high-streets and town centres.
One of the key speakers due to present at our exhibition is Neil Gibb, who is a 'Social Innovator' and is the minds behind the South Lanes initiative in Colchester, which used community lead strategies to re-generate the area.
As part of a larger regeneration plan for the city, Bradford Council is proposing 1000 family homes to be built in the city centre. Currently, the Oastler centre sits on the main site, which is to be demolished by spring 2022. This will allow for a new residential lead, mixed-use development which will aim to reinvigorate the area's economy and re-instate the declining footfall.
We will be providing an information pack to our team which will include further information on the city's demographic, building types, key circulation routes etc. We will also condense the Council's proposal document so that their aims and vision is clear whilst we design the proposal for the site.
Our aim, as a team, is to analyse and challenge the council's proposal and develop an argument for or against the scheme. Then we will be proposing our own radical schemes for the site which will offer alternative solutions to the current UK development model.
Unfortunately due to recent events regarding the outbreak of COVID-19 our EVENTS project can no longer continue as planned. After months of planning and exciting conversations with our collaborator and invited guests, we are confident that the project would have been a success and had a positive effect on the community of Nelson.
Despite the project not being seen to fruition, we hope the discussions we have had with BBP so far, and the plans/research we have produced could still be useful as a foundation for further development of the community hub and the application for future funding. The unique opportunity to collaborate with BBP and the communities they work with has been invaluable to our professional development, and working on a project which prioritises social value would have been a benefit to all BA + MARCH students involved.
We would like to take this final opportunity to thank Building Bridges Pendle for their continued support, enthusiasm and energy through the duration of EVENTS20 - in particular Rauf, Katie, and Shabaz who have been so engaged with the project from day one. We would also like to thank Becky at MSA for organising EVENTS20, and the BA students who had chosen to join us for the EVENTS week this year, in hopes of producing an exciting project with the potential for real social change!
Ramsgate Community Centre is a precedent for the type of venue that the downstairs of BBP office could become. The venue is a multi-functional group space with a moveable coffee bar/cafe area. The hub is open to anyone to drop in, grab a coffee and have a chat. The sale of coffee contributes a small monetary income to the running of the hub. On top of this function, the space has grown to host a variety of community organisations which engage with residents and give space for hearing concerns. The NHS, police, council and housing associations have all taken advantage of the hub’s central location to meet with people and break down boundaries within the community.
To familiarise ourselves with Bradford, our collaborator kindly volunteered to take us on a walk around the key areas of the city centre to understand the current state of the city better and record our first impressions. The information collected on this visit will be condensed and presented to the BA students as part of the information pack we aim to provide before the Events week begins. This walk will also form the basis of the site visit we plan to do on the first day of the Events week, which will be focused more specifically on the City Village site itself.
Victorian architects instigated a departure from reliance on the rules of classical design. No longer regulated by Georgian principles of Palladian design Victorians designers developed their own styles incorporating a variety of inspirational sources.
The Victorian fashion for Italianate architecture was their response to Classicism. It remained in vogue, particularly in Victorian country house designs until the idle of the century. While other Victorian architects, notably Pugin looked retrospectively and nationalistically for inspiration in the Gothic tradition. Proponents of the Arts and Crafts movement celebrated the artistry of craftsmanship.
Victoria’s reign coincides with the height of the British empire. In Victorian design we see a taste for exoticism with design influences from the orient, Egypt and India introduced into interiors. Thomas’ Cubits Durbar Room at Osborn House provides an example. Architectural styles proliferated outside of England to the USA.
The nature of high status buildings, ones that architects build their reputation around, also changes in the Victorian period. Architects that might previously have earned their reputations on grand houses and private estates turned their attention to public and industrial buildings with the same diligence and attention to moulded details. The architects behind these Victorian high status builds also constructed residential commissions so their designs feature within our joinery collections.
- Architecture as a profession is born in the Victorian period
Architecture as a profession is largely a Victorian creation cemented by the formation in 1837 of the Royal Institute of British Architects. Its first president Earl de Grey, designed his own Wrest Park, Bedfordshire in French Baroque style. The role of developer and surveyor becomes distinct freeing architects to experiment with new design and techniques. The designers of many 19th Century houses were anonymous in-house architects working within design houses such as that of Thomas Cubitt. Cubitt himself built large parts of Belgravia and Pimlico in London as well as Osborne House. Those that are remembered are for the higher status projects.
- Victorian industrial architecture riding the crest of the wave
By 1840 the industrial revolution was progressing at full steam. Its profound effect on economy, society and culture are written into the architecture of the time. The scale of the construction boom was vast.
The railways were a high profile exhibition of architectural prowess in scale, innovation of materials and techniques, and in the embellishment and design (see example of our joinery from Liverpool Station).They were also a means of transportation for architectural materials which enabled even larger scale building works. Relaxation of the window tax cleared the way for the use of glazing in building projects. New building materials produced on a mass scale included wrought iron. So we see construction of cathedral like glass houses at Kew Gardens by Decimus Burton and Richard Turner and Crystal Palace, by Joseph Paxton.
[POWER TOOLS AND WOODWORK - DON’T FORGET ABOUT SAFETY!] During the prototype build, we will be using a variety of woodwork tools including bandsaw, electric drill, sand disks, etc. All students must have completed the workshop induction before using any of the equipments! Don’t worry, we will be supervising you guys, but also make sure you pay extra attention at all time, we don’t want any injuries to ruin your time during the event! Most importantly, we want you to enjoy the process, and hopefully learn from it too! Oh, and don’t forget to return the aprons after you finish!
For Week 2, we will be building the 1:1 models. The models will be each created in groups and then overseen by the MA students if they need any help. On the 2nd day we will be completing the models and then finishing the wood surfaces. We will then take photos of the models and make sure that they are presentation quality. The 3rd day, we will be improving out InDesign skills as a group by making the publication. The output will be a presentation for the client on the 4th day and a publication. On the 4th day we will prepare the presentation for our client to see all the hard work we have done for the past 2 weeks!
The dancing floor shown above is converting kinetic energy into electricity which is powering up its LED lights at the same time. Through this process the floor reacts to human actions over it and provide them with a more interactive and sustainable experience. There are various of technical ways to power up the Energy Plugins, such as digital energy meter, photo application as well as LED battery.
Unicef launches video game to teach children about their rights
And how do you balance those more serious concepts within a gaming format? It required a constant looking at the “bigger picture”, Caswell says.
On level four, the studio took a more “metaphorical” approach. The threats were presented through sound, as well as visual metaphors such as hands and chains.
“It’s clear that it’s a threatening environment which is realistic for the young people, but it doesn’t try to depict the actual acts of violence because it’s so different for every victim,” Caswell says.
The game’s illustrative style also allows for this “metaphorical” flexibility.
Unicef launches video game to teach children about their rights
Unicef has launched a mobile game to teach children in Latin America and the Caribbean about their rights.
Right Runner has been designed by London-based design studio, Nexus (which also has offices in Los Angeles). Deborah Casswell, the studio’s creative director, says that the studio worked with UNICEF to work out an “engaging” way to educate children about their rights.
As 2019 marks 30 years since the United Nations Convention on the Rights of the Child, the game seeks to address children who are unaware of the rights enshrined in this agreement.
While Unicef chose to focus on five core rights for this game, Casswell says that that it is in talks for expansion.
7. Encourage me to be active and play with others
My well-being, social life, play, creativity, self-expression and learning can be enhanced when I collaborate and share with others. Provide me with experiences to help me build relationships and social skills with my peers and community, but also give me the tools to distance myself from those I do not want to have contact with. Encourage equality in your product or service by not highlighting differences that can be used in discrimination, such as number of friends or likes.
8. Help me recognize and understand commercial activities
Label advertising clearly so I do not confuse it with other information. Transparently indicate when actions in your product or service commit me to download content or commit to exclusive use of your product. Make sure that I fully understand all purchases before I am paying for those in or through your product/ service.
9. Use communication I can relate to
Make sure that I understand all the relevant information that has an impact on me. This includes the terms and conditions of your product or service. Consider all forms of communication (visuals, sound etc.) and make it accessible to all. Keep in mind that age, ability, culture and language impact my understanding.
10. You don’t know me, so make sure you include me
You should spend time with me when you design a product or a service that I may use. My friends, parents, teachers, and communities also care about your product or service so include them in the process as well. We have good ideas that could help you. Also, ensure that you talk with people who are experts on my needs.
Dan will be sharing a session to talk about his working experience in TASC, along with the different construction, design and structural approach in realizing activities that have been successful in the past.
We will also be working on site at TASC's studio and gallery space together with Dan and Catherine to experience an on-site live project, dealing with TASC as clients through tutorial sessions.
4. Offer me something safe and keep me protected
Make sure your products are safe for me to use and do not assume anyone else will ensure my safety. A marked path or ‘lifeguard’ can tell me why something is unsafe and informs me on how to stay safe. Help me to improve my digital literacy. Give me tools to distance myself from those I do not want to have contact with, making unwanted content or contacts easy to block. Do not expose me to unwanted, inappropriate or illegal content. Provide me also with a model for healthy behaviour. Make sure you equip my guardians with an understanding of this as well.
5. Do not misuse my data
Help me keep control over my data by giving me choices about what data to share, for what purpose and let me know how my data is used. Do not take any more than you need, and do not monetize my personal data or give it to other people. Care about me by respecting my data.
6. Create space for play, including a choice to chill
When using your product or service, consider different moods, views and contexts of play. I am active, curious and creative but guide me to have a break and do not forget to also offer me some breathing space. Foster interactive and passive time and encourage me to take breaks. Make it easy to set my own limits and help to develop and transform them as my understanding of the world around grows.
1. Everyone can use
I need a product that does not discriminate against characteristics such as gender, age, ability, language, ethnicity and socio-economic status. Support this diversity in all aspects of your company’s design and business practices (including advertising). Expect me to use your product in unintended ways and keep in mind that I might use your product even if it is not designed for me.
2. Give me room to explore and support my growth
I need to experiment, take risks and learn from my mistakes. If/when there are mistakes, support me to fix them by myself, or together with an adult. Encourage my curiosity, but consider my capabilities based on age and development. I need support to acquire new skills and encouragement to try self-driven challenges.
3. I have purpose so make my influence matter
Help me understand my place and value in the world. I need space to build and express a stronger sense of self. You can help me do this by involving me as a contributor (not just a consumer). I want to have experiences that are meaningful to me.
The Designing for Children Guide was created by 70+ heroes – designers, psychologists, neuroscientists, health care specialists, educators, and children’s rights experts – during Talkoot, a 48-hour collaborative event in Helsinki in January 2018.
The aim of this evolving guide is to refine a new standard for both design and businesses and direct the development towards products and services that have ethics and children’s best interests at their core.
Indigo Playgrounds, Beijing, China by BAM, A paradise for children in the city.
The playground appears as a perfect square set within the landscape. The square plan is carved into the earth framed by long wooden benches. This perimeter of parent seating creates a safe play zone for the little ones to run wild. To further enhance the sense of closure and protection, a tensile canopy of orange discs floats overhead. The discs cast a checkerboard of shadows across the soft play surfaces, cooling and shading the tots.
More adventurous children are welcomed further into the park to the ‘King of the Hill’ playground. Taking its namesake from the children’s game, a thrilling mountain occupies the center of the space. Arrays of pipes, climbing holds, and climbing ropes offer children a range of challenges to reach the coveted peak. A nest-like lookout on top of the peak is home to one Acer truncatum, the true king of this hill. Luxurious white marble slides offer summiteers an express routes down the mountain. Aside from the mountain the playground also includes islands featuring swings, spinners, and an additional climbing structure.
Ambulance Playground by Luc van Hoeckel&Pim van Baarsen
Dutch designers Luc van Hoeckel and Pim van Baarsen transformed a parking space into a playground for disabled Children in Malawi.In cooperation with Sakaramenta, a social business in Malawi, Pim and Luc designed this play area with the use of recycled materials. The intervention introduces a scrapped ambulance, repurposing it as a playground clubhouse – where paediatric patients (and grown-ups) can occupy their time.
Among the ambulance are other playground equipment which all are characterised by the creative use of old materials like car tires, springs and axles.The playground is located a the side of Beit Cure hospital Blantyre, specialised in orthopaedic treatments. Because of the public function of the play area the young patients of the hospital are able to get back in contact with children from the surrounding area.
The interior of the ambulance has been gutted and furnished with bench seating for children to hangout. Opening ceremony of the playground inaugurated by the hospital’s patients.
The overall objective of this event is to curate an exhibition of the work produced by the 5th year research method module on four post-war New Town case studies. However, within this event other outputs are needed to either be displayed within or to market the exhibition. To undertake these tasks, various workshops and guest speakers have volunteered their time to help develop certain creative skills.
POSTERS - Graphically pleasing posters to present the findings of the research, these do not have to follow a certain format yet all have to look consistently pleasing together.
AUDIO EDITING - Included in the exhibition will be clippings from interviews of residents or designers from the new towns conducted earlier in the year. This will develop students understanding of sound installations in a space.
LEAFLETS - These will advertise the opening evening and duration of the exhibition. These will be handed out to the public during the event and published online.
BROCHURE - This final publication will be a take away and document for reflection even after the exhibition has been dismantled. It will summarise all the case studies and work undergone during the event.
We need to consider what kind of presentation is more suitable for clients in a cooperative live project. Because customers are not used to understanding professional GA plans, they sometimes cannot imagine our design. To help them get a better visual experience, we can help with virtual reality to support.
One of the method of looking at what a Gallery for Young People mean is through understanding the difference between older generation of artists and younger generation of artists. In a discussion, we look at different interests and hobbies as well as the different types of art works resulting from the interests.
From listed variation of exhibits, we try to develop a design that enhance and showcase the artworks in the best way in the gallery space.
Precedent 2 - Exhibition at the Deutsches Hygiene-Museum, Dresden
Another precedent study we referred to was the Kéré Architecture's Sceneography Designs for Exhibition on Racism at Hygience-Museum located at Dresden.
The exhibition space was separated into 3 different rooms representing and giving off the vibe of 3 different atmospheres. Each room used different materials of exhibition structure, different methods of exhibition and different theme of exhibit works. The transitions between each room create a journey to narrate the works in a timeline form, showing a conflict between people’s desires for stability and the organic need for social transformation, emphasizing the charm of the temporary and importance of conversation.
Each rooms also uses different ways of lighting and illumination, particularly studying how the lighting will enhance and amplify the exhibits. The layouts of each rooms are organized with consideration to the narrative of the works exhibited.
As part of our Precedent study, there will be a visit to a museum and gallery to grasp the idea of how to design an exhibition space.
First off is a visit to the Science and Industry Museum, Manchester, This would be a guided tour by the exhibition staff. During this visit, take note on the various type of display methods and items on display. How are certain displays framed? How are they placed on a pedestal or on a wall?
Note that even displays require space of its own and also an array of lighting techniques to enhance the displayed pieces. This is among the strength that the Science and Industry Museum have in their methods of display.
The visit will take place during the first week of Events and further details will be shared in the session plan and coming close to the date of visit.
Scan the QR code in the poster to be linked to the Site location.
Do note that since the location of the Museum is not far, thus it is accessible by bus. Prepare change or a bus pass for the day. And some pocket money for lunch together. Looking forward to the trip!
The term “installation”, which appeared in the 1970’s, generally applies to works created for interior spaces (ie. gallery, museum); outdoor works are more often referred to as public art, land art, or, to put it roughly, humans intervening on an environment and putting their “stamp” on it.
'Learn and design through making' is an essential approach for studying architecture. As one of the major outputs in this event, we aim to produce 2 high-quality physical models to present our conceptual design of the energy transition installation. we are going to explore multiple model-making methods with different materials in order to explore the best option to demonstrate our thinking.
The mock-up room is a square space which is about 4.8X9.25m and 3.6m height. In addition, there are three windows and two doors connect to the corridor. This space is very suitable for us to make experiential installations.
TASC has published a few books providing information and data regarding the activities and events previously held by TASC. The publication help us understand how the agenda and aim of TASC was fulfilled through activities and design, as well as how TASC engaged with children and communities in the best way to achieve a successful outcome and joyful experiences. We intend to hold an event that has a similar impact towards the communities and target clients.
Within the compounds of the imposing grade II listed Victorian building, is now the Rogue Artist Studios. It was formerly the Varna Street Primary School which had since moved to a purpose-built premise a short distance away.
The Rogue Artists studios was established in 1995. It stands as an artist-run Community Interest Company providing accessible studio space which is situated close to Manchester city centre. As the largest independent studio group in the North West, it comprises of more than 85 artists working in 57,000 square feet of space in the former Varna Street school buildings. Artists and members range from graduates to established practitioners that comes from a wide range of discipline : drawing, film and video, illustration, installation, interactive art, painting, performance, photography, printmaking, sculpture, and textiles.
The most common elevation for a Gothic cathedral is that of the architectural form known as the "basilica". This term, used architecturally, does not have any ecclesiastical or spiritual significance such as is associated with Catholic basilicas that have been designated by the pope as a church of great significance, e.g. the Basilica of St Peter, in Rome, or the Basilica of Our Lady of the Rosary at Lourdes.
Architecturally, a basilica is a church that has a longitudinal nave, with a lower aisle on each side, separated by rows of columns or piers, and generally with windows let into that part of the nave that rises above the outer roof of the aisles. This upper section is called the clerestorey. This architectural form is so named because it was commonly used by ancient Roman builders as the structure for secular basilicas used as halls for meetings, markets and as places of justice. Early Christian churches such as Santa Maria Maggiore, Rome, and San Apollinare in Classe have this form, which was adopted by Romanesque builders for their great abbeys and cathedrals, across Europe, such as Durham Cathedral, Saint-Etienne, Caen, and Monreale Cathedral.
During the Gothic period, most cathedrals were built with a single aisle on each side of the nave, such as Salisbury Cathedral, but some had double aisles with the outer lower than the inner, such as Bourges Cathedral. In the South of France cathedrals are sometimes just a single high, wide hall, with tall windows but no aisles, and the lower stage giving a rubust fortified appearance, such as Albi Cathedral. Gothic churches of the Germanic tradition, like St. Stephen of Vienna, often have nave and aisles of similar height, without clerestoreys, and are called Hallenkirche.
Internally, the nave and choir are usually divided horizontally into three stages, the arcade, the triforium gallery and the clerestorey. This arrangement is usual in England where it can be seen at Salisbury, Lincoln, and Ely.
In the Gothic cathedrals and abbey churches of Italy, triforium galleries are most often found in churches influenced by the arhitecture of Normandy, and were used at abbeys of women, as a space for the nuns to attend services. Elsewhere, many churches such as Florence Cathedral and the Abbey Church of Santa Maria Novella, had an interior alavation of two stages, the arcade and clerestorey.
The cross section of the Gothic church. The flying buttress draws the weight of the vaulting outside. It also helps in stabilizing the structure. It also allows the interior walls and piers to be more slender, thus creating more light within the cathedral; more of a feeling of "heaven on Earth".
“La Colline” by Appelle-moi Papa, A whimsical, technicolor land to play
La Colline is a landscape installation recently designed by Appelle-moi Papa Studio for the restaurant La Cantine du Voyage in Nantes, France. The "hills" build a whimsical world with its undulating shapes and lively colors. Both elderly and children can enjoy climbing and play in this colorful paradise.
In keeping with their desire to add colour and reaffirm La Cantine’s warm and convivial atmosphere, Appelle-moi Papa dreamt up La Colline (“the hill”). With its round and generous forms, La Colline is a whimsical, technicolor land where visitors from 3 to 77 years old are invited to climb, roll around, slide, play and lay around, all in a contemporary and colorful aesthetic.
The installation is based on a wooden frame and the “hill” is covered with EPDM. It is a work between playground and artistic installation.
This is an important driver in the Bradford City Village project. A re imagined way to successfully combine the city and residential areas through design can ultimately affect the way people live. Bradford City Council stressed in previous meetings that the most important issue to tackle in Bradford, is that of young people moving away to find jobs, as they are not catered to in the existing residential schemes. This demographic seeks a fun and vibrant city life to be combined with their residential home, developing "Alternative Living" design ideas could pave the way for this to happen. This change in demographic will ultimately benefit the economy and enhance social life for the majority living in Bradford.
The process undertaken during the events project, from initially meeting the collaborator to the end output, could potentially result in a lasting impact. As students, we are keen to explore the different options that could contribute to this scheme in Bradford City Center, and aim to use design activities in order to develop and refine ideas for the "City Village" scheme.
Initial conversations with the collaborator and key stakeholders gave us a good idea of what they are keen to see in our proposals. We will work around these notes and the given information including the Council's goals, in order to create refined design ideas.
Our schemes will be communicated through different mediums and our collected work over the events period will be exhibited at an exhibition in Bradford Assembly, organised by our collaborator. We appreciate that this is a fantastic opportunity to really show our work effectively, aiming to spark conversations and to influence the future design decisions made in Bradford by key stakeholders. We have been asked to explore phase I, including initial designs to show the potential of Bradford City Center and we aim to achieve this through a final exhibition.
Hopefully our conveyed ideas will create a lasting impact in Bradford, one that values positive social impacts as well as other benefits, in terms of economy, diversity in demographics and ultimately, the perception of Bradford.
We have some unfortunate news. We regret to announce that due to the outbreak of COVID-19 we can no longer continue with the events project. However, we are reflecting on the fulfilling experience we have had as a group up until this point of planning the event. We are confident this would have continued to be a successful project which would have had a positive impact on the wider community of Gorton.
We would like to thank our tutor Becky for organising Events 20 and the invaluable feedback she provided to our group during tutorials. Most of all, we would like to thank our collaborators Catherine, Dan and Tam from TASC who were so passionate and enthusiastic about the Make • Shape • Discover project, they infused us with bundles of energy from day one!
What we take away from this project is the understanding of the fundamentality of cooperative group work, the understanding of design for the greater good and social value. Collaboration and communication with the collaborators have been a unique, invaluable experience.
Despite the project coming to an abrupt end and the design stage of the project not taking place, we hope that the work that we have produced so far serves as a good foundation for concepts of what could be done for TASC and the community.
After conclusion of EVENTS, all the creative effort and hard work of students will be showcased at a public exhibition at Rogue Studios. All the sketch models, design ideas together with the final outcomes – presentation model of a flexible furniture unit and a publication will be on display for everyone to see.
This provides an opportunity for people to engage with the work that TASC are doing, create new links between the people of the community and TASC. Everyone will be able to see the vision the EVENTS team is proposing for the workshop, and provide their feedback and thoughts about the project.
Once the design of the flexible furniture unit is finalised and has been presented to the collaborators, the team will have the opportunity to put their ideas to the test by presenting the concept to the children at TASC.
It is a chance to see if the actual users of these furniture units are able to engage with the design as intended by the team. This also allows to demonstrate how the workshop space can be improved from its current state, as well as how adaptability of the furniture can transform the space for different uses.
A study on the flexible box by Studio Precht was used to aid the discussion on solutions that address the issue of space-saving and storage space. While we do intend to design a flexible furniture concept that could be integrated within the TASC studio, we also intend to apply space-saving techniques to other areas of the interior. The box by Studio Precht contains a working desk, a sliding drawer for artwork and a seating area and has been designed so that its elements can be pulled out and pushed back in according to the desires of the user.
The precedent study on Robson Square was used to highlight effective design moves that create welcoming and accessible external spaces. As prescribed by the design brief for the renovation of the TASC studio, it is important for us to consider the importance of the immediate external landscaping. A key requirement is to improve the entrance to the studio, which is currently accessed via a narrow ramp and leads to a door with steps on the interior side, ultimately resulting with a problematic entry point for disabled people. It was decided that successful projects such as the Robson Square should stand as inspiration when designing the key external areas of the TASC studio renovation.
Park Walk Primary School Playground / Foster + Partners
Continuing the practice’s exploration of play spaces for children that began with the Ashburnham school playground in 2017, Foster + Partners, in partnership with the Bryan Adams Foundation and playground designers Made From Scratch, has revitalised a tightly bound outdoor play area in West London. The aim of the project is to heighten the myriad benefits that outdoor free play gives kids, including the development of physical, emotional, social and cognitive skills.
The aim was to take a previously unloved place and turn it into a welcoming green space that encourages children to play outdoors in a safe and stimulating environment. We are sure this space will soon be filled with shrieks of delight and peals of laughter, which we would consider to be the best compliment we can receive for our work.”
The L-shaped site, adjacent to the primary school building, has been divided into two parts – an active physical play area and the smaller portion dedicated to imaginative play. The area dedicated to imaginative play, situated next to the refurbished library, is designed as a woodland garden with a treehouse structure, seating stumps, a play kitchen, and a sculptural living willow pod to create a calm natural sanctuary.
Check out this alternative proposal for the Greater Ancoats Street retail park. MossBalling was produced be MArch students at the Manchester School of Architecture. The concept farm of do it yourself moss planters that would clean the illegal pollution levels around Greater Ancoats Street. The planters are made out of waste materials anyone can access, so try it out at home!
Find out more by visiting: https://www.materialpolitics.com/prefigurative-architectures
Green Space is an essential infrastructure in modern day cities, that is under threat by the financialisation of public space. Here are some of the benefits of green space and why there should be more in the Ancoats area.
Granby Four Streets is an ongoing community-led project to rebuild Granby, a Liverpool neighbourhood that was nearly made derelict by decades of poorly-planned regeneration initiatives. Granby Street was once a lively high street at the centre of Liverpool’s most racially and ethnically diverse community. The demolition of all but four of Granby’s streets of Victorian terraces during decades of ‘regeneration’ initiatives saw a once thriving community scattered, and left the remaining “Granby Four Streets” sparsely populated and filled with tinned up houses.
We are all going to the museum! Representatives from the museum will talk to us about the “Hello Future” project and what they hope to achieve from EVENTS with us, be motivated knowing how our contribution could help to promote environmental awareness in the community, in Manchester! Make sure you go back after EVENTS bring family and friends to check out what we will be building for the museum shop!
During Events week we want you to create incredible designs for the kids and for YOU to gain or develop your architectural skills.
To do this:
1. We aim to have training in software, presentation and architecture in general. We intend to teach software like revit, sketch up and the adobe programs.
2. We aim to have seminars that will help stimulate your minds to create amazing outcomes.
3. Finally, there will be site visits and trips to various fun and inspiring spaces.
-With a background in political science, Dr Leandro Minuchin will be visiting and delivering a talk on the social role of the architect in contemporary urbanism
- The aim is to inform and enhance our proposals with a strong theoretical grounding through political contextualisation
The Right Space project is aiming to design a recreational space in St.Cuthberts Primary School that would encourage interaction and create awareness of ‘Rights of the child’. It is an intervention that provides EDUCATION, ENGAGEMENT and VALUES for all pupils.
We aim to create environments where children are respected, their talents are nurtured and they are able to thrive. By embedding these values in daily school life, we can give children the best chance to lead happy, healthy lives and to be responsible, active citizens.
- Public Consultation led by Trees Not Cars allowed Ancoats community members to voice their concerns and vision for the site, reflected in this diagram
- Collaborator’s vision reflects a child-friendly approach to planning and includes :
- a link between the Canal and Ancoats Marina with cycling, running and walking routes;
- playgrounds and sports facilities;
- green space for activities and family picnics;
- dog park as significant number of dog owners live around Ancoats.
affordable housing and retail services (cafes, bike repairs etc ) responding to residents’ needs
Project site : Central Retail Park, Ancoats, Manchester.
Introduction of ‘Trees not Cars’ campaign by collaborators on-site. Collaborators to give history of site, their movement and their visions for an alternative proposal.
During the second week, we will begin to rationalise our proposals further and begin to curate our exhibition boards. We will be organising the groups depending on their interest (whether that is co-living, eco-living, circular economy and much more). Towards the end of the week we will be focusing the final exhibition layout, printing out the work and transporting it to the venue, ready for the night of the exhibition.
Throughout the Events period we aim to learn lots of new skills and build upon our existing key skills as well as being able to use this event to explore what you may be interested in.
If you’re unsure, don’t worry there is something for everyone!
In January the team visited the Modernist, located on Port Street in the Northern Quarter. We were able to get an initial plan of the space and even noticed that an outdoor courtyard could be used for the official event!
The front of the Modernist is both a shop selling their own products and books, as well as exhibition space along the walls and even some of the tables. Towards the back of the Modernist is an exhibition space with three blank walls and space for a television. What's exciting about the Modernist was that it didn't have a vast amount of wall space which would mean that our design would have to think about how visitors and viewers would experience the different themes and ideas which we are presenting.
Though there is an upstairs office and lounge area, we discussed accessibility and decided that the lower level had enough room for all of our models, posters and brochures. All in all, it's the perfect backdrop to some captivating graphics and intricate models!
We have been working collectively over the past few months to organise everything we need in order to produce the ‘City Village’ proposals during our 2 week Events period. We will be starting off with a walking tour of the Bradford City and initial site impressions which our Collaborator is really keen to hear about! Later on in the week will begin to develop ideas for the City Village site as well as researching alternative ways of living.
We have also invited our collaborator to come and take a look at our initial thoughts and work in process!