MAP at Lighthouse

23rd November 2013 - 18th January 2014 The Lighthouse - Poole’s Centre for the Arts

This catalogue was enabled by the sponsorship of Professor Stuart Bartholomew

Principal + Vice-Chancellor Arts University Bournemouth

As one of the few specialist Art and Design institutions in the UK, The Arts University Bournemouth fosters a community where students and staff embrace the culture of studio based learning, cross-discipline collaboration and professional industry engagement. Since its inception the BA (Hons) Architecture has embraced these ideas whilst still working within the parameters of the RIBA and ARB. Regularly working internally with AUB courses such as Fashion, Textiles, Model Making, Graphics and Fine Art and externally with UK and International companies the course has developed and produced innovative projects, which question the relationships and definitions between space and practitioners whilst encouraging synergistic creative relationships.

This unique approach to the discipline has fostered a long-term relationship with the Lighthouse and created the ongoing project entitled MAP.

Foreword Anthony Bednall

Associate Dean Head of School of Design

2013 sees the third annual MAP exhibition at the Lighthouse. The exhibition continues to grow in both scope, and reputation and produces work of exceptional quality. Drawing on the skills of both staff and students and a continued working relationship with local companies: Tekne and Coda, MAP is a research project which establishes the BA (Hons) Architecture course firmly within the local community. MAP is an exemplar of complementarity and collective response to issues surrounding the development of relevant interactive acoustic spaces and the urban context in which they are placed.

The challenge of curating an architectural exhibition is therefore the translation of architectural work into a more understandable format that is specific to the subject of the exhibition. Considering the majority of the entries, this exhibition presents a snapshot of a minimum of 400 hours of work from each student, which means that the curator is responsible for extricating the identity or soul of an entire project within a single image, drawing or model. Another challenge is to make the exhibition understandable for the viewer for them to achieve empathy with what is shown.

This need for an alternative viewpoint also manifests itself within architectural practice, there is so much time spent on technical details and drawing, that sometimes the outsider perspective is necessary to help solve a problem posed by the brief or to reveal new insights. Often those not directly authoring the architectural project respond more tangibly to models, visualisations and drawings that carry a convincing sense of a constructive reality.

The pieces included in the exhibition are therefore selected to work as an accumulation of a variety of responses using diverse methods in communicating

Introduction Sophie Clarke

Editor

architecture. However, each piece also represents the individuality of each student and a personal response to the brief and the site. It is also important to note the vast range of inspirations that inform the designs, from fine art to dance.

It is appropriate to have variety, showcasing each student’s architectural personality within a shared, common brief and site. The exhibition comes after students have started to develop a specialism within architecture, but before this has been fully tested and developed further by an extended project in the final year degree or at a higher level. The work shown within the exhibition and within the catalogue, albeit from a single project, will inform their future work. This may be through the development of ideas that demand further exploration in a new context, or that knowledge gained from this project will help inform new subject matter and direction.

Work

Helen Allsopp

Helen is inspired by Oscar Niemeyer and his use of curved form, continuous lines and non-linear architecture.

She has adopted an organic, expressive style of architecture, which can be seen throughout her most recent work.

Her Music School was inspired by the form of a trumpet and its programme based on the travel of air through this musical instrument.

She continues the theme of music into her masterplanning scheme where she finds a solution to improve the urban morphology of Poole. Her proposal is to place nodes of musical exposition along a continuous path through the town. The main aim of this was to encourage visitors and locals to experience the town through music, engaging them in musical activities to encourage a tighter community.

Nodes of Exposition in Poole, Encouraging Inclusivity for

Future Scenarios

Beverley Angove

Beverley’s work on the Music School was largely influenced by the geometric shapes found on fishing nets along Poole’s harbour.

The internal programme concentrated on differentiating the public and private spaces. This, along with the exterior finish reflects the progression of the student from novice to polished public performer.

By removing the road between the Lighthouse and the Dolphin Shopping Centre, Beverley created a connection between the two buildings to encourage public activity. Development of this idea created a cultural area that followed the geometric design principles of the Music School to facilitate activity

Beverley’s Future Scenarios developed her use of materials and angular aesthetic further into the town.

Integration of a Cultural Infrastructure within Poole

Thora H Arnardottir

Thora’s project features a hypothetical future scenario of population growth, lack of food supply and overfished waters.

The resolution was a self-reliant city that provides a sustainable source for power, food, water, and heating as a vision for the future.

She was inspired by the works of Paolo Soleri and Michael Reynold’s ‘Earthships’. As a result buildings that act like trees and supply the inhabitants with what they need to live were designed. The building and the inhabitants work together and take from one another what they need to live and survive.

Thora believes that although there is a yearning to create magical places, the responsibility architects have for the future must be acknowledged. Future architects have the power to change the way we build as the increasing need for a healthier way of building and living is demanded.

Developing Ecological Ecologies for Future Scenarios

Katherine Battersby

Katherine was born and raised in Hong Kong, and moved to Cornwall in 2000. This has made adapting to new cultures and travelling a major inspiration within Architecture.

Her approach to design reflects on how she can take ideas from previous work forward. This has enabled Katherine to express her progression through architecture.

Her Future Scenario extended ideas from the Music School design, where her focus was ‘Narrow Passages with Openness of Greenery.’ This stimulated her proposal for a ‘Boardwalk’ to run through Poole fostering a connection between the distinct areas.

The ‘Boardwalk’ was used to sustain the seaside image and to promote a lively atmosphere within Poole. The cultural nature of the project would promote coming together to celebrate creativity through dance, music and art.

Ecological Urbanism in Poole

Pacha Brady

Pacha’s focus on materiality has defined her work over the past year. This was inspired by her trip to the Venice Biennale and her examination of the work of Carlo Scarpa.

Her design for the Music School focussed on pattern, structure and materials to engage the user at every turn, providing a visual stimulus to ensure the building does not lose the attention of the user.

Bringing the garden inside blurred the lines of the structure, connecting it to Poole Park, rooting it within its context. The water is also a contextual element, paying homage to Poole’s maritime history.

The link between the water and the greenery stems from the idea that Poole Park and Poole Quay are the two key places in Poole. They come together in Pacha’s building, contextualising the structure further.

Landscape Informing Architecture Creating Gallery-esque

Movements

Sophie Clarke

Sophie was raised in a greenbelt area close to London. Her work is influenced by the importance of green space to tackle the monotony of the built environment in towns and cities.

Her primary focus is how spaces can be designed to be ‘sticky’. Whether this is through public space in private buildings or landscaping to create social interaction.

Her Music School design used greenery and industrial brick to contextualise the design with Poole Park and the Quay. This continued in her Future Scenario where she studied gardens, with a particular focus on glasshouses. She implanted greenhouses into the buildings surrounding the music school to promote a connection and visibility between the buildings and people.

Her studies led her to examine whether projects like this can be deemed individualism or megalomania on a masterplanning level.

Battles of the Built Environment; Individualism or Megalomania

Gemma Copp

Gemma’s position within architecture is linked with urban planning and the idea that creating social spaces and activity can also show meaning, highlighting the historical elements of a place.

Gemma’s work was prompted by projects such as Central St. Giles by Renzo Piano, Barking Central by AHMM and Clapham Manor Primary School by dRMM.

The use of colour in architecture has been used repeatedly to break the monotony of the city. Adding bright colour draws attention to a design marking it as vividly different to its surroundings.

The creation of these areas will foster interaction, a node where people can gather and socialise. The existence of these spaces is important to give diversity to places which lack a distinct identity.

Colour Psychology Through Social Migration and Neo-Traditional

Typologies

Britt Crayston

Britt’s work is mainly concerned with social interactions and the spaces in which they happen.

Britt’s inspiration came through the work of Jan Gehl and Jean Nouvel through the ways in which they encourage human interaction with architecture and the spaces between buildings.

Jean Nouvel’s work particularly interests Britt, as he is able to dematerialise a monolith to a more personable scale. Her proposal was directly inspired by Nouvel’s use of colour and texture, bringing identity to a building.

The idea of combining space and textiles are the key principles of Britt’s current and future design projects. These projects aim to give a function to a space and to create a situation which encourages social interaction with the building.

This engagement with the structure creates architecture which has longevity and importance in society.

Escaping a Dystopian Future. The Establishment and

Retention of Place

Britt Crayston - MAP 49.indd 1 11/10/2013 11:34:03 PM

Ben Dart

Ben’s work is inspired by his travels, which have enabled him to have varied architectural experiences according to the culture of the places he has visited. As a result his admiration for the built form around the world inspired him to study architecture.

This experience of unconventional places has guided Ben’s designs. The Music School was influenced by the industrial area in the Quay. The exposed structure of the warehouses led to the development of an exposed framework system.

The design is parasitic, reliant on the pre-existing bus station. It modifies the existing urban context to create dynamism in this area of Poole. This is reminiscent of the Pompidou Centre in Paris by Rogers + Piano which exposes the structure and services on the exterior, along with a public piazza which encourages social activity.

Framing Social and Economic Future Scenarios of Poole

Lloyd Fowler

Lloyd’s background as a bricklayer has informed his architectural principals. His knowledge of the material made it a key feature of his Music School.

His design for the Music School was derived from the railway lines and bridges found within the borough of Poole.

The raised ground floor resting upon archways is reminiscent of a railway bridge. The arcaded space recalls a traditional market building, this was designed to encourage social space. As part of his project Lloyd built a 1:1 brick version of the arch featured on the Music School.

The curvature of the building reflects the shallow curves of a rail line. The long corridors in turn resemble the narrow passageways and train compartments. Lloyd’s raised Music School was taken further in the Future Scenario which involved the adaptation of Poole in response to coastal change.

Historic Buildings Utilising Markets within Urban

Environments

Ross Green

Ross’ primary interest when designing public space is the importance of the relationship between humans and the built environment.

When first considering a design the interaction between people and place should be a primary factor. Ross believes that improving towns and cities is about creating architecture that engages the user.

This is an area of architecture that is in constant flux. Where a man may see an obstacle, a child sees a plaything. Accepting this array of positive and negative encounters one may experience with any object, provides arguably the best way to create an environment that stimulates its users.

The art of place-making is what drives Ross’ creative process. The challenge of imposing these ideals into an area that has no evidence of these principles is an interesting concept.

Imperfect Permanence

Dhaval Hasmuclal

Dhaval’s proposal focused on reconnecting Poole, making it a coherent place. Poole has the facilities to function; however these facilities are in disparate areas, making it unreadable as a place.

Dhaval used his interests in fine art to resolve his design, Wassily Kandinsky, in particular. He used Kandinsky’s methods of painting to draw a conceptual image of Poole which centred on the Music School and the cultural district it created.

This artistic approach directly informed the Future Scenario, which removed the Dolphin Centre to create a large town square. This, again, is centred around the cultural district, allowing easy access to shops, the train station and the bus station. It allows the rest of the town to be linked into the new heart of Poole.

Creating Better Public Spaces Through The Intervention

of New Architecture

Samuel Hold

Sam’s fundamental approach to architecture and the design process is the belief that each site is unique and full of new opportunities. His work uses the Music School as a social hub for Poole. It encourages social interaction hoping to transform the building through experiences and the memories of the people that inhabit the space. It is this that transforms a piece of architecture into a place where people can interact.

Sam’s involvement with architectural education programmes outside of university helps to give him fresh ideas on how social spaces could be transformed to be inclusive of young people. The SPUD Youth Programme (Space Placemaking and Urban Design) has enabled Sam to share his educational experiences with young people who are already engaged with architecture.

Technological Phenomenology of Poole

Janno Jõulu

Janno’s project revolves around the question; ‘Is architecture no more than a mere handmaid to global capitalism and international property market?’

His proposal elaborates on the absence of common ground in Poole as a result of the capitalist use of knowledge. In reaction to this he introduces a temporary use of property as an indispensable part of urban development. He believes that the new city should be guided by three principles; mobility, flexibility and diversity.

Janno observed social, environmental and economic aspects of sustainability in urban planning. He believes that the need for sustainable design grows exponentially and a good understanding of these principles could make a difference in the future.

Janno is particularly interested in large-scale planning strategies and international urban development for retail and residential use.

The Pool(e) of Socio-Economic NewTopia

Kathleen Lucas

Kathleen’s designs are incorporative urban projections that work to critically analyse and oppose the rigid planning that has so far been deemed sufficient.

Her work is influenced by recent proposals by Zaha Hadid in Istanbul, as well as how Le Corbusier used natural influences in defining plans.

By constantly contextualising her project with Poole’s history, Kathleen designed urban proposals that used movement and curved, organic lines as a reaction to the rigid urban plans of the past.

Kathleen’s theories using curves aim to project the future of Poole in a more sustainable and inclusive way. Analysing existing methods of city planing as well as questioning Poole’s failings allowed a completely original plan to develop, this was then translated through the scales of design.

Nature, Architecture and the Ideology of Modern

Urbanism

Sean Middleton

Sean’s work revolves around the concept of improving life in towns and cities through the experience of pedestrians and cyclists. His main inspiration was Jan Gehl, who has designed successful schemes for Copenhagen and Times Square in New York City. These involved taking the road from the car and giving it back to pedestrians and cyclists.

Sean’s inspiration for the Music School came directly from the form of a grand piano. The curvature in the roof that houses the auditorium and recital hall, represents the hammers which produce the sound.

For the exterior cladding Sean took the linear form of piano keys and extruded them over the curve creating juxtaposition through the linear and curved lines. The Future Scenario continued using the linear language of the Music School to take the design out into the surroundings and guide a path through Poole.

The Removal of the Car from Towns and Cities

Arnaud Mortimer

Arnaud is interested in how traditional architectural elements can be adapted to create a new urban morphology.

Due to the sensitive nature of the urban context of Poole, Arnaud looked to Le Corbusier and Zaha Hadid for inspiration. He researched how their use of walls changes the character of spaces while respecting the historical dialogue of the surroundings.

Arnaud responded to the site using curvilinear walls to break up the monotony of the town, experimenting with height, depth and width. The copper, concrete and brick clad walls also broke up the grey area, reflecting the beauty of the Old Town and Quay.

The walls were draped over the town of Poole to create a new architectural experience to engage the local population.

Morphology through Walls

Fatima Osezay

Fatima’s Music School was inspired by the urban context of Poole. She examined the materials used around the town and took this on to create an individual building. She used marble aggregate within concrete panels, which is then polished to create glistening surfaces.

The Music School utilises a simple frame structure, taking in the linear form of The Lighthouse. It then implants these concrete panels that shine and glint in the sun.

Fatima’s Future Scenario involves landscaping the area around the Music School to create a garden connecting the Music School to The Lighthouse. This in turn, would create a cultural area which is pedestrianised, giving the students an opportunity to play their music in a public place.

Form Follows Function

Aaron Parratt

Aaron’s Music School was inspired by Zaha Hadid’s Maxxi in Rome. Hadid’s use of curved lines and abstract shaping helped to form a buffer between the busy road and the site. Aaron adopted this curved form whilst rationalising it with the internal programme. The materials used were juxtaposed within the site to add a particular dynamism.

Aaron’s Future Scenario looked at how the different areas of Poole could be connected and therefore attract visitors from the outer areas of Poole and nearby towns.

This disconnect was solved by implementing a tram system. This was teamed with a map in the style of Harry Beck’s London Underground Map which was developed in the 1930s. This system and map will allow the town to become easy to navigate through the use of graphical clarity.

Urban Morphology through Graphical Typology

Marta Piasente

Originally from Varese in Italy, Marta’s architectural education began by observing her surroundings from a young age.

Working in a wide variety of architectural scales, Marta’s work uses hand-drawing and computers to render and articulate her design ideas.

The basis of Marta’s Music School lies within Greek Architecture. The design incorporates the surrounding area, creating an enclosed space between the colonnade and the surrounding building. The implication of its relationship to classical antiquity was made explicit by the colonnade.

Poole is not very well connected as a town, it has a lot of barriers like the Dolphin centre and the level crossing on the High Street. The colonnade proposal aimed to bring these areas together.

Breaking the Barriers of Poole New Masterplan for the City

Tim Sham

Tim’s approach to the Music School was to use architectural expression. In particular, the cantilever, which he used to make corners and edges to provide visual stimulation for the user.

His aim was for the architecture to be precise, modern and expressive, in contrast to the surrounding context.

Tim’s inspiration came from Frank Lloyd Wright’s Fallingwater; the sleek modernist lines contrasting with the natural surroundings. He believes that Fallingwater demonstrates that the tradition and ethos of a site can be kept while giving it a cutting edge building.

These innovative designs change the nature of the site, casting new shadows and reflections. This play with the senses was continued into his Future Scenarios which aimed to reconnect Poole using landmarks and geographic features.

Future of Poole by Changing the Geographic Features to Build

Better Links

Philip Simpson

Philip’s work focussed on how typologies inform the design of place and space. He looked mainly at how this architectural language can be translated to other uses.

An examination of the site and surrounding context found that the site was an island amidst roads and access points. This creates a barrier, dissuading the pedestrians from using the space. Philip used the traditional language of a temple to sculpt a tranquil space, away from the bustle, where music can be played.

The exterior columns and the linear layout of the interior guides the users in and through to the concert hall. The thickness of the wall and the crafting of natural light into the space, provides a feeling of harmony, much like Therme Vals by Peter Zumthor.

Philip’s masterplan pedestrianises the main road outside the Music School creating a cultural centre for Poole, including the Lighthouse and the Dolphin Centre.

Social and Economic Migration for Town Development Through the

Culture of Music

Michael Spendier

Michael’s Music School was designed to promote transparency and openness within an area which has no connection between the buildings.

His research into Poole as a place showed that it was hard to navigate and had poor links between the key areas. The response was to create a linear, easily defined plan within the Music School.

Michael’s Future Scenario revisited the issues he had tried to tackle with the Music School and took them further. To resolve the issues Poole had with poor connectivity he redeveloped the town plan and increased the permeability of the pedestrian routes. This opened up new routes making it easier for pedestrians to move freely around the town.

The new pedestrian routes give a connection between the Lighthouse and the Dolphin Centre.

Clarity By Design

Sam Taylor

Sam’s main inspirations within architecture are Modernist and Minimal Architecture, in particular the work of, Tadao Ando, David Chipperfield, Wiel Arets and John Pawson. The crucial elements of their work are form, function, repetition and materiality, this is what Sam incorporates into his work.

Urban context is another key consideration, the site and its surroundings shape the building. The black concrete panels are informed by the fluctuations within music and the waves in the harbour. This offers a link between the purpose and the context.

The repetition was taken into the Future Scenario where pathways above ground level were created to link the main cultural buildings within Poole together, these were lit to provide passive surveillance. The pathways were created at two levels to allow users to view the surroundings.

Pathways in the Context of Urban Morphology

Liv Thestrup Møller

Liv believes that public buildings should be designed to be inclusive and open, dissolving the boundaries between inside and outside, and provide passive surveillance.

Her design provides these things, the circulation is on a path that slopes through the building around a central courtyard. The circulation ramp makes access throughout the building equal to all users independent of physical ability. Music can be performed at an amphitheatre within the exterior courtyard and the cafe can be opened up to make the performance audible both within and outside the building.

Liv’s masterplan for Poole was about bringing ‘playful spaces’ into the centre of Poole, making these spaces into a place of people, where they can meet and socialise.

Poole of Playfulness: Recognition of Stimulated Bodies in Playful

Urban Environments

Lewis Toghill

Lewis is committed to the development of spatial proposals that are deeply rooted in local condition and context. He particularly enjoys working at the intersection of urban intervention, 3D design and architecture, and believes multi-disciplinary collaboration can only be of benefit to a proposition.

The transformation of misused, abandoned or underused environments is key to uncovering new perspectives on usage patterns, collective visions and urban diversity.

Lewis’ proposal references 1960s socialist ideologies and demonstrates an ambition to coherently link disparate regions within the Poole area.

The Music School proposal itself is informed by the challenging contours of the immediate site, whilst also conveying intentions to act as a new social hub - an immersive focal point of a flexible, adaptable and vibrant community concept.

All Watched Over by Machines of Loving Grace

Wilfred Tomescu

Wilfred uses his interests in philosophy and art manifestos as well as historical architectural language as a basis for his design principles.

His work follows the semantics of primitive and vernacular architecture to formulate his own architectural language.

Form follows function in as much as the architectural experience is directly influenced by the architectural expression, which is moulded over the cardinal elements of its composition - light, void, ventilation and aural or olfactory qualities.

This syntax is used to create poetry and art, an architecture dictated by the senses, where previously representation and technology overshadowed experience and happening. These objective terms were contrived and overused themes of architectural conversation.

Euphony Park Music School

Hannah Trunwitt

Hannah believes that the inspiration for a project shouldn’t just come from favoured architectural propositions but from the project’s context.

She believes that new buildings should rise from the landscape as naturally as mountains, and the design be just as strong. The point at which aesthetics harmonise with ergonomics is where architecture truly becomes an art, and a stronghold for design. This angular design which recalls crystalline structures is a key element of Hannah’s Music School.

The Music School and Future Scenarios were built around these ideas, bringing together all aspects of architecture to form a node that stands as an example to the rest of the town. These kinds of factors are of equal importance and should work together to reinforce all design.

From Deterioration to Abandonment – the Ever

Expanding Corrosion of Properties Around Poole

Daniel van der Poll

Daniel’s work is varied, he approaches each project with an individual solution based on the context.

His interest in the use of models to communicate conceptual design means he explores projects through making. His designs often examine the relationships between static objects and use of raw materials brought together in an architectural composition

Due to his background in Interior Architecture and Fine Art, Daniel introduces an artistic approach into rethinking the pre-existing, traditional conventions of architecture.

His style of making incorporates a wide range of materials, some reclaimed. These include rosewood, copper, polished brass and other metals. This emphasis on craftsmanship is Daniel’s way of ensuring the highest standards of architectural design.

A Proposal for New UrbanMorphologies in Coastal

and Estuarine Towns & Cities

Elegance, Fabrication and Locus makes… Arpeggios Create Archipelagos

Channa VithanaCurator

Music Architecture Poole [MAP 2013] is the third iteration of the MAP exhibition held at Lighthouse, Poole’s Centre for the Arts, in Dorset, UK. Having established MAP at Lighthouse in 2011 with Christina Varvouni-Giatrakou and Daniel Hambly, and then with Emily Moult and Matthew Samuel in 2012; each subsequent exhibition has become more refined and developed as a result of continuous updating and curatorship. Augmenting all the hard work from 2011 and 2012, MAP in 2013 is now also responsible for integrating new work towards the benefit of Lighthouse. MAP exists as a special collaboration with Lighthouse and cultivates a good and long lasting relationship between AUB Architecture and one of the largest arts venues in the UK. Elspeth McBain and Sara St. George of Lighthouse are instrumental in the success of MAP and since 2011 this is due to their unyielding enthusiasm, expertise and support.

Five AUB (BA Hons) Architecture Level 6 students are assistant curators of MAP 2013. These five students; Beverley Angove, Pacha Brady, Sophie Clarke, Arnaud Mortimer and Aaron Parratt are genuine curators, each with different roles and responsibilities. The work they have conducted is extensive, exhaustive and detailed to a level of serious professionalism. As MAP Curator, it has been an unquestionable pleasure to work with these five very talented individuals who have operated diligently from July onwards and

Introduction

The MAP Five

towards the opening of the exhibition in November 2013. The ‘MAP Five’ as tutor and student alike have named them understand the demands and rigours of curating an exhibition, and having previously exhibited professionally as a team, they have good prior form.

Method-architecture best describes Beverley as she is always so dedicated to her work that she has on occasion been asked to stop from working continuously, such is her machine-like tenacity and commitment. This goes against the grain of the attitude of some students in higher education who either have to be ‘inspired’ or cajoled or guilt-ridden in order to achieve and improve. Beverley has achieved highly at the AUB whilst studying for her Part 1 degree in Architecture and continues to excel. She writes elegantly and will face up to a challenge either by herself or when one is identified by a tutor. Beverley has a particular way of learning, making and doing in that she likes structure and order, hence the logical quality of her mind-set, yet she is unafraid to experiment creatively with her architectural design work – this is a wonderful quality in combination with the fine inner workings of a critical vocabulary as found within her written works.

Creative, pragmatic and passionate about her work, Pacha is particularly influenced by the exquisitely crafted layered architecture of Carlo Scarpa who

Beverley Angove

Pacha Brady

epitomises sensitivity in both creative output and manner. Pacha is at her best when she is within the moment, working fervently towards finishing to a deadline. She, like the other members of the MAP Five, actively sought out to complete the work on MAP 2013 and has created wonderfully articulated fixing components to enhance the MAP frames and displays, and works with lucidity into the layout and format of the physical curation of the exhibition whereby every facet and permutation is thought through meticulously and considered with great sensitivity, and in much deliberation, much like Scarpa.

Sophie writes elegantly, and has since Level 5 (second year) become assured and confident in her ability to align written critical enquiry with proportionate achievement in architectural design outputs. She has meticulously curated the substance of the MAP 2013 exhibition by filtering literally thousands of pages from her fellow cohort’s design sheets and written report pages to glean, craft and refine the architecture completed in the Level 5 2012 to 2013 session into sleek, beautiful exposition befitting excellent professionalism. In order to disseminate the work, Sophie had to understand the architecture of her cohort, which was no easy task, as this is an intricate, methodical and intellectually challenging process, much like being in an all-seeing-eye that is exposed to huge

Sophie Clarke

amounts of information, all at once – Sophie’s clear, intelligent and in some cases transformative curation is exemplary as it makes digestible large tracts of architecture into succinct, coherent visual grammar.

Anton Corbijn meets MAP, Arnaud’s photographic dexterity in architecture is wonderful to behold. Using low-cost and broken cameras and lenses Arnaud has captured the intricacies, small spaces and expansive enormity of the Lighthouse in all its complexities. Arnaud professed a dedication to architectural photography in seriously recorded form within his personal development portfolio from the end of Level 4 (first year) and throughout Level 5 (second year). His architectural vistas and shots of buildings from travels in Europe to the local within Poole are a credit to someone brought up in the instant gratification electronic world of current times where Arnaud’s work instead slows down time, and makes you wonder at the beauty or indeed intransigence of seemingly normal vernacular situations. Arnaud’s photography takes time to craft and is never instant, always capturing the phenomenal in architecture.

Aaron creates elegant architectural work, whether it is within drawing or making. His work always presents clarity and thoughtfulness in design. Together with Beverley, Aaron has meticulously measured and documented all of the Lighthouse’s spaces. Aaron’s logical thinking is perfectly suited

Arnaud Mortimer

Aaron Parratt

to his work with Lighthouse, as he has created a wonderful set of drawings and visualisations that communicate the spaces and the building in ways not previously available so that internally and externally, Lighthouse can create architectural dialogues about the space, place and venue they work within. Aaron has a wonderfully unflappable even temperament when it comes to work and this makes him ideal in complex situations or negotiations as his fair-mindedness provides stability, and he therefore is an important member of the MAP Five due to being able to complement the others to balance the team perfectly.

MAP 2013 incorporates Level 5 architectural work focussing on interventions relating to existing buildings, a music school opposite the Lighthouse and new work focussing on Future Scenarios to Poole that looks forwards in time into possible changes in architectural projects and related urban landscapes in response to flood, social and economic migrations, and environmental imperatives such as sustainable food production within urban contexts, and physical change of use in buildings. The Future Scenarios work to be exhibited as part of MAP 2013 was conducted with rigorous attention to evidenced-based design where each student supported and reflected upon their visual work with an integrated 4000 word Contextual Study that sought empirical evidence of architectural and urban design practices conducting

MAP 2013

in reality similar or inspirational Future Scenarios, both currently and proposed. Additionally the 2012-2013 AUB Level 5 Architecture students collaborated with Level 5 students from different courses in two one-week projects [FAT] Fashion Architecture Textiles, and [ICC] Innovate Collaborate Consolidate, with BA Graphic Design. These collaborations enriched and enhanced the architectural work, which will be disseminated in MAP 2013 as printed books and on a specially created website.

Lighthouse staff, many of who are at senior level and of many years standing are currently unable to fully visualise the whole of the Lighthouse, due to its complexity. This is not a symptom of being laypersons architecturally, but the huge building can also confound those trained and experienced in architecture also. Therefore bespoke models of and related to Lighthouse along with new photography and technical drawings and visualisations are an integral part of MAP 2013. These new works will form a new suite of communication devices to allow Lighthouse to understand its current built context within its entirety and also as a tool to measure what it could become, both empirically and lyrically.

The crafting of a 1:100 scale model will enable internal Lighthouse staff to visualise more efficiently and tangibly the whole of the building in both mass

MAP Industry Engagement with Lighthouse

Lighthouse Models

(structural) and space (internal spatial programme). The Lighthouse model will also form an invaluable device for dialogues between Lighthouse and its potential funding bodies and investors in existing spaces. Therefore the model allows Lighthouse to create Dialogues with the future specifically in pragmatic and visual terms for the quantitative, qualitative and diverse array of possible changes, and consequences to internal and external programme. New reflective models in reference to the 1:100 Model at smaller sizes and different scales can then via dialogues between MAP and Lighthouse enable Lighthouse to materially and visually test changes from small to complex levels. These reflective models can also be used in future dialogues with funding bodies, and also instigate debate both internal and external, towards the physical and lyrical nature of the Lighthouse as a building.

The new technical drawings, photography and visualisations will afford Lighthouse precision analysis methods and ability to both internally audit, and externally contract-hire, spaces (building programme) more professionally to industry that wish to rent and use spaces within Lighthouse.

Technical Drawings, visualisations and interactivity

with Lighthouse engagement

The frames and almost all components of MAP are made with sustainable methods and minimal waste in both assembly and disassembly. The frames are made of off-cuts of high-quality B-BB grade birch plywood and use second-hand acrylic instead of costly and fragile glass and may show some scratches revealing past use. White plinths, made from MDF have been recommissioned from previous AUB and Lighthouse exhibitions thus saving many hours of labour in assembly, painting and waste. New acrylic hanging plates for the frames have been specially designed and created by Pacha Brady, and these innovate the normally tired looking mirror plates often used to hang frames, and therefore augment the MAP philosophy of making at little or no cost, new components when none existing are available.

Making MAP 2013

People

Arts University BournemouthStuart Bartholomew - Anthony Bednall - Simon Beeson

Andrew Calvert - Ben Diamond - Suzie Evans - Ed Frith - Rebecca Granger Anthony Holness - Jim Hunter - Jeremy Jacobs - Phil Jones

Michelle Lowe - Carly Marsh - David McCarthy - Violet McClean Richard Patterson - Neil Pipe - Simon Pride - Josie Powell

Will Powell - Julia Waite - Ed Ward

Feria UrbanismRichard Eastham

The LighthouseElspeth McBain, Chief Executive - Sara St George, Deputy Chief Executive

Paula Hammond, Programming Manager

TekneRob Gould, Workshop Manager - Edd Sevestre, Director

Arup Acoustic EngineeringRob Harris, Director - Nathan Hattersley

RambollBen Rowe, Director (Structures) - Marco Poliafico (Environmental)

Haydn Springett (Structures)

EditorSophie Clarke

Coda Music TrustPhil Hallett, CEO

Students Helen Allsopp - Beverley Angove - Thora H Arnardottir Katherine Battersby - Pacha Brady - Sophie Clarke - Gemma Copp Britt Crayston - Benjamin Dart - Lloyd Fowler - Ross Green Dhaval Hasmuclal - Samuel Hold - Janno Jõulu - Kathleen Lucas Sean Middleton - Arnaud Mortimer - Fatima Osezay - Aaron ParrattMarta Piasente - Tim Sham - Philip Simpson - Michael Spendier Samuel Taylor - Liv Thestrup Møller - Lewis Toghill - Wilfed Tomescu Daniel van der Poll

Channa Vithana

Beverley Angove Pacha Brady Sophie Clarke Arnaud Mortimer Aaron Parratt

mapexhibitions.com

Curator

Assistant Curators

Website