ARQ_How Places Work

7/29/2019 ARQ_How Places Work

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Teachers guide

HOWPLACES

WORK


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Foreword

At CABE, we believe that the best way to understandarchitecture and public space is to experience them.Photography can capture some of the excitementof a building, but it can never fully convey the complexityof space, the quality of light and how it changes, thefeeling and even the smell of building materials. All thatmust be experienced first hand.

That is why, in partnership with the Architecture CentreNetwork, we have created the How Places Workprogramme of visits to buildings and public spaces.

But even when we directly experience a place, it canbe difficult to understand just what it is that makesit exceptional, especially when buildings are modern andunfamiliar. This is where the How Places Workinspirerscome in. These are men and women with a deepknowledge of and passion for particular buildings andspaces. They will guide you and your students through

these places and reveal exactly what it is that theythink makes them special.

Of course, the people who will, ultimately, make allthis work are people like you: teachers with the visionand commitment to help young people understand theimportance of good design in the places that surroundthem. This teachers guide is intended to support youin this task and especially in using the experience of thevisit to create project work on the subject of How myplace works.

We hope that you find the guide useful and that your

experience ofHow Places Workis an inspiring one.

John Sorrell CBEChair, CABE

Thank you for ge tt ing involved in How Places Work.


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Introduction

In this pu blication

Planning a visit 0 2What is archite cture ? 0 4What m ake s a good de sign? 1 4Archite cture and the curriculum 1 6Pre paring for a visit 2 0The visit 2 1Back in the classroom 2 8H ow m y place w orks 3 0Furthe r source s of inform ation 3 2

How Places Work i s a program m e of fac il ita tedvisi ts to bui ld ings and space s for se condary schools

designed to insp i re young people to learn about thebui l t environment through f i rst -hand exper ience.

What are the be nef i ts of taking part?

How Places Workprovides an opportunity toexperience and discuss architecture and publicspaces through a visit in the company of an inspirationalexpert. This is an excellent way to develop youngpeoples ability to evaluate what they see, and

to learn how to make informed judgements.

Students will be introduced to inspirers, architectsor professionals who have either been involvedin the design process or are personally involvedwith or passionate about significant buildings andpublic spaces.

How Places Workenables young people to developa better understanding of buildings and places, theiridentity, heritage and context, and the influences thatshape our towns and cities.

The visit provides a catalyst for a variety ofclassroom-based activities, and an opportunityto relate the curriculum to the world beyond theschool walls.

There is great potential for cross-curricularapproaches to learning and the developmentof transferable skills for researching and learningabout the buildings and places that surround us.

What approach does i t take?

A visit to a significant site facilitated by an inspirerand your local architecture centre.

A framework for cross-curricular activities.

Suggestions for pre-visit and post-visit activities,and curriculum links that maximise the learningpotential of the visit.

A chance to contribute towards a nationalcelebration of students work.

Opportunities for students to work independentlyor in small groups, to research, gather information,record their feelings and impressions, and carryout a variety of activities that support differentlearning styles.

Skills learnt will help students to assess and demandmore from design in their local places and spacesincluding Building Schools for the Future or otherbuilding activities in their schools through theHow my place works follow-up project.

If you are not already taking part and would like to knowmore about how to get involved in How Places Workplease contact us at [email protected].


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Planning a visit

How Places Workm e a n s w e g e tto visit interestingbui ldings andpubl ic spacesto exper ience

them f i rst hand.

This teachers guide contains:

Practical advice on organising a visit and what to expect.

An introduction to architecture for teachers.

Information about how architecture can assist in the teachingof different parts of the national curriculum at key stage 3.

Suggested pre-visit, visit and post-visit activities.

At the heart of How Places Work is a visitto a notable building or public space.

Who chooses the places?CABE has worked with the Architecture Centre Networkto select a series of exemplary buildings and publicspaces. In most cases the buildings will be contemporaryor recently refurbished in a contemporary manner.Public spaces might include parks or town squaresor any of the spaces that connect and situate theplaces we live in.

Who organises the visit?Visits will be organised by your local architecture centrein partnership with CABE. They will identify a building

or public space in your area, and introduce you to aninspirer. Together, you will agree a date and time for thevisits to take place, including a pre-visit without thestudents. Coach hire, lunches, risk assessments andclass management are the responsibility of the school.

Who are the inspirers?Inspirers are expert volunteers who are passionateabout architecture and public space and keen to sharetheir knowledge with young people. In most cases theywill have a personal or professional connection to thebuilding or place you visit, and will be able to present

students with an insiders view, revealing how the designresponds to function and context, why particulardesign decisions get made and what it is like to createor work within these spaces and places.


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A step-by-step guide to theHow Places Work process.

1. Signing up: Once you have agreed to take partin How Places Work, you will be asked to signan agreement. As soon as you return the agreementto CABE you will be sent a cheque to contributetowards the costs of taking part.

2. Getting started: Your local architecture centre willcontact you to discuss the building or space and theinspirer who will facilitate your visit. Between you, youwill agree a date and time for the visits, including thepre-visit that will take place without the students.

3. Pre-visit: The pre-visit may be the first time thatyou meet the inspirer. It is an opportunity for you bothto discuss what you hope to get from the visit, anyissues or concerns that are on your mind and thelearning potential of the place or building.

Inspirers may welcome your advice on how bestto connect with the students and be interested in yourcurriculum needs, preparatory work and plans for post-visitproject work. There will also be an opportunity to conductrisk analyses and to talk over the practical logisticsof bringing the group on the visit. For instance, where

the coach will park, where the toilets are, what facilitiesthere are for disabled students, where students canwait and what they will be doing if you decide to divideup into smaller units for the tour(s), as well as theamount of time likely to be needed for the visit.

4. Preparing for the visit: Preparation can make allthe difference to the success of a visit. Newspapercuttings, maps, models, photographs and plans canall help bring the place to life in advance and placethe building or space into context. You might collectsome of these materials during the pre-visit to theplace and your architecture centre or the inspirer may

be able to help you source some of them too. In thisteachers pack we discuss some ideas for approachingthe visit and preparing for it and the follow-upHow my place w orksproject.

5. The visit: As well as ensuring that the studentsarrive in good time to the building or place on the dayof the visit(s), we would ask you to obtain parentalpermissions in advance and to ensure that there areenough adults in attendance to ensure safety andgood behaviour. The inspirer may not have muchexperience of dealing with school-age children andso your help and support managing the groups willbe essential. A representative from the architecturecentre will attend some of the visits and will let youknow in advance if they are able to come.

Advice about taking students on educational visits canbe found in the DfES good practice guide, Health andsafety of pupils on educational visits. Copies areavailable free of charge from the DfES or can bedownloaded from www.dfes.gov.uk.

6. After the visit: In some ways the post-visit activitiesare the most important part ofHow Places Work. Thisis the opportunity for students to apply their ideas andlearning to a study of a place of their own in the Howmy place worksproject. This might focus on school,home, a local public space or some other place that

is significant to your students and can be in any mediumor combination of media, from poetry to digital video.

An exciting part of the programme will be the creativelearning work that takes place back in the classroom.The form this takes will vary from school to school.The students will have the opportunity to develop workin a number of creative strands back in the classroom,facilitated by either the architecture centres or by youas their teachers. This could include art and design,creative writing, photography, design and technologyor even wider creative arts such as dance and drama.It is envisaged that work will be judged and awarded

regionally, culminating in a national celebration whichwill demonstrate the breadth of creative learningopportunities stimulated by the built environment.

You will also be asked to complete an online feedbackform following the visit that will be sent to you automaticallyby email. Later on we may invite you to attend anevaluation event or complete a telephone interview.

3


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What is architecture?

Architecture is complexContemporary buildings haveto deal with many issues. The designof a building or public space mustaddress three main areas: Function Location Construction

Architecture isroughly concernedw ith ca re fullyba lancing horizo ntal

things on top ofvertical things.Reyner Ba nham , de sign cri tic

Architecture starts

wh en you careful lyput two brickstogether.Ludwig Mies vande r Rohe , architect

All architecture is shelter,all great architectureis the design of spacethat contains, cuddles,exalts or stim ulates thepersons in that space.

Phil l ip John son,architect

Architecture is morethan constructionThe historian Nikolaus Pevsnerfamously wrote that Lincoln Cathedralis architecture but a bicycle shedis not. What he meant was thatarchitecture addresses aesthetics,unlike purely functional buildings.Some critics disagree with Pevsnerabout this (including ReynerBanham who was a keen cyclist!),but the main point is that architectureaims to fulfil our cultural needsas well as provide for our basicneed for shelter.

Architecture is u nique

to human be ingsNo other living organism canplan, construct, inhabit andadapt three-dimensionalstructures in the way thathuman beings can. Architectureholds a mirror up to culture,history and society.


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Function

The size and prominence of the entrance. Is it civic,public or private; formal or informal?

The number and size of windows. Is its purpose leisureand recreation, arts and entertainment, religious, spiritual,

commercial, retail, industrial, healthcare, or educational? Decoration, colour and signage. What ideas and

information do they communicate? Scale and sense of proportion. Is it grand or humble?

Civic or domestic? Symbols, codes and conventions. Do they communicate

hierarchy, identity, history or originality? Access, inclusion and navigation. Is it welcoming

or intimidating? Is the entrance level? How clearis the signage?

Ca n you tel l the funct ion of a bui ld ing or p lace, and the ne ed s

of i ts use rs by looking at i t? What m essag e does i t send out?

Doe s i t represent the va lues o f i ts use rs and of local people?

Clues


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Orientation. What direction is it facing, and howis it affected by sunlight and wind?

Height. Does it offer views out, or block anyone elsesview? Is it a local landmark?

Historic. Is it within a conservation area? Space around. Does it occupy the entire site? Access. How do you enter the site? Is it linked

to a road? Topography. Does it cut into the site or rest on top

of the site? How does it relate to the landscape?Is it naturally formed or man-made?

Neighbouring buildings. How do the scale, styleand materials relate?

Transportation. How do people get there? Are parkingspaces required?

Context. Is it in a city, the suburbs or the countryside? Geology. Are there any local materials such as stone

or clay for bricks? Vernacular. Is there any reference to the local craft

or building traditions? Local economy. Is the area affluent or poor?

Location

H ow doe s the b uilding design respo nd to i ts location?Is i t pol ite or rude to i ts ne ighbou rs? What are the

m ost comm on local mater ia ls? Doe s i t contributeto the regene rat ion o f the area?

Clues

SwissR

ebuildin

g

City

ofManchester

stadium

,MicheleTurriani

Bourn

emouthLibrary,MicheleTurriani


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Materials. Can you identify all the materials that havebeen used? For instance, bricks and blocks, steelor timber frame, concrete, glass and stone. Arethey natural or man-made? Are they permeableor impermeable? Are they sustainable? How havethey weathered? Is there evidence of wear and tear?

Light. Are there any glass walls or openings forwindows in solid walls? What apertures have beenused to manage light?

Span. How strong is the structure and how largethe spans?

Technology. Are the methods used basic orsophisticated? Are they borrowed from other

industries, like shipbuilding? Biomorphic. Does the construction mimic that

of a plant, animal or animals home? Legible. Can you tell how it stands up? Is the structure

exposed or concealed? Plan. How does the structure determine the layout

and routes around it? Cladding (skin). What material keeps the weather

out? Is it transparent or solid; hard or soft; texturedor smooth?

Construction methods. Are they pre-fabricated off-siteor built in situ?

Access. What methods have been used to provideaccess both externally and internally? Do they includeeveryones needs?

Influences. Are there any references to other cultures,values, traditions, geographies or politics?

Aesthetics. Are there any references to architecturalstyles or traditions? Are there any details or decorations?How do these contribute towards a sense of placeor monumentality?

Sustainability. Is this building or place environmentallyfriendly? Is it sympathetic to its context and landscape?Does it use sustainable energy sources?

Construction

H ow doe s the construct ion of a bui ld ing relate to i tsfunct ion and location? Ho w doe s the m ethod of

construct ion in fluence the atm osphe re o f the room sinside? H ow does i t determ ine the external form ?Doe s i t conserve or waste ene rgy?

LabanMicheleTurriani

GatesheadMillenniumBrid

geMicheleTurriani

Th

eSA

GEMicheleTurriani

Clues


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Architecture issustainable

Architects, engineers and urban designers need to thinkabout the long term impact of a place on the environment,the community and the local economy. One of the biggestchallenges is to reduce the amount of energy consumedby buildings.

Jubilee Library, BrightonKey factsCost: 8 millionArchitect: Bennetts Associates withLomax Cassidy & Edwards

Client: Brighton & Hove City CouncilDate of completion: 2005Internal area: 6,500 square metres

Function It is a grand civic building, occupying two sides

of a new public square. The entrance is inviting and activity is visible from

the street, to encourage people to visit. Public art and exhibitions make it an exciting place

to come back to again and again. It helps to regenerate a run-down area of the city.

Location Locally made blue tiles are used on the faade

as a reference to the sea and neighbouring buildings. The use of public space at the front of the building

extends its public use onto the street.

Construction The concrete structure helps the building stay cool

in summer and warm in winter. It has lots of glass so that light floods into

a cathedral-like reading room. Its concrete columns are arranged in a grid, so the

plan is clear and formal. Rainwater is collected from the roof and recycled

for flushing toilets. Wind towers create natural air conditioning.

Let s look a t a range of recent bu i ld ingsand publ ic spaces to see how their designs

combine di f ferent considerat ions


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Public spaces have as important a role to play intransforming places as the buildings that surround themor are contained by them. Good quality design can sethigh standards for future development and can attractpeople and businesses to invest in an area that theywouldnt previously have considered.

Thames Barrier Park, East LondonCost: 12.5 millionLandscape architect: Groupe SignesArchitect: Patel TaylorClient: London Borough of NewhamDate of completion: 2000Area: 89,000 square metres

Function To provide fun and relaxation, to attract people

to a fast-developing area of the city and be anamenity for local people already living there.

To improve the local ecology and environment. To provide views of the Thames Barrier and

over the river. A memorial for local people killed in the

Second World War.

Location On a former industrial site alongside the

River Thames. Close to areas of housing.

Construction Different areas of planting, such as orchards,

aromatic herbs, flowers, grass for playing games,fountains, and areas paved with concrete.

A sheltered, sunken garden made from gabionwalls (steel wire cages containing rocks.)

Timber pavilion for indoor activities.

Architecture isregeneration

Why didthey usethesematerals?


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Architecture is localand national ide ntity

Function Multi-use performance space for concerts, opera and

theatre. The complex also includes offices, a cafand rehearsal studios.

To celebrate and define Welsh national identity. To regenerate Cardiff docks area.

Location Cardiffs former docks, adjacent to the

Welsh Assembly building. Site is exposed to wind from the sea. Set within a large public space.

Construction From the outside the shape of the auditorium looks

like the hull of a ship, and is made from riveted metal. Local slate is layered to look like a Welsh cliff face. In the auditorium different shades of wood are

layered to remind one of local geology.

The design of a place can create a sense of belonging,and reinforce local culture and identity so that peoplefeel a sense of ownership and pride. Buildings andpublic spaces help to make places distinctiveand inspiring.

Welsh Mil lennium Centre, CardiffCost: 104 millionArchitect: Capita Percy ThomasClient: Wales Millennium CentreDate of completion: 2004Internal Area: 31,500 square metres

WelshMillenium

CentreJohnEvans


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Who m ightlive ina placelike this?


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In the past, architecture of a particular periodtended to follow certain stylistic rules. Forexample, Georgian architecture followedclassical principles. Now, designers often tryto break the rules and use unusual materialsto solve practical problems in new ways, andto make us question our surroundings.

Beach House , DungenessCost: 122,000Architect: Simon Conder AssociatesClient: PrivatePractical completion: November 2003Area: 127 square metres

Function A small private house for a couple with

a limited budget. Takes advantage of wonderful views to the

sea with a large deck and sliding windows.

Location Within an area of special scientific interest

that is highly controlled by local planners. An exposed beach, exposed to strong

winds and sunlight. Use of black rubber, reminiscent of local

fishermens cottages which are paintedwith black tar.

Construction The cheap wooden structure is wrapped

in black rubber (the sort used for makingconveyor belts) to protect it from salt water.

An aluminium Airstream caravan is locatedalongside the house to act as a cheapspare bedroom for guests.

The appearance of the materials changein response to light, the weather andpeople passing by.

Architecture isstylishextraordinary

Bea

chHouse,D

un

gen

essStephenAmbrose


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What makes good design?

14

The buildings and places described over the previouspages are considered examples of excellence by manyin the architectural and design professions and by a largeproport ion of the general public. That is not to say thereis universal agreement. Often, the more challengingdesign is the more it divides people - even architectscannot agree whether the Scottish parliament buildingis a masterpiece or a waste of money. Still the publicflock to see it, which is one measure of success.It should also be recognised that impressions andopinions can change over time.

One of the aims of How Places Work is to moveyoung people beyond their immediate, instinctiveresponse to a building, which m ight be I like it,

I cant stand it or it looks like a factory, toa response which considers why a building looksthe way it does, and whether it is successful.

Of course critical judgements about design, style andaesthetics should be encouraged, so it is important tobuild on students gut-level responses by getting themto ask questions.

Is it easyfor everyoneto getaround?

Has thebuilding gotpersonalityandcharacter?

Is itsustainableandenvironmentallyfriendly?


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Design quality indicators, or DQI, provide one wayof assessing the success of a design. They are thethings we look for in a well designed building andoffer a way of discussing design in a shared languagethat wont make everyone agree, but will help themto disagree better and more fruitfully about whatis good and what is bad in design.

The de sign qual ity indicators com e under threemain he ad ings:

Functionality: how the building does its job. Build quality: is it well made? Impact: does it look and feel good?

These three things link together like the circles in aVenn diagram. The best designs will be right at thecentre, strong in all three areas, although a building orplace can be well designed and still have weaknessesin one or more area.

FunctionalityThis is concerned with the arrangement, quality andinterrelationship of spaces and how well the buildingis designed to be accessible and useful to all.

Is the building easy to use?

Is the building easy for everyone to getto and move around in? Are the rooms and spaces the right size and

well arranged?

Build qualityThis relates to the engineering performancesof a building, which includes structural stability, theintegration, safety and robustness of the systems,finishes and fittings and measures taken to make sureit is sustainable.

Were the right materials used to make the building? Is the building well made? Is the building sustainable and environmentally friendly? Do you feel healthy and safe in the building?

ImpactThis refers to the buildings ability to create a sense ofplace and to have a positive effect on the local communityand environment. It also covers the wider effect thedesign may have on the art of building and architecture.

Does the building have its own characterand personality?

Do the shape and materials add to the quality? Do you like being inside the building? Does the building fit in well with the community

and surroundings?

For more discussion of the DQI and an interactivedesign quality analysing tool, see

www.whichplaceswork.org.uk

You can find out more about the completeprofessional DQI tool at www.dqi.org.uk

TateM

odernMicheleTurriani


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English

Explore buildings and places featuredin popular literature. What has changed?What has stayed the same?

What is the buildings story? Choose fromthe buildings past, present or future andwrite a description of the building from theperspective of people using it.

Write a poem to capture the character of aplace. Can the words be arranged to createa pictorial representation of the place?

Look at examples of pieces writtenby writers in residence. See writersin residence Archi-TEXTS

www.art-architecture.co.uk/architexts. What is the language of the building, and

what is its vocabulary?

Describe a journey through the buildingusing the sounds, emotions and sightsexperienced.

Critique the inspirers presentation,consider their delivery, relationship withand use of language for target audience(to inspire, describe, explain, argue,persuade, entertain), discuss andsuggest other approaches.

Explore different types and uses oflanguage in buildings. Look at the signageused to describe formal places likea courtroom, and informal places

like a cafeteria.

NC references:1.1 a), b), d), e),1.2 a), b), c), f)1.3 a), b), c), d),e) 1.8 a), b), c)1.9 a), b), c)1.10 a), b) 2.1a), b), c), d), e)2.3 a), c) 2.5 a),b), c), d) 2.8,2.9, 3.1 b), c),d), g), h), j), k),l), m), n), o) 3.2

c) 3.9 c)

Design and technology

What criteria informed the designerschoice of building materials? Explore thecharacteristics and properties of materials.Were they chosen because they wereaffordable or because they looked right?

Outline the processes and stages in thedesign and construction of the building.

Explore the complex links between

designers, manufacturers supplying thematerials and contractors constructing thebuilding. Are the materials available locally?Are they sustainable?

How did computer aided design (CAD)assist with the design process?

Consider how buildings and places aredesigned to serve the needs and valuesof different users and audiences.

Explore structure through buildings and theaffects of different forces.

Review and evaluate the architectsresponse to the design brief and suggestalternative solutions and improvements.

Explore DQI and apply to other buildingsto compare and discuss findings.

Explore mechanical and electrical systems

security cameras, lighting systems,alarms, ventilation. Research the influences that inspired

the designer.

NC references:1 a), b), c), d),e), f), g), h) 2 a),b), e) 3 a), b), c)4 a), b), c), d) 5a), b), c), d), e),f), g) 6 a), b), c)7 a), b), c)


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Science

Examine the buildings materials. Do theybenefit or harm the environment?

See how materials change when exposedto water. Explore the impact of weatheringand corrosion.

Investigate materials and their properties.Are any materials new and innovative?

Consider the forces of pressure and gravitythrough construction.

Explore the anatomy of a building as if it

were a plant or human body. How does thebuilding mimic natural processes?

Observe the use of chemical anddisplacement reactions - ventilation, waterpurifying, heating and cooling - duringa building visit.

Explore the buildings internal comfort levelsand any natural sources of energy - boreholes, wind turbines, conduction, evaporation,temperature control and energy conservation.

Explore the behaviour and effects of lightand sound (acoustics) in a buildingand the relationship between thestructure and materials.

NC references:1.1 a), b), c) 1.2a), b), c), d), e),f), g), h), i) j), k),l), m), n), o), p)2.5 a), b), c), d)3.1 a), b), d), e)3.2 h), i) 3.3 a),f), g), h) 4.2 b),g) 4.3 a), c), d),

f), i), j) 4.5 a),b), c), d), e), f),g) B1 a), b), c),d), e), f) B2 b)

ICT

Collect, enter, analyse and evaluatequalitative and quantitative data. Forinstance: survey pedestrian and visitortraffic, times of use, the types of users,use of spaces, routes, popular and unpopularareas, hot spots, traffic and congestion.

Test predictions, patterns and relationshipsbetween different types of data.

Explore different methods of recording thebuilding visit and means of communicatingideas. Contribute to the schools website,news bulletin, publication or video.

NC references:1 a), b), c), 2 a),b), c), d) 3 a),b) 5 a), b), c)

M ath s

Do the structural columns follow a regulargrid or pattern? Is there a mathematicalgeometry, symmetry or patternin the construction?

Building statistics and data can be usedto create graphs and statistics.

Record the shapes found in materials,construction forms and details.

Ratio and proportion: can a parallelbe drawn with studies in geometry?

Use a building component to test powersof deductive reasoning and estimation,and mental calculations.

Analyse the units of measurement, thefractions and multiplication of quantities.

Explore the gradients, angles, propertiesof triangles and rectangles found in thebuilding. Explore triangulation.

Look at examples of scale drawings usedto construct the building and see howa building is represented in measureddrawings showing cross-sections, plansand elevations that are measured witha scale ruler.

NC references:2.1 e), 2.2 f), g),3.1 a), d), e), f),h), i), j), 3.2 a),b), c), d), e), f),i), j), k), 3.3 a),b), d), e), 3.4 a),d), f), g), i) 4.1a), b), c), d), e),f) 4.3 a), b) c)4.4 a), b) 4.5 a),b), c), d) B1 a),e), f)

Architecture and the curriculum

Th e How Places Work programm e can a lso be use d to develop bothcross-curricular approaches to learning and core ski l ls such ascommunication, enquiry, information processing, problem solving,thinking, working with others and evaluation ski l ls.


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Reporter

Skil lsObservation, asking questions, interaction, taking notes,written and audio recording, speaking in a new context,taking a lead, listening, the use of writing for thinkingand learning, group discussion.

Tasks

Working in groups or individually, each pupil shouldgather information, by making notes and sketchesor by taking photographs, to answer the questionsbelow. Students could interview the inspirer, buildingusers or each other. In addition to findingout what others say about the building, studentsshould record their own feelings about it. Whose idea was the building? Who uses it? How many different types of users are there? What effect does the building have on users?

What is it made of? How does it stand up? How it was built? When was it built? How long will it last? Who paid for it, and how much did it cost?

Do people enjoy using the building? What do people say about it? What does it feel like?

See also the suggestions for activitiesin architecture and the curriculum (p1619)


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Case studySomeone who records buildings in this way isTom Dyckhoff

Tom Dyckhoff is architecture and design critic for theTimesnewspaper.

Q How do you prepare for a visit to a building?A Reading, reading, reading... and lots of Googling.

But the best visits, I find, are the ones where youdo no reading at all and just come across something.

Q How do you feel before the visit?A Jolly happy. And usually woefully unprepared. And

in a huge rush because I try to pack in too muchin any available space of time.

Q What do you look for when you first arrive?A The front door. I like to do a quick tour round the

extremities of a building to get its measure, then

a long slow dawdle around, in, out, close up andfar far away.

Q Who normally shows you round, and who do youtalk to when you get there?

A I prefer to go incognito, like a restaurant critic.Usually thats not possible, alas, as buildings tendto be guarded by all manner of gatekeepers. I preferto meet the architect and talk about the buildingseparately, if at all. Im more interested in thearchitectures effect on the user, the person, thanin what the architect intended. Chatting to usersand the client on or off the record is helpful. Butyou can see most of whats good and whats badwith your own senses.

Q How do you record your visit?A Writing of course, feeble sketches and photography.

I wish I could say I spend hours drawing the minutiaeof a building, Ruskin-style, and I know that way younotice things in more detail, but writing a weeklycolumn, there just isnt the time.

Q Doe s visiting e ver change your mind ab outa bu ilding?

A I never make up my mind before visiting. Im verystrict about that and never write about a buildingI havent seen. The physical experience of a buildingis what architectures all about. You only geta distorted perspective through photos or writing.

Q How do you decide i f the building is any good?A Blimey. No idea. Its one of those processes that

is so innate you never question its inner workings.If any part of the whole fails its a mark deducted.

That said there are many unwhole buildings whichare still brilliant.

Q What do you do whe n you get back to the office?A Have a good sit down, a cup of tea and a hard think.

Q Do you think it is important to experiencearchitecture, and w hy?

A Goodness yes. Architectures all about physical andmental and emotional experience of place and space,and at its height can, like any experience, transportyou to the heavens. And at its nadir, to hell.

TomDyckhoff


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SkillsO bse rvation, drawing, colour, recording m aterials,investigating art and building craft. Conside r keyfactors that need to be taken into account whencollecting and how item s m ay be collected. Decidethe extent and range of da ta to be collected and thetechniques, equipment and m aterials to use.

Skil lsObservation, drawing, recording materials, investigatingart and building craft. Consider key factors that needto be taken into account when collecting and howitems may be collected. Decide the extent and rangeof data to be collected and the techniques, equipmentand materials to use.

TasksCollect information in a sketch-book or folder. Itemscould include: tickets, leaflets, information sheets,postcards and leaves. Take surface rubbings including signage and textures

of materials. Record images using a mobile phone camera. Record the effect of light and shadows. Where is the building located? Is there a relationship

between the construction materials and localbuildings or geography? Sketch details which showthe similarities.

Collect and complete the colour swatches.

See also the suggestions for activitiesin architecture and the curriculum (p16 19)

Collector


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Case studySomeone who records buildings in this way isVicky Richardson.

Vicky Richardson is the editor of the design magazineBlueprintand co-author of this guide. In 2003 shecreated the Dungeness Box, a collection of foundobjects and materials inspired by the Beach House at

Dungeness by Simon Conder Associates. The idea ofthe box was to tell a story about the house and its siteusing building materials and found objects as wellas words and pictures.

Q How did you prepare for visiting theBeach House?

A Id take lots of plastic bags and containers for holdingshells and bits of rubbish found on the beach. Id alsotake a notebook for collecting observations.

Q How did you feel before a visit?

A Always excited because you never know what isgoing to be washed up on the beach at Dungeness.But also slightly nervous about meeting the ownersof the house because I didnt want to intrude intotheir privacy.

Q What did you look for when you first arrived?

A Signs of life inside: is anyone at home? Is the tidein or out?

Q How did you record your visit?

A I gathered material that would describe the look andfeel of Dungeness. Its the largest area of shinglein Europe, and the house sits directly on the pebbles,so I collected some of these. Also scraps of roofing

felt and fragments of wood to describe other housesin the area. The flotsam and jetsam washed up on thebeach can be very beautiful after its been washedby the sea. I made notes about what the owners saidabout their house and what its like to live there andtook lots of photographs. I managed to persuade thebuilder to give me some off-cuts of black rubber

(which the house is covered in) to put inside the box.

Q How did you decide if the design of the housewas good?

A Comments by the owners about what its like to livein were important, but also the feeling of being inside,the quality of light and the texture of the materials.Proportion and a sense of scale were key, as wellas the way the house sits in the landscape.

Q Do you think it is important to experience

architecture, and why?A Architecture is all about places youve got to use

all your senses to really understand it. Dungenesslooks great in photographs, but its not till youvetasted the salt wind and heard the pounding wavesthat you really know what type of building is rightfor the place.

VickyRichardson


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2 6

Skil lsMapping, observation, understanding technology andstructure and three-dimensional model-making. Collect,record and present evidence (for example, buildingmeasurements). Analyse and evaluate the evidenceand draw conclusions.

Explorer

TasksTo raise awareness of scale and height. Each explorerwill see how different visitors will see the buildingas a surface to climb and move easily around.Appreciation of how a two year-old child and a disabledperson may also think of a building in the same wayas the explorer. Imagine you are an explorer and thebuilding you are visiting is a mountain waiting to beclimbed. This is an exciting activity and a new wayof looking and thinking, but we are not asking for anyactual physical climbing. During your visit recordthe following: Handholds

Ledges Places you can tie a rope to Rough surfaces to give a good grip Smooth surfaces so you do not slip A place to rest and shelter from the wind and rain Make a map.

Draw the path you take into the building and record thenumber of steps you take and changes in direction.Think of inventive ways to record the route post-itnotes could be a very helpful way of recording a path. Measure a typical stair riser and count the number

of steps to calculate the building height Find a welcoming entrance Find a cosy corner.


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Case studySomeone who records buildings in this way isAlex Hartley.

Alex Hartley is an artist. He is working on an installationfor the new entrance to the Barbican Arts Centre inLondon. An important part of his work is climbingbuildings (with or without permission) and recording the

experience. His book LA Climbs: alternative uses forarchitecturerecords 115 climbs around Los Angeles.

Q How do you prepare for a visit to a building?A If Im planning to climb a building I make an initial

visit with a digital camera so that I can consider thepossible routes later. I also take digital shots if Imgoing to use it as part of a piece of sculpture,to work out the exact large format photographI need to take later. I photograph details and takenotes about texture, heights and escape routes.If Im setting out to climb I have climbing shoes

with me, and chalk to help make sure my handsdont slip.

Q How do you feel before the visit?A Before the initial visit I am quite relaxed, but before

a climb I do get nervous and if Ive had to getpermission to visit then I am aware that I onlyhave one chance to get the photographor to make the climb.

Q What do you look for when you first arrive?

A Security guards. Cameras. Ways down.

Q Who normally shows you round, and who do youtalk to when you get there?

A I like to look round on my own and would normallytry to avoid being shown round.

Q How do you record your visit?

A I take photographs and make sketches and

from these I am able to work out what I want fromthe building.

Q Does visiting ever change your mind abouta building?

A Always.

Q How do you decide if the building is any good?

A I look at materials, workmanship and design, butmostly how the building makes me feel.

Q When does the visit become art?

A I make photographs of me climbing, and drawingsof the routes superimposed onto images of thebuilding. I put photographs of buildings intosculptures and I put sculptures into photographsof buildings.

Q Do you think it is important to experiencearchitecture, and why?

A Obviously everyone experiences architecture.However for me its important that people see theway our lives can be improved through good design.Architecture is mans most obvious mark on ourworld and it should and can reflect our aspirationsand achievements.

TaniaKovats


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3 13 1

Inside outEngage students in the exploration of functionalityby finding ways of expressing the functions and usesof interior spaces on outside or outer walls. This shouldfocus on technical aspects as well as the human stories.It may involve the use of signs and pictures, labels,photographs, technical diagrams (including architectsplans and wiring diagrams or similar) and soundrecordings. Information technologies can be incorporatedthrough the use of projectors or data logging outputs.

This form of intervention will focus students on the

expressive possibilities of a building as well as itsfunctions and will lead to discussions of how spacesmight be improved and their functions extended, eitherthrough remodelling or improving legibility, access andsignage. Questions of accessibility will be raised throughconsideration of all the different users that define thespaces function.

Video diaryA video diary is a good way of exploring how a buildingor space functions for different users over time. It isa particularly rich way of interacting with public spaces

which change dramatically with the seasons and theweather and are often used by a very wide range ofpeople. The diaries could include interviews, candidshots of users, time lapse, straight to camera comment

and visual explorations of the physical properties of theplace. The video diary can be incorporated with ideassuch as the inside out project by projecting imagesback on to the place that is the subject of the work andcreating an installation artwork.

N u mb e r sBuildings and places can be thought of as physicalexpressions of mathematical properties. We are oftenaware that the proportions of a place feel right or wrongbut cannot express this in any specific way. Bringing

mathematics and geometry to bear through expressionof a places measurements is a way of focussing on thehidden qualities of a place in a new way. Encouragestudents to measure not just the heights and widthsof spaces, but the distances travelled in particular patternsof use, distances between features, desire lines andviews. These can be expressed visually though labels,photography, coloured tape on floors and walls, tapespegged out to represent views or desire lines, signsetc. The exploration may reveal why some spaces feelbetter to be in than others and suggest ways in whichthe space might be improved or used differently.

Whatsoverthere?


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Published in 2006 by the Commission forArchitecture and the Built Environment.

Written by Vicky Richardson and Adrian Friend.With thanks to Barbara Langford, Alun Morgan, MarySouthall, Ray Speakman and Catherine Williamsonas well as Rebecca Warren, head of key stage 3,Lower School and the following students of

Mossbourne Community Academy Sharon Abraham,Curtly Adams, Georgia Apontua, Sam Basset, ShakiraBent, Adam Bickell, Lina Duval, Jazak Hussain, YasminHussein, Oli Islam, Charles Wond Jade, Dilan Kilinc,Tarik Kucuk, Tam Thi Nguyen, Wendy Rooney.

Design by 300millionwww.300million.com

All photographs unless otherwisecredited Alys Tomlinson

Printed in the UK by Roseheath on Starfineenvironmentally friendly paper.

All rights reserved. No part of this publicationmay be reproduced, stored in a retrieval system,copied or transmitted without the prior writtenconsent of the publisher except that the materialmay be photocopied for non-commercial purposeswithout permission from the publisher. This documentis available in alternative formats on request fromthe publisher.

CABE is the governments advisor on architecture,urban design and public space. As a public body,we encourage policy makers to create places thatwork for people. We help local planners applynational design policy and offer expert advice todevelopers and architects. We show public sectorclients how to commission buildings that meet theneeds of their users. And we seek to inspire thepublic to demand more from their buildings andspaces. Advising, influencing and inspiring, wework to create well-designed, welcoming places.

CABE 1 Kemble Street London WC2B 4ANT 020 7070 6700 F 020 7070 6777E [email protected] www.cabe.org.uk


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1 Kemble St reetLondon WC2B 4ANT 0 2 0 70 70 6 70 0F 0 2 0 70 70 6 77 7E [email protected]

Commission for Architectureand the Buil t Environment

The government s advisoron architecture, urban designand public space

When i t come s to unde rstandingarchitecture and the buil t environm ent,there is no su bst i tute for f irst -handexper ience. How Places Work offersthousa nds of schoo l chi ldren theopportunity to discover the excitementof new bui ld ings and spaces forthemselves, guided by some of the UKsmost knowledgeable and passionateadvocates for good d esign. This guideof fers teachers advice and idea sfor making visi ts st imulat ingand in form at ive .

I f you are not a l rea dy tak ing par tan d wo u l d like to kn o w m o re ab o u thow to ge t invo lved in How PlacesWork please contact us [email protected] .uk.

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