Site research 2-10

Manifesto 11-27

Programme 28-46

Bibliography 47-48

3

S I T E R E S E A R C H

The group research was concerned with scale, structures and materials on site. The research area covers a representative space around the site, including part of the Northern Quarter between Piccadilly Gardens and Stevenson Square, Market Street, the South-West side of Piccadilly Gardens to Chalotte Street and the South-East side to Chatham Street. Thus, we cov-ered the cultural and the consumerist side of Manchester city centre as we felt that the site was not part of either of them, but that it was situated on the border.

My main focus was on scale and the re-lationship between building height and street width which gives the level of enclo-sure of the space.

HILTON STREET

PATON STREET

MAJOR S

TREE

T

CHATHAM STREET

CHURCH STREET

HIG

H ST

REET

FOUN

TAIN

STRE

ETCHARLOTTE STREET

RESEARCH AREA

4

Site research

BUILDING HEIGHTS

The first step was to go on site and measure the heights of the buidings. However, this information does not say much about the atmosphere of the space unless it is compared to other aspects of the site.

Nonetheless, this was a useful exercise because walking on all the streets in the research area allowed us to apply the exercise of serial vision from Gordon Cullen’s Townscape and make simple observations about the contrast between the atmosphere on the narrow back alleys and the openness of the wide stre ets that lead into Piccadilly Gardens from the South-East.

Tall buildings, good enclosure Low height, too enclosedVery tall building next to open space, good enclosure

Top floors set back, goode enclosure in spite of height

eg. Market Street eg. Some of the back alleys eg. City Tower - Piccadilly Gardens eg. Market Street

5

Site research

SENSE OF ENCLOSURE

The sense of enclosure of a street can be measured as the ratio between building height and street width.

According to M. Carmona in Public Places, Urban Spaces, a ratio between 1:2 and 1:25 provides a good sense of enclosure, while 1:1 is considered the limit for comfortable streets.

If the surrounding building heights exceed the width of the street, the tops of the buildings will not be visible without looking up. Such ratios can lead to feelings of claustrophobia and will reduce light penetration into the street.ww

ab

c(a + b)

2cenclosure ratio =

6

Site research

PICCADILLY GARDENS AS A SQUARE

The spaces between the buildings can be positive or negative. The two types of positive urban spaces are streets and squares. Even though Piccadilly Garden is not ususally regarded as a square, it fulfills Camillo SItte’s principles regarding squares: - Enclosure: it is not possible to see out of

the square through more than one street at a time; the surrounding buildings are joined to one another.- Monuments: they are not overlapping frequent walking paths.

7

Site research

STRUCTURES

From comparing the structures of the buildings to the periods when they were constructed, we have made some observations: - as expected, the buildings from before 1940 are solid blocks or brick; - the structures from 1950-1970 are mostly concrete frame; - the majority of the new developments are steel frame.

The structures situated immediatly next to the site are old, solid brick or blockwork.

8

Site research

MATERIALS & DETAILS

PortlandStone

Vermiculated quoins and rusticated ashlar walling

Corsehill stone

Peterheadgranite

3-centre arch

Rock-faced, with tooled margins and ru s t icated ashlar

9

Site research

ADDITIONAL OBSERVATIONS

Street frontages with a constatn roofline and facade, such as the one next to the site shown above in elevation, are sensitive to alteration. Any future intervention has to consider the roofline, height of the levels and the vertical emphasis of the windows.

10

Site research

SITE MODELPhysical model 1:500

11

Site research

Digital model

12

T H E M A N I F E S T O

We were inspired by the writings of Adolf Loos and Le Corbusier to create a manifesto applied to the site.

The first step was to come up with a personal manifesto which followed the following anatomy of a manifesto:

- A definition of a problem- A proposition of a solution- A means of producing it.

1. Steet frontages with a constant roofline and facade are sensitive to alteration. The intervention should not disturb the general appearance of the street by being out of proportion with the existing structures.

2. The existing structures have a nice appearance towards the main road, while the other sides are neglected. The intervention should not be one-sided. It should maintain the quality of the frontage and improve the back alleys.

3. The site is a border between Piccadilly Gardens and the Northern Quarter.The intervention must assume its role as a border between these two areas by either becoming a barrier or a connector.

4. Many of the buildings in the area are impersonal through their use and/or materiality. The intervention should engage users, the materials must evoke feelings and architecture should be experienced by all the senses.

PERSONAL MANIFESTO

13

The Manifesto

INITIAL GROUP MANIFESTO

The initial group manifesto was the result of the combination between our personal manifestos, which even though were indipendent, were concerned with similar issures.

1. The back alleys are underused, not meeting their full potential and the back sides of the buildings are derilict. The intervention should not be one-sided. It should be equally considered on all sides and the succession of the facades should create a conceptual path around the site.

2. The site is on the border between Northern Quarter and Piccadilly Gardens, The site is at the essence of architectural production and the intervention should assume its position as a border by either becoming a connector or a barrier.

3. Evolution not revolution should define the guidelines for architecture.

4. Street frontages with a constant roofline and facade are sensitive to alteration. The intervention should not disturb the general appearance of the street by being out of proportion or contrasting with the exitisng structures.

5. Emulate not copy.

14

The Manifesto

GENERALISED GROUP MANIFESTO

The next step was to generalise the manifesto and write it in its final form inspired by global issues, such as architecture meant only as shocking form:

The Man’s desire to identify what constitutes his surroundings can be traced in the vast and extensive literature devoted to the exploration of the term “City” and its contents. The film industry possesses a vast array of techniques to portray and evoke the feeling of a setting. In everyday life though, the need for a common Man to identify his surroundings can only allow superficial preconception and assumptions which present obstacles to the road of profundity.The question of human accumulation in relatively limited settlements has become part and parcel of the dynamics and processes which transcend this settlement and attribute to it the characteristics of the city. In a process to determine a route towards the City context and of Civilization, one soon realizes that he or she is faced with the prospect and potential of opening a Pandora’s Box. Ultimately the quest itself of defining that context in which ideas, personalities, and identities can manifest, turns out to be like, in this case, an aspiration or even privilege. We are called to identify first and foremost ourselves and our presence in the city. The very essence of such a conquest initiates a stream of consciousness and calls for an ability to immerse in a sea of experiences and new ideas in the challenging process of re-evaluating and possibly reaching the conclusions of the superficiality or even delusion of the pre-conceptions that one might carry.We found ourselves faced or confronted with an overwhelming surge of notions and ideas about the theories that constitute City frameworks. Such frameworks range from across the 20th century to recent years. From Mumford’s inquisitiveness, to the

A City ManifestoDynamics of Conflict in Evolution

We propose evolution not revolution as a guideline for architecture.

15

The Manifesto

reluctance expressed in Kenneth Clark’s statement- in an effort to tread lightly on the minefield of defining civilization- (www.youtube.com 03:32 Kenneth Clark BBC TV 1969:Civilization:The Skin of Our Teeth (Entire Show). From the conviction with which Krier (cited in Sudjic 1986:109) and Liebeskind (cited in Donald 2011:1) regard cities “‘as Europe’s greatest contribution to western civilization’” and “‘greatest creations of humanity’” respectively; to fairly recent concepts of Batty Michael and Childs Mark in his book titled ‘Urban Composition’, along with the political stance of Richard Rogers in his somewhat polemical remarks on the roles of the architect (cited in Sudjic 1986:64) in which he portrays a critical view on the impact of that role. Rogers, also adopts interpretations of the mechanisms of the city, which correspond to the environmental ideals of the eco-city.Through this vertigo of ideas and approaches, we can detect a centrifuge mechanism which allows us to gradually realize that the term “city” has been perceived and explained within frameworks that described various social cultural and economic precepts, possibly corresponding to the authors’ experiences and possibly professional aspirations. Being the sheer products of critical thinking and scholarly research, in spite of the discourse they tend to portray, such views can possibly be indicative of further processes and of the dissonances that echo in the city. The city’s mechanisms allow us to be susceptible and deem the necessity of developing absorbability towards our surrounding built environment which Rogers and Gumuhdujian (1997 3/68) argue against it, beingregarded as ‘a mere commodity. The buildings that constitute this environment form the backdrop of our lives in the city. Architecture is the art form to which we are continually exposed. It enhances or hinders our lives because it creates the environment in which all our everyday experiences take place, be they commonplace or seminal.’

Johnson (1985) wrote:

‘Cities must have conflict. Cities are where conservationists battle with developers; pedestrians battle with motorists, multi-storey buildings cast shadows over parks. Cities revel in the richness of these conflicts; they are dynamic places that respond to the conflicts’The idea of conflict in cities is generally perceived ‘as a positive element as a life giving element’ (ibid)”. These conflicts are resolved in a form of evolution which can be further identified in City transformations, and in the transcending of notions and ideas. A city can only be imagined as a thriving environment, being the result of an overwhelming plurality. A framework in which clash of ideas, of genres, eras, are depicted on the built environment where one can find and impose his or her identity. Reyner Banham takes the subject even further (youtube Reyner Banham Loves Los Angeles 1972 BBC documentary 41:30-42:22) by identifying the City in a place where the ‘essential ingredients exist for the artist to support style. ‘Furthermore he emphasizes the need for ‘greatness in a city, for one to impose his ideas on the rest of the world’.The idea of conflict can be embraced, for if we accept and deploy the use of the dissonance, then the harmony is stretched without being distorted and reaches new levels of expression. A whole new world of possibilities can be unveiled. By accepting or even setting such a context for our conquest, we can embark on a journey of self-discovery during which, the concept of conflict will be perceived as a step towards evolution. James and Vance (cited in Donald 2011:2) stated that ‘since classical times the city has been the refuge both for the innovator and the disbeliever’. With that in mind, it is easy to imagine that the city does not thrive in spite of the presence of conflicts but that it actually feeds on it.

16

The Manifesto

The above remark is often stated, according to (Farrel 2012:88) ‘as being the British way of change: piecemeal, progressive and not cohering to an overarching plan’. The evolution should come about as a result from the conflict which the cities so boldly embrace. The evolving of buildings occurs through the occupancy and usage transitions. Textures and layers are reflected on the exposed surfaces. In such intense surroundings the dynamics that are developed trigger the constant motion and pulse of the city. According to Donald (2011:2)If cities are at the centre of human civilization and invention, then they certainly cannot be stripped of the very forces that make them so: the complexities, contradictions and conflicts that shape all human affairs and which, on a daily basis, shape the lives of the billions of men and women, who now form Homo sapiens urbanus.

WE PROCLAIM:

Evolution NOT Revolution should define the guidelines for sensible Architecture.

17

The Manifesto

The site is the artist NOT only the canvas.

The site, being the receiver of information, transmitted from its context. In turn, it transmits data to its surroundings, thus projecting its presence towards its surrounding context. A site-in the case of most cities, contains data drawn and received over unimaginable periods of time. Childs in his Urban Composition (2012:24) contradict his view of the site, being ‘the physical location of a project that is under the designer’s direct control’, by quoting (2012:28) Alexander Pope’s 1731 epistle to Burlington in which the latter declared that, “in Architecture and Gardening, all must be adapted to the genius of the place, and…beauties not forced into it but resulting from it”. During the site analysis, one must be sensitive to the sensory experience and able to absorb the information that the site transmits in various times of the day and night. Childs go even further by adding that ‘the spirit of place…is formed by the folds of the land, the moods of the sky the mosaic of flora and fauna the stories of place, and the traditions of cultivation and building’.

18

The Manifesto

The site is the artist NOT only the canvas.

One Piccadilly Gardens Pool Pavilion, Adirondack Mountains, NY

19

The Manifesto

Mutualism NOT Parasitism Between the building and the city.

The dynamics that develop in a city produce connections of co-dependence and causality. Interchangeability of this role is part of that constant motion that generates the conflicts of the city. The genesis of new organisms is able and should be the result of evolvement; that evolvement should be traceable on the citizens and on their decision making processes. Hudson (2011:12) states that ‘the physical fabric of cities ultimately amounts only to a large collection of inanimate objects: citizens make cities, not the other way around’.

20

The Manifesto

City Tower The Scottish Parliament, Edinburgh

Mutualism NOT Parasitism Between the building and the city.

21

The Manifesto

Human scale should be the unit.

The city possesses a sense of scale which determines the vital aspects of the sensory experience that one absorbs in the city. Such aspects can be found in perceptions of intimacy, social distance and sense of enclosure that one experiences in a city. The deviation of scale should follow a purpose. What stands out in terms of size, should at least serve an equal role to that of the implied scale does; otherwise the object merely represents an act of defiance. According to (Cullen 1961 Townscape Introduction found in the Urban Design Reader p.184)Within a commonly accepted framework-one that produces lucidity not anarchy-we can manipulate the nuances of scale and style, of texture and colour, and of character and individuality, juxtaposing them in order to create collective benefits. In fact the environment thus resolves itself into not conformity but the interplay of This and That.

22

The Manifesto

Back Piccadilly Street Montmartre, Paris

Human scale should be the unit.

23

The Manifesto

Emulate NOT Copy: be inspired by the past and adopt it to the present.

Britain has displayed a strong conservationism and preservation in the practice of the heritage industry. The cities are founded on memories and on the practices of intentional preservation of these memories, by way of erecting monuments statues and commemorating events people and ideas. According to (Sudjik, 1986 pp.135) ‘Few generations have come to be as haunted by, or more ambivalent toward, their past as our own. And in Britain with its apparently innate distaste for change, and its contempt for commerce and industry, this ambivalence is particularly pronounced’. However, the Architect may possess the ability to unlock unconscious and unintentional crypts of memories and expose their readings to the environment. The use of materials and the surfaces they form, provide the canvas that displays the treatment the latter tend to absorb over time. This intrusive process is an integral part of the fabric and can be deemed as decisive of the character of a single building, district, or indeed an entire city. Use of a building, along with environmental factors can also be decisive of the nature which gives character to a building or an area. From pollutants, sun exposure and humidity to the more intrusive attacks of the graffiti , fungus and the unplanned and wild vegetation which tends to crawl on the surfaces of walls. One needs to be able to perceive the city as a story teller. The architect can not only preserve memory but also manifest a conceptual extrusion from within the fabric of surfaces. The process of making the memories audible visual reaching out to the senses of the dweller, defines a systematic act of manipulations and gestures that relate to the triggering of such awakenings. According to Nash and Williams (2011:105) ‘These triggers are similar to Proust’s involuntary memories. The sensory experience seems to take a person back in time….This is not just a conscious act of remembering, but a psychosomatic reaction to a place and the response cannot be allied purely to the location;’…

24

The Manifesto

Lever Street Trinity Court, Manchester

Emulate NOT Copy: be inspired by the past and adopt it to the present.

25

The Manifesto

Conclusion

All aspects of the road taken towards developing this manifesto unveil the mechanisms for absorbing elements that constitute the essence of the City as a concept. The analytical process adopts the role of the embryo feeding on the nutrients that are available and necessary for its evolvement. In all of its aspects, the element of conflict by way of embracing the influx and clash of ideas became the driving force and nemesis throughout this creative process. A process which was not defined by a sheer quest for answers; instead, it became the vehicle towards self-discovery. Throughout this process, we had to re-introduce ourselves to each other in a framework of scholar research in order to function as a single organism exploiting a wide range of ideas and at the same time allowing individuality to emerge.

26

The Manifesto

FINAL OUTPUT

The final output of the manifesto was in the form of a pamphlet, poster and film.

My contribution was to design the poster and edit the film.CO

NTINUITY IN ARCHITECTURE

Iulia Ciomu

Elenia Nevradaki

Raluca Pop

Vlasios Sokos

REVOLUTION

Revolution is a narcotic -

- fi rst t

he rush then th

e crush.

The two versions above were the final proposals for the layout and the one on the right was chosen for the presentation.

27

The Manifesto

The pamphlet was in the form of an A6 folding booklet that can be used as an A1 length poster when unfolded.

28

T H E P R O G R A M M EThe programme developed as a result of the manifesto which is the opposite of the modernist manifesto and my personal interest regarding the relationship between architecture and the senses.

One of the most influential readings in the development of my programme was Juhani Pallasmaa’s The Eyes of the Skin. It helped me form an opinion about the influence architecture should have on the senses and come to the conclusion that my intervention must be free of the hegemony of vision and address all the senses. I am particularly interested in the sense of touch and the intimacy it creates.

The group manifesto emphasized the importance of the site as a generator of architecture on a physical and metaphysical level. From the start, I believed that the strongest characteristic of our site is its position between the Northern Quarter and Piccadilly Gardens. As a result, I felt that this had to be a primary influence for the programme and I wanted to use this space to channel the cultural environment of the Northern Quarter into the consumerist environment of Piccadilly.

As a result, I felt that the library is the answer to these problems because it is a cultural environment where at least four senses play an equal part: a book is touched, seen, smelled, heard at the same time. We can tell the difference between an old and a new volume by smelling it, we can hear the sound of the book touchind a table and tell tis size. We feel the texture of its cover and its weight and, finally, we see the words, we read.

However, this experience is endangered by the technological revolution we are experiencing every day. So I felt the need to defend it by creating a sanctuary for books and for the people who love them - the libraSTEry.

29

The Programme

The montage was a first response tot the issues on site that the new intervention had to tackle: bring the culture from Northern Quarter into Piccadilly and create a pause in a flow of people.

At first sight the site was seemed negelcted and hidden and people were moving like ants not paying attention to their surroundings, just avoiding obstacles to get to their destination.

CONCEPTUAL SITE MONTAGE

30

The Programme

INSPIRATION - SETTING A STANDARD

The following quote from Robert Campbell’s article Experiencing Architecture with Seven Senses, not One illustrates my aims for this intervention: to create memorable architecture that addresses all the senses.

‘For many years I’ve held in my mind, as a counter to the headlong rush to a purely visual architecture, the memory of approaching a small church in an Italian hill town. This was an experience of architecture of all the senses. First came the feeling of slight ache in the knees, an ache that told me I had climbed to an elevation. Then the entry into the building, the sudden drop in temperature, the increase in humidity. The hushed, yet reverberant sound. The dim light, after the glare of the piazza, slowly growing brighter as my pupils dilated. The sound of a motorcycle starting up outside, reinforcing my sense that I was inside. The smell of candles and of old stone and mortar. Walking forward and feeling the unevennes of a floor whose surface had been sculpted for centuries by other feet, a surface placed, thus, in time. Finally, of course, the way the space configured and reconfigured as I moved through it, the kinetic sense that is probably the most essential quality of architecture.’

(Campbell, R., Experiencing Architecture with Seven Senses, not One)

These quick sketches give an idea about how the space might be used. While conventional library furniture will be provided, I am more interested in giving people a choice of spaces that can be used freely by each person according to their needs and likes.

The library should provide people with the possibility to create their own reading space.

31

The Programme

Librastery = A community of persons bound by the love for books to a life devoted to perpetuating knowledge.

The librarians are a group of people who live in the librastery and dedicate all their time to running the library and spreading the love for books.

They lead very simple lives, similar to monks and live only for and through the librastery. However, they also play an acitve part in educating people and, thus, contribute to the development of society.

THE LIBRASTERY

32

The Programme

USERS

The visitors - people who come to the librastery to use the facilities it offers.

The primary targets are people who work in offices around the site, who can use reading as a form of stress relief, and children who must learn about the importnace of books.

Other possible users are families with children looking for an educative pass time and elderly people who wish to share their knowledge by wiritng and publishing books.

33

The Programme

THE FLOW

LIBRARY SCRIPTORIUM BOOKBINDINGWORKSHOP

LIBRARY

The librastery has two main purposes: to make knowledge accessible to people and to help them overcome stress.

For the first, it takes books, people and authors and delivers educated people. An additional effect of this is the fact that some of those people may become authors themselves and use the ancillary spaces - the scriptorium and the book binding workshop to produce and publish their own work.

34

The Programme

Supp

ort &

Dona

tions

Space for study

& Assistance

Knowledge(published books)

CLOSED LOOPSYSTEM

INTEGRATING THE PROGRAMME IN SOCIETY

The librastery would be part of a closed loop system with the readers and the community.

The librastery will offer space for study and education for readers.

The readers will share their knowledge with the community by publishing books.

The community will support the librastery either directly or through the government or cultural organisations who can offer donations.

This way the librastery will have a mutualstic relationship with the city.

35

The Programme

THE LIBRASTERYCITY LIBRARY,DEASNGATE

CENTRAL LIBRARY

CITY LIBRARY,NO. 1 FIRST STREET

MMU & UoMCAMPUSLIBRARIES

UoM SACKVILLE ST.CAMPUS LIBRARY

CONNECTION WITH THE CITY

librastery - other librarypublic library - public libraryuniversity library - university librarypublic library - university library

The librastery will be part of a city centre chain of libraries that will closely work together to offer the best services to readers.

This will be especially important in order to make the librastery known and attract different types of readers, such as students who can be redirected to it through their university library. Thus, the popularity of this library system would be increased and more people will adopt the attitude towards reading and books promoted by the librastery.

36

The Programme

The big pebble

SPACE REQUIREMENTS

The first step toward determining the space requirements was to think about how the big gathering space (the reception and cafe would fit on site.

37

The Programme

The events space

The events space in the reception area and cafe is used for activities that occur periodically.

GUEST LECTURERS

The librastery will organise monthlly lectures given by acclaimed writers who will share their knowledge and experience.

AWARDS CEREMONIES FOR WRITERS

The librastery encourages the writing and publishing of new materials by holding an awards ceremony once a year.

38

The Programme

ACCOMMODATION SCHEDULESpace Size (m²) Fittings and equipment Notes Public entrance lobby 35 Letterbox, returns system Swipe card access during

closing hours; Main area (reception, information point, book check out)

150 Reception desk, security points

These spaces together can accommodate250 people for events; Café & periodicals 80 Counter, café

equipment, tables, chairs, shelves

Cloakroom 20 Coatracks Self-service, caters for 100 people;

Bookbinding workshop 75 Equipment for bookbinding

Storage for workshop 6 Shelves Office 30 Desk, chair, drawers,

shelves

Children section Lending area Silent reading area* Group study area AV rooms (2)

120 50 50 30

Shelves for books Armchairs, chairs, tables Armchairs, chairs, tables Chairs, AV equipment

Space for 3000 books; Made out of several connected spaces, accommodates 70; Accommodates 70; Accommodate 15 each;

Adult section Lending area Silent reading area* Group study area

120 80 50

Shelves for books Armchairs, chairs, tables Armchairs, chairs, tables

Space for 3000 books; Made out of several connected spaces, accommodates 115; Accommodates 70;

Reference area Collection area Silent reading area* Group study area

70 50 30

Shelves for books Armchairs, chairs, tables Armchairs, chairs, tables

Space for 2000 books; Made out of several connected spaces, accommodates 70; Accommodates 40;

Scriptorium 50 Chairs, tables Accommodates 70;

Staff entrance lobby 20

Flat Bedroom (10) Living room Kitchen Bathroom (4)

200

Bed, desk, wardrobe

Archive 100 Shelves Controlled environment for book preservation;

Plant 100 Boilers, ventilation/air treatment plant, electrical sub-station & emergency installation.

39

The Programme

The librastery requires the following spaces to accommodate the programme described above:

ReceptionInformation pointBook check-out

PUBLIC ENTRANCE

Lobby Letterbox &Book returns

VAN DELIVERY &STAFF ENTRANCE

Cafe &Exhibition space

Clerical workBook stack

Storage for collection

Toilets

CloakroomPlant

Services

Children Section

Adult Section

Reference

Circulation

Circulation

Book binding

Toilets

Storage

Living area

KitchenBathroom

Bedrooms

Semi-public space

Restricted access (locked doors, swipe card systems)Public access

Private access

Information about activities

Public space

Private space

Circulation node

Scriptorium

Lobby

Archive

Garbagebins

FLAT LIBRARY

Bicycle shed

OutsideInside

Adjacency

40

The Programme

Circulation

Adult lending

Group study

Silent study

Reference collection

Group study

Silent study

Children lending

Group study

Silent study Lowest degree of separation

Highest degree of separation

Medium degree of separation

Children lending 120AV room 30Children group 50Children silent 50Adult lending 120

The library

The library space is divided into three sections: Children, Adult and Reference. Each section has a an area with book shelves, a silent reading area and a group study area.

Adult silent 80Adult group 50Reference shelves 70Reference group 30Reference silent 50

TOTAL 650

41

The Programme

The flat

Two possibilities have been analyzed for the adjacency of the flat. The first one is arranged around a central living space while the second one comprises of two identical five bedroom flats.

FLAT 1:

10 X bedrooms 120 m²Kitchen 12 m² Living room 20 m²4 X bathrooms 24 m²2 X corridors 8 m²

TOTAL 184 m²

FLAT 2:

10 X bedrooms 120 m²2 X Living/Kitchen 32 m²4 X bathrooms 24 m²

TOTAL 176 m²

42

The Programme

0 2 4 6 8 10 12 14 16 18 20 22 24

Lobby

Cafe

Bookbinding

Library

0 2 4 6 8 10 12 14 16 18 20 22 24

Lobby

Cafe

Bookbinding

Library

WEE

KDA

YSW

EEKE

NDS

School visitsLecture groupsCritical writing groupsEV

ENTS

EVEN

TS Story reading for childrenCritical writing groups (Saturdays)Silent evening (Sundays)

Swipe card access Swipe card access

Swipe card access Swipe card access

DIURNAL DIAGRAM

43

The Programme

Mon Tue Wed Thu Fri Sat Sun

Library

Reception

Bookbinding

Office

Cafe

Cleaning

STAFF SCHEDULE

Each colour represents a person and each dot represents an hour of work.

The purpose of the schedule is to check the number of people needed to run the librastery in a week.The result is that 10 people can easily run the librastery covering all the activities.

44

The Programme

FINAL MONTAGE

The final montage shows the result of the programme applicarion in Piccadilly Gardens. The intervention channels the culture into the square which is no longer a misused space, but a welcoming environment for everyone.

45

The Programme

FUTURE DEVELOPMENT

There is a possibility for the extension of the programme in the future to cover the whole city.

The librastery in Piccadilly gardens would be the central point that coordonates the whole system and there would be continuous communication between the branches which would serve different areas of the city.

46

The Programme

PRESENTATION SHEETS

47

BIBLIOGRAPHY

Adams, H; Anderson, A, 1983. Library design: a checklist. 1st ed. Hertford: Hertfordshire Library Service.Carmona, M et al., 2010. Public places urban spaces: the dimensions of urban design. 2nd ed. Oxford: Architectural.Childs M, 2012. Urban Composition Developing Community through Design. New York Princeton Architectural PressConrads, U; Bullock, M, 1970. Programmes and manifestoes on 20th-century architecture. 1st ed. London: Lund Humphries.Cullen, G, 1961. Townscape. 1st ed. London: Architectural Press.Deplazes, A, 2005. Constructing architecture: materials, processes, structures, a handbook. 1st ed. Basel: Birkhäuser.Frampton, K, 1995. Studies in Tectonic Culture. 1st ed. London: Graham Foundation for Advanced Studies in the Fine Arts.Garcia, M, 2010. The diagrams of architecture. 1st ed. Chichester: Wiley.Jencks, C; Kropf, K, 1997. Theories and manifestoes of contemporary architecture. 1st ed. Chichester: Academy Editions.Johnson, C, 1985. The City in Conflict, London: Mansell Publishing.Konya, A, 1986. Libraries: a briefing and design guide. 1st ed. London: Architectural Press.Koolhaas, R, 1978. Delirious New York. A Retroactive Manifesto for Manhattan. New York: Oxford University Press.Le Corbusier, 1989. Towards a New Architecture. London: Butterworth.Malnar, J; Vodvarka, F, 2004. Sensory design. 1st ed. Minneapolis, Minn.: University of Minnesota Press.Pallasmaa, J, 2005. The Eyes of the Skin. 2nd ed. Chichester: Wiley-Academy.Parker, S, 2004. Urban Theory and the Urban Experience. London: Routledge.Rasmussen, SE, 1962. Experiencing architecture. 2nd ed. Cambridge, Mass: M.I.T. Press.Rogers, R; Gumuchdjian, P,1997. Cities for a small planet. Ch.3 Sustainable Architecture. London: Faber and Faber.

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