Tale of The Swan Bridge

Oluwaseyi Sobogun_Erasmus Bridge

What terrified me most was not the grand scale of you
In fact I stood in awe of you
But you blew me away, you let the winds of the oceans nearly carry me away
Oh Erasmus bridge I wish it wasn’t true
Now I’m not sure to cross you
Unaware of what was to come
I stared blindly at your elegant form
Structurally confusing, you’re not the norm
The imbalance of your struts/ties makes me question how tensed you are
Were you in equilibrium or was there an unknown pull on one side
I’m really asking how do you stand
Nonetheless you caught my eye, so I couldn’t just pass you by
I never knew this about you before
But you’re 802 metres long and 139 high
I could have travelled the shard more than twice and still hadn’t reached your length
I suppose you had to be twice that size to connect the rather huge divide
Between the north and south side
But why didn’t Van Berkel, your creator consider
That spans as long as yours, wouldn’t be kind to little tourists, mere passer by
Making a journey on the winds side
Frankly, you left us utterly exposed
Our clothes blew, our hair flews and some couldn’t even move
You let the sea throw its best gales our way and guess what?
You won. You stole the day,
It started so peacefully as your path led the way, blissfully unaware we stormed ahead
Until that moment the very ground on which I stood,
You shook, you moved
As before I was never sure of your structural capability, now honestly I fear
You’re not as stable as your cables appear
I trusted you to carry me, can you carry the self-weight of you?
That deflected shape must not have looked pleasant
If the internal forces I was feeling from inside were relevant
Did you know it was possible? That the winds of your very Rotterdam were fiery
Potentially dangerous? I doubt you do, because something about you
Your sheer construction, history and fame pronounce you never knew
I apologise for my attack of you, first time experiences are never as easy as it seems
I judged you before I knew you,
I won’t lie I’ll definitely never cross you a second time, but you’re worth the thought
Oh swan, remain elegant graceful and architecturally beautiful

By Oluwaseyi Sobogun, Stage 2

Oluwaseyi Sobogun_Erasmus Bridge 02

Diary of an Architecture Student in Lesvos: Boat arrivals, fake vests and papers, Registered NGO camps vs non-registered NGO camps

Fig.1 – First boat I saw arrive. Photo by Silvia Converso
Fig. 2 – Aftermath of a boat arrival in the clothing tent

The first boat I saw arriving was a challenge for me, being the overemotional person that I am. Somehow I managed to overcome my feelings, distance myself from the situation and help in any way I could. As soon as I arrive at the camp in the morning, Jacopo tells me, ‘Grab as much clothes as you can, a boat just arrived on a beach nearby’. We then get in the car and he drives skilfully like the good Italian driver that he is. The first thing to do as a boat arrives is to get everyone changed into dry clothes and get wrapped in foil blankets to avoid pneumonia. The boat trip normally takes between 4 to 6 hours; this means you can get soaked in the cold water and you are prone to getting pneumonia. We then give food and help people to move to the bus that will take them to the main UNHCR registering camp – Moria.

After the bus left we got together with some locals and started organizing clothing and separating it between dirty and wet. Our other allies – the hot Spanish Bomberos from Proem Aid http://proemaid.org/  – were dismantling the boat after they had rescued everyone in it. The Bomberos were a group of water-specialized rescuers who came all the way from Spain to help. Their intentions were as good as their looks. I learnt later that these well intentioned young men had been arrested under the claim of human trafficking, by the Greek coast guard, as they were rescuing people from a boat at sea that was sinking. They stayed in prison for a week and even after losing most of their funds to pay for the bail, they remain active on the island.  Many of the life vests are fake. They do not prevent drowning thus immediate action is needed, especially in cases where children are involved as they cannot swim.

Fig 3. Free Market in front of UNHCR Camp

Following the arrival of the boat, Silvia, Jeremy, Chiara, Jacopo, Rik, Julie, Justine and I went for a trip around the island to visit other camps. The UNHCR camps had a clear separation between volunteers and refugees, barbed wire and fences all around the camps. Although people seemed to be helpful, there was still a sense of coldness that was not found in camps such as the lighthouse where colour and warm materials like timber took over and the only barriers one can see is that of the sea horizon and the beautiful vines. The prefabricated Ikea houses and the barbed wire made the UNHCR camps look like a concentration camp whilst the lighthouse camp reminded me of a scene from a children’s book. The free market was starting to take over as you could see vending machines and stands right in front of the UNHCR camps selling food and goods to the refugees. Gypsies were also benefiting and making good money out of the whole situation, since they were infiltrating camps in order to get food and clothes as well as selling things.

Fig 4. UNHCR vs Lighthouse Camp
Fig 5. UNHCR vs Lighthouse Camp
Fig 6. Dirty Girls Tent at LightHouse Camp

When we got to Moria we were even more shocked. Moria used to be a military base that has now turnedinto the main refugee registration camp on the island. Thanks to the work of the individual volunteers the camp had been modestly transformed with a sense of warmth, with some paintings here and there. What was incredible to see was the tents for the already-registered refugees. On average, the waiting time for registration was about 4 days. Once registered, you have to leave the camp to get yourself a ticket to go to mainland Europe on the ferry. Where would you stay between registering and getting a ticket? In the tents next to the camp in the middle of a muddy vineyard or in other camps and squatted places if you were not lucky enough to find a generous Greek family to take you in or to have enough money to get a place to stay at a hostel.

Fig 7. UNHCR Camp Moria from the outside

We enjoyed the best tea ever from the British group called Wild Lemon Team operating in the muddy field next to the tents, and talk to some of the volunteers working at Moria. I met little Abdul and his friend who saw me taking pictures and insisted I recorded their friendship. They were about 9 years old and were just wondering around the camp alone. I then asked one of the volunteers what happens to minors arriving alone at the Island to which she replies, ‘They normally stay in a special camp for minors for 3 weeks until something is sort out for them, but I never report them as I believe that the minors’ camp is awful and they are much happier staying here’.

 

Fig 8. Vineyard outside Moria UNHCR tents, Jacopo Corsini’s photo
Fig 8. Abdul and his friend

 

 

 

 

 

 

 

One other thing we noticed was that there was a special allocation of people depending on their nationality, the reason for this is still unclear to me.

Fig 9. Moria Camp map

When talking to Dr. Heather Johnson and photographer Iva Zimova about the issues behind the system for registration they both mentioned one very important thing – the system is too complicated for a newcomer to understand, and adding to this, there is a big language and communication barrier. Iva told me about a 16 year old whose uncle lives in the UK. His uncle had offered to pay for everything, his trip and his schooling but because he got denied asylum, he had to do the crossing illegally through the boats. The main aim for now is to privilege war and political refugees seeking asylum, yet a lot of new comers seek better economic and political standards. People as young as me or even younger get sent over through the financial support of their families for it is their family’s belief that this is the best option for their sons and daughters to get a better life. When the EU tightens policies for migration and registration this causes people choose illegal methods such as fake papers to get into Europe. Why are people being forced to have to make such decisions? Very often if they are not able to get registered and eventually get deported, they get arrested and put into prison back in their country of origin as the country of origin has to pay for the deportation.

Fig 10. Yamaha Fake Life Vests laying by LightHouse

No borders is a rather radical view on the whole issue but open borders is a different matter. Yes, there are borders and indeed we all belong somewhere, at some point, but given the circumstances and according to the basic human rights everyone has the right to seek asylum, no matter where they are from.

On another note, The scepticism of some citizens of Europe towards newcomers, in my opinion, is as a result of the fear of loss of identity and tradition as well as economic possibilities. Economically Europe would benefit from these hardworking people coming to produce and consume our goods and services. Like Nick Hanauer explains on his banned TED talk, “consumers create jobs, not the less taxed super rich”. Refugees and migrants are consumers; they do not steal jobs, and they promote the creation of jobs. Also the wave of refugees now arriving on the shores of Europe are those who have the money to pay for the 4000 euros per person for a boat trip. In terms of cultural loss what people do not realise is that cultural change and transformation has happened infinitely amount of times before. Take the Portuguese: there were the Celtics and the Iberians which merged into the Celt Iberians, later came the moors and to this day we have words deriving from Arabic such as Oxala (deriving from Inshallah) which literally translating means ‘hope to God’ (in Arabic) and ‘hope for something to happen’ (in Portuguese).

There is indeed a cultural clash going on but we must not show hostility towards each other and both sides must compromise in order for this to be a temporary or permanent (who knows) pacific progression of culture. A New comer will most certainly have to accept and practice the values we have for so long established in the West, the values of freedom so many of us take for granted. We also mustn’t assume freedom comes in a superficial form of cultural habits and what they integrate. Freedom relies on having the possibility to choose. In a case like this, one needs more empathy than sympathy. When moving into Germany, I realised Germans do not kiss on the cheeks when meeting someone new, and I thus learnt to shake hands instead. This does not mean I am not allowed to do this with those of same cultural background as me.

Like Gerda Taro and Robert Capa (war photographers from the 20th century), people continue to risk their lives to bring the truth to the surface. However, sadly media still spreads the fear and too many of us are foolish to let them do so. The attacks in Cologne, for instance, were used as a catalyst for the right wing to promote anti-refugee attitudes although only 3 out of the 54 attackers were refugees. [1] My family lives in Bonn and I often go to Cologne for parties, the sort of behaviour that happened during New Year’s was already familiar to me. During Carnival fests, about 5 years ago, also in Cologne by the Hauptbahnhof and Cathedral, we had been approached and assaulted by various Caucasian German and English speaking men. This is not a race-related problem, for race doesn’t actually exist, it is a made up concept that is used to separate and stigmatize. Sadly, due to the fact that so many people believe in race, one has to consider intersectionality when it comes to such issues. As architects we have to put ourselves in someone else’s shoes and consider their background in order to produce something for them, yet at the same time we have to deal with our egos and persona. This is, for me, the most important thing one can learn from Architecture in practice and it is a lesson that can and should be applied outside practice.

[1] Source: http://www.independent.co.uk/news/world/europe/cologne-only-three-out-of-58-men-arrested-in-connection-with-mass-sex-attack-on-new-years-eve-are-a6874201.html#gallery

By Luisa Luisa Pereira, Stage 3

Diary of an Architecture Student Volunteer in Lesvos: Food, Clothing, Muscles and Rebels

Fig 1. View from the camp. Photo by Jacopo Corsini

“There are people out there who are suffering and there’s very little they can do about it”…“Sometimes I feel guilty when I’m happy because I know that these people are hurting. How can I be happy when I know that people are being forced to live in refugee camps and ghettos, while women are being sex trafficked and millions of innocent people are suffering? So as I sit here and look at my life, I feel grateful, but I also feel confused.”
– Stephen Swartz author of Crossfire

Once I got to Lesvos, Silvia tells me, ‘Everyone is taking a break today’. There had been a storm the previous night, which had destroyed the tents and soaked everything. Everyone’s mood was down, so we decided to down a couple of Ouzu shots – the best alcohol to go with Chamomile tea and honey as I found out later that night. Seeing all your work getting destroyed was not easy but getting there on such day made it possible for me to get to know everyone. I got to talk with Dervla, this cool motivational Irish lady which gave me great advice. Silvia, the star of the falafel group, and I got some sober drinks and talked, the mood was starting to go up. I got some very good advice from Andreas our Greek man on how to help when the boats arrive. I then met Dani, a 30 year old cool metal head Syrian newcomer who is also a tattoo artist as well as a volunteer in Lesvos. Soon enough I started making connections and sharing experiences. The same situation was being lived differently by different people. We were sharing moments and having fun while going through chaos.

Although it did not become evident to me at first, a lot of the people were involved politically which is crucial but I came to realise that this ‘stand’, if not done pragmatically, can collide or even work  against the humanization and the solidarity that is so needed given the circumstances.

Leo had sign me in for the Lunch Shift. I did a bit of everything: cooking, sorting out clothes and just get to know people. I had the chance to put my French to test.

Fig 2. Omaira and Ella sorting out clothes

The clothing tent was extraordinarily difficult to manage; we had to sort out clothes and separate wet from dry from dirty as well as men’s from women’s from children. Socks had to be pinned together into groups of 3 pairs. Omaira, Ella and I spent the day sorting these out into bags to be sent to the ‘Dirty Girls’. The Dirty Girls are a group of women which gather most clothing from the camps, wash it, dry it and send it back to the warehouse which will then be distributed to all the camps across the island on list of demands made by each camp. Camps would cooperate with each other alot of generous donations came from locals. However chaotic the situation was … somehow things seemed to be working out.

After a while I started making all the shifts for the Clothing tent. A major issue was the fact that the tent had been damaged from the storm thus clothes had gotten wet. On top of this, we had stray dogs coming in and out leaving that wonderful dog smell on the clothes and blankets. I took on the task of sorting things out, fixing the tent and put the clothes on the top shelves for limited and practically impossible canine access.

Fig 3. Sassy Young Man at the Camp on New Years. Photo by Silvia Converso

Soon, I had my two habibis, Mohamed and Mohamed Saeed helping me out in the tent. As the camp, at the time, was mostly made up of sassy young men with a great sense of fashion they were the most appropriate to help.  Mohamed and Mohamed Saeed were Algerian, both with beautiful brown eyes always down to help out and make jokes amongst us with broken French, Arabic and English. Malik joined us a couple of times and he was so tired one day Ella found him sleeping like a baby in the blanket tent. Chiara joined us later on and she was by far the greatest contributor to this task, always motivated and focused.

 

Fig 4. Undocumented migrant Malik from Algeria adjusts his hair. Photo by Iva Zimova January 8, 2016
Fig 5. Silvia and Jeremy the Chefs

Meanwhile in the kitchen Silvia, Jeremy, Riki and Lulu kept busy making vegan food and distributing it. Leo and Louis kept fixing bits and pieces of the structure they had started to build in the previous weeks. Together with the help of Riki and Jacopo they started expanding and reinforcing the existing structures by using some reclaimed wooden pallets and covers recycled from the rafts and from some donations of the UNHCR. At this point Pierre was developing his project in the Greek man’s workshop.

Fig 6. Louis and Leo fixing the main tent

The collaborative spirit between volunteers and newcomers was a great thing to be part of. All these men and women put their muscles and brains to good use and helped Leo and Louis building the front reinforced cover for the kitchen. Men have just as many collaborative and multitasking skills as women do. I got to meet the most awesome male feminists and they took over the role of helping in the kitchen, cooking delicious things for everyone and making great contributions towards the construction of  infrastructure.

I was told I reminded someone of their mother, I could see how much he must have missed her. I got some speakers and we got a party going and interestingly enough I found out that I wasn’t the only one to obsess over Kuduro from Angola, which was so refreshing since no one around here seems to know what it was.  Everyone gathered in front of the kitchen listening to some Arabic or Portuguese lyric music, it was great. At some point the music stopped and someone had taken the portable charging device from the speakers. Surely they will give it much more use than I ever would!

Fig 7. Jeremy and Rik in the kitchen. Photo by Silvia Converso
Fig 8. Lulu cleaning the dishes. Photo by Silvia Converso

The collaboration in the building and management of the spaces was crucial in order to engage in conversation with the refugees instead of distancing volunteers from refugees. The political engagement of some of the volunteers we partnered up with was, for me, too extreme and not useful. Having had to spend hours and hours in meetings where my voice was ignored was frustrating as I would much rather be outside looking at the stars and dancing with the rest of the people. Our over politicized meetings sounded to the people outside like a ‘football match between Barcelona and Real Madrid’ – a quote from Malik’s friend.

Fig 9. Chiara and extra helpers in the kitchen. Photo by Silvia Converso
Fig 10. View from the Camp. Photo by Jacopo Corsini
Fig 11. View towards the port. Photo by Jacopo Corsini

Although the camp was managed throughout the day with the collaboration of everyone, for some reason only on one occasion did we have one of the newcomers present, the most linguistically intelligent young men I have met – Abdul. Abdul spoke Spanish, Arabic, Italian, French and English and he was a peace maker trying to help everyone, he translated so much for us! His voice and that of some of the other newcomers had not been heard during the meeting which infuriated me. It seemed to me that some people we had partnered up with had good intentions yet their blindness led them to make wrong decisions. Decisions that contradicted their own beliefs of freedom and of kindness, and obviously put everyone else at risk.

Fig 12. Kitchen tent Preparation for the Storm

When the next storm was brewing Abdul said to me, ‘As long as we have dry clothes and blankets to change to in the morning we will be fine.’ This seemed reasonable to me, yet some people decided to take some of the migrants, who had not get registered, to a ‘safer place’ – the hospital. One of the nurses had to inform the police and let’s just say that had they not had their hands full at the time they could have gotten those people into big trouble. Some guy also said, ‘Why would I go to the hospital and sit if I can lay down here?’ Indeed why would you sit inside a building that stinks of death when you can lay down outside looking at the stars and at the views.

It seems to me that some volunteers were only interested on being the ‘good guy’. Being a rebel, an activist and a volunteer has become trendy and ‘cool’. Going along and accepting all rules can be damaging, yet rebelling against them for the purpose of being a rebel can be even worse, and in all honesty, stupid.

The original definition of ‘Hero’ in ancient Greece, and for Brazilians, is that of someone who has the great ability to get themselves into a lot of trouble and get out of it in the most possible ‘badass’ way, that is pragmatically and ‘in the moment’. The two examples of real Heroes I know of is Ulysses (Greek) and Macunaima (Brazilian) and yes those young men (refugees) are the one and only real authentic definition of Hero, the volunteers are nothing but the secondary characters of each and every Odyssey of those heroes.

By Luisa Pereira Pires, Stage 3

 

Conservation as an approach for tomorrow

Good architects should all be conservationists. As architects, we understand the vital importance of context. Unlike artists, architects never initiate a design process with a blank canvas. Good design is always informed. Architecture is possibly the only profession that create its own problems and solutions.

To clarify, conservation does not necessarily require a conservative approach. To take a conservationist approach is to first recognise the existing value, past value, then to try and preserve those values whilst making appropriate additions to create future value.

Let’s begin with recognition. What do we mean by value? How does anyone identify something worth protecting? The answer may be found in the, somewhat snobbish, words of John Ruskin, “Any work, over which educated, artistic people would think it worthwhile to argue at all”. Today, we may expand on this notion by including disciplines other than cultural, to include social and environmental aspects as well. Much like Max Dvorak’s “conservation not restoration”, Ruskin makes a clear distinction between restoration and repair. In the views of Ruskin, to restore is not only destructive, but it is completely impossible. For any new rendition, no matter how accurate, ‘is a false description of the thing destroyed’. To Ruskin, value extends beyond form to the very matter which created form itself; new stones do not equate to the work of old craftsman.

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This conservative approach is not always practical however, as in the case of the Neues Museum, Berlin. Cue sensitive conservation. The aftermath of WWII and soviet occupation left the building in ruins and not much to be conserved. David Chipperfied recognised the past value of the very matter that made up the ruin itself and the current value of the wrecked form of the former building as a reminder of the historical event of war. He also recognised the future value in restoring the building for use by the general public as a museum once again. The building was sensitively restored. Instead of a complete restoration, the new elements were muted interpretations of the original. This way the building managed to maintain the scars from war as well as embracing restored volume.

But what if none of the original building envelope exists?

In July 1902, San Marco Campanile, Venice, collapsed completely. The decision was taken to entirely rebuild the tower using the same materials and method as prior to the incident. The justification in this case is that the symbolic value of the bell tower is integral to the identity of St Mark’s and the square which cannot be sensibly represented in the form of the rubble that remained, thus it had to be rebuilt. In fact this is not the first time that the Campanile has been restored. It went through multiple restorations to finally resume its current shape in 1511 with minor alterations up until then. The tower today is able to symbolically retain its past even if it may not be physically authentic.

In one example, symbolical value is placed above physical value. Ise Grand Shrine, Japan, is rebuilt every twenty years alternating between two sites. While on the surface, this may seem to be counter intuitive when it comes to conservation. However, the rebuilding serves as a way of passing building techniques from one generation to the next. The shrine is rebuilt with exactly the same materials, dimensions and methodology. Matter is not conserved here but cultural, historical and social heritage are definitely preserved.

Today we must recognise the importance of the existing cultural, historical, social and environmental heritage. Architects mustn’t brashly design for tomorrow without any regards for the past. Equally it seems irresponsible not to contribute anything for future generations. We must take responsibility for our legacy and do so by being good conservationists.

By Aut Angpanitcharoen, Stage 3

Destitute of Vision

tbmThe link between architecture and traditional craft is slowly becoming a thing of a bygone era. Replaced by self organising parametric systems, the role of the architect as a designer is gradually being consumed by digital mechanisms of the virtual world. Firms and offices now inhabit small spaces, where, what was once a thriving workshop has been reduced to a few screens that narrow down a lineage craft into a few algorithms. Utopia or Dystopia? The Drone is becoming the new building contractor, the world Kibwe Tavares envisioned in Robots of Brixton is soon becoming a reality. Fallen into the abyss of its own contradictions; contemporary architecture has become a sporadic movement of eclectic thoughts and innovations that have left no coherence or direction for the future of the profession. In it we walk in with our graduation caps and gowns, blind folded. What do I take with me? -my sketchbook or my laptop? What do I use to represent me? –  my flash drive with that digital render or the pencil axonometric on A1 trace paper? Maybe I’ll muscle that humongous vinyl portfolio that sways vigorously in the south westerly wind or should I just copy and paste the link to my newly designed Wix page that I can’t seem to get rid of the water mark on? My thoughts cannot help but ponder, I wonder what Pugin would have thought, whatever his sentiments one thing for sure is, he would not have approved of these solar magnifying, heat enhancing, generic conservatories doing all sorts of structural gymnastics in the modern cityscape. We are left with no option but to embrace ambiguity, we are left with choice but to follow suit and design buildings dependent on a fuel that is about to bring the world to the brink of global warming and war, we are left defenseless, directionless – we are left “destitute of vision”.

Congratulations Alejandro Aravena 2016 Pritzker Laureate- A potent manifestation of what contemporary architecture needs.

By Themba Ben Mtwazi, Stage 3, for Pencraft 2016

Image source:
http://www.miltonstart.com/blog/2014/08/01/google-catches-child-pornographer-via-email/confused-blindfolded-bald-head-man-using-a-computer/

Diary of an Architecture Student Volunteer in Lesvos

When the opportunity of going to Lesvos to work as a volunteer came up I did not hesitate to take part. I got involved with the Lesvos Falafel Project (http://www.lesbosfalafel.com/ ) through Leopold from BUREAU A (http://www.a-bureau.com/), an Architecture firm I had been working with during September in Lisbon. Their approach is very refreshing and different from the excessive formality we experience here in England, thus I knew the Lesvos Falafel Project would be something thrilling and interesting to be part of. The lessons I learnt throughout the week I spent with the Falafel Crew and the NBK (No Border Kitchen) people – our allies – were life changing and covered a range of aspects from politics to architecture to cultural differences. This was a very humanizing and extraordinarily enriching experience.

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Architecture had a big role to play in this situation. An experience like this helps you open your eyes to the power we have in our hands to change things and to help us define aims for our generation. We cannot sit in the studio all day keeping our eyes shut to the rest of the world, we need to put ourselves out there to have new experiences otherwise architecture is really pointless and rather repetitive. Existentialism is perfectly adapted to Architecture, and, in my opinion, Architecture turns out to be a catalyst for Existentialism. I had been wondering about the irrationality and amorality of this Universe as well as the significance of being human ever since I have read ‘The Stranger’ by Albert Camus, 4 years ago. Now it seems clear that although we live in it at least we, as individuals, made up realities that allow us to walk through life. Architecture plays a big role in this, it helps us advancing and not only teaches us about life itself it also teaches us about ourselves as individuals in a broader context.

Our group consisted of young empathetic energetic people with ages ranging from 20 to 70 years old from different areas of interest: Chiara Banchini, the sassiest violinist I have ever met, Leo Banchini, my good friend and visionary with a great love for picking on Portuguese dishes, Silvia Converso, the mother and centre of the group, Jeremy Schuh, our Chef and self-employed organic farmer, Jacopo Corsini, the meat lover with the coolest sense of humour, Louis Mejean and Pierre Cauderay (http://www.aazar.ch/accueil.html), our ‘shower and bath architects’ with a lot of energy and a very decent pair of muscles. We have extra team members that stayed in Lesvos for a month: Julie Melichar and Justine Boillat working in Partnership with other camps amongst which were Moria (UN Camp) and Skala (Lighthouse Camp). Rik, Lulu and our kind workshop Greek Man have done great contributions toward the project.

In order to incorporate all the experiences and important topics that connect to architecture I will be composing a series of ‘entries’ that can be published weekly. So keep an eye on the KSA Blog First Entry will come soon!

By Luisa Pereira Pires, Stage 3

Summer Work Placement

I spent this summer working for a medium sized international architecture firm in Torquay, Devon. While only a short walk from my house, the project locations I was working on were spread across the globe. One day an entrance foyer in Delhi, the next a black box exhibition space in China. I could not however get away from the ‘new guy’ toilet layout tasks which I was assured of by tutors when starting my course. Although I complain, the nature of collaborating in a multidisciplinary design team on high profile live projects is not something I have experienced before, and was therefore both insightful and exciting. I admit however that early starts 5 days a week were not something which I was used to.

I was lucky enough to secure a paid position which made the whole experience that much better, although when I look at the amount that I learnt whilst working, the money seems almost insignificant. I developed software skills which although highly important to work in the architectural profession, simply cannot be taught in a university environment, away from the burdens of planning constraints or cost.

There is only so much that can be taught at university, I believe that it is far better to experience work in practice at an early stage of your degree, so that you can fine tune the skills you learn before being released into the working world. I would advise anyone to do the same.

By Edward Powe – Stage 3 BA (Hons) Architecture

Paris… The City of Lights

Even though I had been to Paris before on a trip with my brother, the one week I spent there trying to explore as much as I could was never going to be enough to experience the 145 year old city of lights I had learnt to admire from a distance all my life. Having the chance to go one more time gave me the opportunity to understand not only how Paris works as a city but also to appreciate her history in context with the rest of Europe and the world.

On the D-day, I rendezvoused with the rest of the group at Ashford and instantly realised why we were chosen for the scholarship; they seemed like the most charismatic individuals to accompany me on the trip.

I woke up after a brief sleep on the train heading to ‘Paris Gare du Nord’ (built between 1861 and 1864 and deemed the busiest station in Europe), to get a sneak peek at what the French country side looked like. I must say that I was quite disappointed to realise it was nothing different to what I was used to seeing in England. Early in the afternoon, we finally arrived at the student hostel situated very close to Luxembourg before being treated to a traditional French dish, ‘The Crêpe Suzette’. It was the first time I had ever had one, and I loved it. It was the perfect start to a series of amazing eating sessions that would last the duration of the time I was to spend in Paris. That was the best part of my stay.

We went through a rigorous study of French history based on the theme ‘REVOLUTION’. We started off with a French historic time line starting in 1701, through the ‘French revolution’, and ending at 1870 with the complete abolition of the monarchy. These lessons were the main focus of our daily 2 hour lectures, which were accompanied by a subsequent excursion in the afternoon to a building/place/street, relevant to the topic of the day; including Le louvre, and the Red Light Districts of Paris.

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The most controversial was the ‘Musée de l’histoire de l’immigration’ where I felt the artefacts were terribly undermined and exhibited to suggest a lack of care and enthusiasm. In a nutshell, I went to Paris once again as a tourist, but I can say for a fact that I came back to England, firstly realising how small a great city like London was in comparison to its other economically strong counterparts around Europe and beyond was, but also with a deeper understanding of Paris and France (historically, architecturally and geographically). We also had the chance to explore Paris’ hidden gems for ourselves during the evenings and weekend – and man, did we explore!

I also mustn’t forget to mention the amazing tour guides we had; Frank Mikus, Ana de Medeiros and Dr Nikolaos Karydis. It was easily the best 2 weeks of my life in the last 10 years or so, and the best part was that it was all paid for by the scholarship.

By Paul Daramola – Stage 2 BA (Hons) Architecture student

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Billhook Nook Theatre by SHED

There are few opportunities when studying architecture to translate your designs into built projects, except if you actively seek those projects which allow you to do so. This extracurricular project gave us an opportunity to put our design skills to the test and produce a multifunctional events space for use by both staff and future students. The theatre took about 2-3 weeks to complete and has inspired many of us to seek future projects with which we can develop our skills further. The difference between working as a team on an academic project compared to an active, built project is significant, and we have all learnt valuable lessons about both team work and designing as a result.

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The theatre concept originated from the study of popular natural artist Andy Goldsworthy and his technique of ‘ordering’ nature using materials found on site. Billhook Nook Theatre consists of a large sculptural roof structure designed to represent the ‘ordered’ interpretation of the surrounding woodland. This ‘birds nest’ form is built around a triangular structural frame which is then supported using chains by the surrounding trees. The benefit of securing the structure to the trees is that the roof, although static, moves gentle with the trees in the wind adding a dynamic character to the theatre (unlike many traditional theatres). The theatre is also intended to not only draw your attention to the focal point (in this case the stage area), but to draw your eye up to the canopy of leaves above.

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The SHED (Studio for Hands-on Experimental Design) team, led by myself currently includes second year students Benjamin Nourse, Aut Angpanitcharoen, Luisa Pires, Andrew Warwick and Prinka Anandawardhani Choesin. We all look forward to experiencing Billhook Nook Theatre throughout the seasons, and we encourage everyone else to do the same as it will soon be available as a bookable education space on campus. The theatre can be found below the new business school development near parkwood on campus, just look for the door.

This project would not have been possible without the help of Creative Campus and Ian Bride, and we look forward to future projects together.

By Edward Powe – Stage 2 BA (Hons) Architecture

 

Pure Form

Pure Form 1The relationship between men and stone dates back to the inception of time itself. Whether through a genesis involving a supreme being or as culmination of an unprecedented explosion, one of the first forms was stone. This unpredictable entity that exists in multiple configurations with volumes and voids, patterns and tones so different that it’s hard to find two that are exactly alike has been our livelihood. From the solid shelter of the cave, the first tools of hunters and gatherers, to primitive agricultural equipment, stone has carved a path for human life to flourish. This hard substance became a canvas for prehistoric artists, teachers and authors to pass information from generation to generation, a practice that would become a continuum. These were the pages for the early Sumerian cuneiform tablets, the scroll for the decree of the Rosetta stone and the material that made construction of the pyramids possible.

Adopted and mastered by the Greeks and Romans the Architecture of antiquity then became the exemplary arrangement of this stone and the temple form was created. At this moment purity of stone was lost in architecture.

What stone wanted to be it could be no more, the natural grotto it wanted to create for the early men was to be no more; the dry stone walls built by the Shona of Southern Africa were to be no more; the balancing Boulders of Neolithic ancestors at Stonehenge were to be no more; the unpredictable architecture created by the insufficient technology was to be no more. The era of uniqueness was over.

Like the artists of the Renaissance and the Baroque playing with the boundaries of the orders, or the leaders of the arts and crafts movement rebelling against low quality mass produced products of the industrial revolution; the Pure Form project at Kent School of Architecture ran by sculptor Patrick Crouch follows this patriotism. True to traditional materials and tools, conceiving form from stone and wood, Patrick is bridging the gap between traditional sculpture and modern architecture.

Patrick Crouch at work Source: https://patrickcrouch.files.wordpress.com/2013/03/room-0331.jpg
Patrick Crouch at work
Source: https://patrickcrouch.files.wordpress.com/2013/03/room-0331.jpg

Michelangelo proclaimed that “every block of stone has a statue inside it and it is the task of the sculptor to discover it” ; Mark Antoine Laugier in his polemical essay on architecture argued that architecture ought to divorce the harmonious proportions of antiquities and look towards the structural clarity embodied in mankind first structures.
Such intertwined ideals are the driving force behind the Pure Form project. Open to all ages or to “those who are alive” in the words of the Patrick crouch the programme aims to bring the craftsmanship lost in the materials of modernity. As contemporary skylines become glazed by the structural gymnastics made possible by steel and glass there is no more room for a chisel; so the project recreates an environment such as that experienced by our forefathers during the construction of our great monuments. The process evokes memories, breeds artisans and inspires a revolt towards today’s architecture that is nothing but a silhouette of form behind a curtain wall.

The sounds of traditional tools chipping away at blocks of stone sound like an ancient song in the night but when mixed with the robotic sounds of laser cutters and 3d printers, it creates a unique melody never heard before. Is this the future of architecture encoded in the notes of this new song?

If a digital camera was carved out of stone would it be a priceless work of art or an ephemeral tool for human enjoyment? In a post oil earth, mankind will have revert to nature- the nature such as that of wood and stone.

Pure form classes in action Photo by Themba Ben Mtwazi
Pure form classes in action
Photo by Themba Ben Mtwazi

By Themba Ben Mtwazi