Report 1 | Cityzen Agency

REPORT 1: DESIGN AND TECHNOLOGY

1.1. EXTENDED CRITIQUE: PROFESSIONAL PRACTICE SYMPOSIUM 2023

I will investigate how the collaborative approach in practice creates new infrastructure of shared value in my analysis of the Professional Practice Symposium 2023. While Jonathan Hargos from Freehaus works on co-design principles with local communities to design a community centre in London, Jan Kattein uses concepts of workshop practice to revitalise London’s high streets.

JONATHAN HARGOS | DIRECTOR | FREEHAUS

Architect Jonathan Hargos, of a London-based practice; Freehaus, discussed in his talk, titled; "Relinquishing Authorship and Creating Civic Agency", how harnessing agency in practice, is crucial to create inclusive spaces. His practice aspires to create civic and equitable spaces that serve communities. Hargos describes, through the lens of authorship, how his practice collaborated with Haringey Council, to design a youth Centre in Woodgreen, north London, that would reflect the identity of its young population.

The site presented was an empty retail shop with very little access to daylight. One of the main objectives was to make the area secure and welcoming for the young users, because it had previously been a hotspot for drug abuse and attacks. This was achieved by providing a free-flow entrance and a threshold space in form of an exhibition area that created privacy, while maintaining a visual link between the interior and exterior. The end result was an informal hub; “Rising Green Youth Centre”, where youngsters could hang-out without being forced into a space with prescriptive facilities. Entire project from its name, to branding to the design itself was co-designed by the youth, its intended users. A unique co-designing methodology was adopted by using online platforms. Despite the challenges posed by the pandemic, the project was successful because it entailed a team effort that prioritised on creating agency and sharing ownership rather than the egocentric approach frequently utilized by architects. Overall, this project was a great example of understanding co-design and co-creation in practice, and it serves as a guide on how designers and architects can collaborate with communities to develop spaces that address their unique needs and challenges.

JAN KATTEIN | DIRECTOR | JAN KATTEIN ARCHITECTS

This London based practice was founded on the idea of working with the community in a workshop method to enhance public areas and focus on the idea that architecture should be a civic practice. Jan views practice is something that reaches out and connects people, and all his projects have a spatial component with an underlying economic, cultural, educational, or social goal. He enjoys drawing parallels between his design methodology and the sustainable development goals. His talk: "Civic Practice”, focuses on several High Street projects that his firm regenerated.

One of his notable projects that appealed to me the most is Aberfeldy Street. The client’s brief was to relaunch the vacant high street and to increase residents’ sense of security. Based on the area’s tradition around garment manufacture, Jan’s team engaged the community to contribute their favourite patterns to inform the paintings on the façade. They also attracted new enterprises that would occupy the empty units at a minimum rental cost and had the opportunity welcome new business concepts. The outcome was possibly the most colourful street in all of the UK and London. The contributions made by the community at the start of the project are now an integral part of the high street’s identity. This instils a strong sense of ownership in belonging in the community. Another interesting concept that Jan introduced was of 'common plan' where architects curate rather than design a space and the community takes a participatory route in creating the ideas.

1.2. MY PERSONAL POSITION

“I would like my architecture to inspire people to use their own resources, to move into the future”

- Tadao Ando.

The seed of curiosity for the unknown world of architecture was long sown during my childhood when I saw my house getting built. Brick by brick it was transforming into a person’s imagination, just like Legos, endless possibilities with each unique block. The thought itself led me into believing the million possibilities one could create.

I did my 5 years undergrad in BArch and then began working for 2 years in a small-scale studio in India, called A. Mridul Architects, before pursuing March in the UK. During practice, my outlook on architecture broadened as I worked on projects of varying scale from product designing to spatial planning while learning to design out of the box and not be confined to conventional spaces. My understanding of climate responsive, sustainable, contextual, and vernacular design was enhanced during this period. I mainly worked on community projects that revived the ancient water heritage of India, incorporating traditional water conservation techniques during this term.

During the discourse of M. Arch, I worked in two unique spectrum of studios that directed my research, interest trajectory and aided my overall development as a responsible and holistic architect. In my first year I was in ‘Cinematic Commons’ led by Doreen Bernath, which developed my understanding towards political architecture and how communal engagement can transform spaces. My design project was based in Hong Kong, and it focused on giving voice to the unheard protestors of Hong Kong to reclaim their lost identity.

In my 2nd year, I took ‘Citizen Agency’ led by Dr. Simon Warren. It was a more practice-based learning curve, as we got to engage with the community and got to know their opinions. This further encouraged me to create designs where various aspects of life come together, social interaction occurs as a natural outcome of good design, simultaneously saving the environment. Throughout my entire journey I have evolved as a sensitive designer who focuses on spatial, social, and environmental parameters while maintaining a balance between quality architecture and efficient planning, which meets the specific needs of the intended users with an underlying motive of giving back to the community.

1.3. THE DESIGN STUDIO CONTEXT

Cityzen Agency studio, led by Dr. Simon Warren serves as a creative and morally conscious activist setting for students to act as a "Force for Good." The brief titled; "Regenerative Built Environments." describes a comprehensive process of reimaging existing urban infrastructure for the benefit of its communities and to guarantee a net positive impact on natural systems. In contrast to the typical studio project, the studio process entails talking to actual clients and users in order to develop a workable design solution. This studio methodology offers a whole different mode of learning; where we are required to work together as the priorities change in an ever-evolving process, in contrast to the traditional in-studio experience.

I was intrigued to take up Cityzen Agency in my second year because of its Live project pedagogy, wherein the project is actually intended to be built. The brief greatly values community engagement and conversations with locals. This approach was largely new to me, with my last studio project based in Hong Kong, where all the analysis and research was done remotely and involved no interaction with people. This year's project is located in Buttershaw, a struggling neighbourhood in Bradford that has seen years of despair. I seized the chance to attend multiple consultations since I was interested in working with underserved communities and wanted to hear what their concerns were.

The language of my architectural interventions has been informed by my broader interest in community-led initiatives, participatory and co-design processes, which favourably blended with the ethos of Cityzen Agency. In order to improve ties within the community, my design choices explored the potential of architectural interventions to solve social issues that were present there. The design thesis was thus developed alongside the brief, conceptualising a proposal that addresses the outcomes and understanding from community consultations. These consultations advocated for an alternative development strategy that makes use of the catalytic architectural interventions, that would empower and revitalise the underprivileged local community. By interacting with the locals, I was able to determine that the most pressing problems that need to be resolved through my proposal are unemployment, dire economic situation, isolation, and social disconnection. I have benefited from the diverse learning opportunities presented through this live project methodology. As someone who had previously been involved in communal projects in India, this provided me a fresh new perspective on the cultural differences that the two countries had in terms of the dynamics of the communal bonding.

1.4. THE DESIGN THESIS

Community’s Alchemy:

Bringing a dissociative community together by using architectural interventions s a catalyst for community engagement

The Buttershaw council estate, which was built in the 1950s, is the setting for my thesis project. The thesis titled; “Community’s Alchemy: Bringing a dissociative community together by using architectural interventions s a catalyst for community engagement” seeks to propose a series of architectural interventions that will help to revitalize the community and create a more vibrant, self-sustaining, and inclusive space for its residents. The thesis begins by examining how to reduce social isolation and disengagement in the community by using interventions that can improve community involvement and bring people together under one roof. It also looks at how the area might be revitalised by creating more social and productive spaces. A thriving Buttershaw is envisioned with abundant economic possibilities, youth empowerment, and social restoration, using community engagement as a catalyst. The project concludes by proposing a socially prescribed intervention that would assist the youth of Buttershaw in becoming economically independent by turning their skills into a small business model that could possibly generate income, reduce anti-social behaviour, increase their overall engagement, thus, creating a FORCE FOR GOOD.

The initial engagement Buttershaw residents highlighted a lot of issues they were facing. The majority young were dropping out of school and engaging in anti-social behaviour like drug abuse, vandalism, and assault. The area also didn’t offer any employment opportunities. As a result, bad reputation has circled over Buttershaw. There is a lack of hope and ambition amongst the locals. I aim to address these issues using the former community centre, the Sandale hub, to build upon a new sense of hope and pride amongst the community.

The site is situated within the Crescent; Buttershaw’s town centre. There are several existing buildings on site comprising of a community hub and charity, a corner shop, a wellness centre, and old redundant shops, which I will retain and upgrade. Millennium Green to the Northeast of the site in not in great use and has become a hotspot for anti-social activities. The thesis, therefore, proposes a strategy to support and re-connect the fragmented community. This would be accomplished by reviving the local economy, making temporary interventions such as gathering pockets and pavilions around the area to facilitate interaction, activity street/boulevard as an urban intervention forming the link between Sandale community hub & millennium green to reduce antisocial activities happening in the niches. The site would house weekly markets, performance platforms, mini libraries, play areas, workshops and studios for skill development, cultural workshops, rentable shops/offices, and exhibit areas. These activities would make the streets more active and safer, and would help to create an economically Self-sufficient Buttershaw, based on the principles of give and take, and further enhancing the economy of residents.

THINKING TOOLKIT

The connection between agency and architecture has a big impact on my design thesis. Herman Herzberger, Kengo Kuma, Bernard Tschumi, and Steven Holl's works has inspired me for the exploration of the idea of developing a participatory design approach and how it can be used to create a link between the existing and the new intervention. I was also inspired by Jan Kattein’s talk during Professional Practise Symposium about the revitalization of High Streets through co-design techniques and how that may support the creation of cohesive spaces for the communities. This has holistically developed a thinking toolkit for my thesis.

The scheme aims to create a bridge between communities, both tangibly and figuratively. The new community hub in the centre of the old buildings will link the existing structures and unite the community by creating places where members of a dissociative group can have brief moments of connection. The project dives into the background of Buttershaw to define the use marketplace and performance area as a way of social connections. The existing shops on the site are dying niche in the area, they used to act as a market hub where locals could congregate. These abandoned spaces offer a genuine source of connection that is used to my proposal’s advantage. Therefore, the design attempts to reclaim and revive the marketplace by converting the redundant building into a lively hub resembling a high street with pop-up shops, bakeries, cafes, etc., as well as by creating a new community centre that contrasts with the existing structures. The proposal aims revitalise the existing structure by drawing a line between the old and the new and formulating an adaptable grid system. Enabling the community to be involved in the entire design process, will create a new sense of belonging with the intervention and create spaces that are welcoming. By giving a new identity to the site, these architectural interventions would act as a catalyst in eradicating the old negative connotations of Buttershaw. The main design principles are flexible and adaptable spaces with a grid-like modular structure that can be altered to meet the changing spatial needs of the community.

Axonometric view of the site

Site Master Plan

Axonometric of the New & Old build

Axonometric view of the site

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1.5. TECHNICAL & TECHNOLOGICAL QUESTIONS

DESIGN STRATEGY

My ability to design has significantly improved as a result of the blend of various techniques I used during the design process to illustrate and articulate my thesis. The use of Adobe Photoshop and Illustrator for creating digital graphics, collages, and montages to portray my narrative story became a crucial part of the process. Using 3D parametric modelling programmes like Rhino and Grasshopper, enabled me to produce computational design. I was able to use generative design principles using these programmes by taking into account numerous contextual and environmental parameters. In order to comprehend how my design would respond to the environment, I was also able to conduct numerous climatical analyses on it, using these tools. Additionally, the usage of a digital portfolio; evolving beyond the conventional PDF or physical portfolio language, proved effective for showcasing the plan that incorporated interactive features, maps, and consultation videos.

Furthermore, I worked on prototyping a modular structure for my design thesis, which is included in this design process, along with a deliberate selection of materials and consideration of environmental parameters, explained in the following technological systems:

Material Strategy
Structural Strategy

Find the detailed Technical Report here

MATERIAL STRATEGY

The material strategy is to use the locally sourced construction materials that are either reclaimed or recycled. The proposal attempts to design something that may be easily reused at the end of its life cycle in order to keep costs down and reduce waste. With this concept in mind, a modular construction system was developed, using salvaged timber for the primary framework. The scheme's materiality incorporates a mixed medium of materials; reclaimed timber acts as the structural framework, reclaimed glass is used for tinted façade glazing and recycled Polycarbonate panels used in roofs to let plenty of natural light into the building. The material strategy's fundamental principle is its ability to provide the outcomes required to develop a sustainable future by lowering carbon footprints, developing energy-efficient structures, using locally sourced materials, and minimising the use of concrete.

STRUCTURAL STRATEGY

The structural strategy was informed by a prototype based on the principles of modular units, that could expand and evolve over time. Based on a kit of parts, this modular system provides for adaptable and flexible spaces. When compared to wood joinery utilising glue and mechanical fasteners, traditional wood joinery utilises the least amount of energy, is easy to construct and disassemble, can reuse, and recycle all pieces as much as possible, and creates the least amount of waste. Therefore, I decided to create a framework based on traditional woodworking joinery that is simpler to install and remove without causing damage to the materials. The primary structural framework was inspired by the concepts of Chidori Japanese Joinery. A three-dimensional network of cubic cells spreads throughout the site in all directions. The grid splits from the ground and supports the roof and the interior area is carved within the grid. This method allows for the creation and organisation of modules with varying spacing and gaps between components. Because it sequences enough to blur an environment, the spacing at the ground floor creates privacy. In contrast, upper floors, the spacing is wider, which allows the wind to ventilate into the building.

1.6. FURTHER DEVELOPMENT

THEORETICAL DEVELOPMENTS

I have always been fascinated by the impact that architecture can leave on communities and how it can create a small difference in people's lives. Along with my passion for designing, my first curiosity to learn how architecture might change society was sparked largely by my interest in community participation.

The brief states that because this is a live project, the council will choose one of the proposals to be built. If my project were to expand beyond the scope of the proposal, I'd like to see the newly trained locals start to change their community’s-built environment to better suit their needs and requirements. Because local trades are now in demand in the UK, this would result in greater employment prospects.

I would further investigate co-design methodologies and how I can incorporate that with my proposal to involve the community to collaborate and co-design the spaces that they want. With further knowledge, I want to use this participatory design method to push the limits of design even farther. In keeping with my design philosophies from this project, I would conduct additional in-depth research on reclaimed materials and adaptive reuse techniques. The larger concept would also involve revitalising and uniting Buttershaw's surrounding neighbourhoods in order to promote social cohesion, harness participation, and boost the local economy. Making Buttershaw truly self-sufficient and resilient will help the local communities, businesses, and environment as a whole, to flourish in the future.