Talkback - Passion and Love Lecture series review

The following was published in RSUA Perspective in January 2010.

"Love architecture, the stage and support of our lives," appealed Gio Ponti in his 1957 treatise ‘In Praise Of Architecture,’ a sentiment expounded by the recent lecture series hosted at the University of Ulster entitled 'Passion and Love.’

The series focused on a host of locally based architects who have worked in far-flung contexts with high profile practices before ‘repatriating' to Northern Ireland. The lectures posed the question what has been ‘brought back‘ from these diverse physical, sociological and professional contexts to contribute to the canon

of Northern Irish architecture?

What emerged from each talk was the pure joy and pleasure these diverse practices derive from building. Discussing his time with London based Eric Parry Architects Neil Mathews conveyed a true sense of the enjoyment of the process of construction. From quarry to workshop, workshop to site, the Belfast based practitioner talked about following an amorphous lump of rock from its point of origin to becoming a lintel in the Royal Lancaster Hotel in London. What emerged was the idea that the architecture is borne out of technology and materiality. Each design element should have both a technological and architectural purpose.

Alastair Beckett of Hall Black Douglas echoed this joy in materiality when quoting influential Hungarian architect Imre Makovecz. "Architecture," he claimed, "takes materials from the earth and puts them in touch with the sky." Alastair, who worked for Makovecz in the mid 1990s, appeared hesitant to openly praise the jarringly unconventional work presented, yet displayed an innate understanding of its difficult and wrought context which ratifies the radical nature of the architecture. Makovecz’s architecture was a direct rebellion against the communist regime under which he operated for the majority of his career. In his work he celebrates "community, context and craftsmanship," concerns marginalised in favour of unrelenting modernist standardisation across Central and Eastern Europe

during the early years of the Cold War.

Reflecting upon her time with the Dublin based practitioner Tom de Paor. Aine McEnoy explained that she was "drawn to working in his office due to his absolute commitment to making architecture and the pleasure of making things.” Using the example of de Paor's architectural ‘insertion’ in Cork's National Sculpture Gallery Aine demonstrated how de Paor adheres rigidly to a concept, ensuring that every detail of the design radiates and communicates this underpinning hypothesis. This highly industrial space required a series of administrative spaces that did not impinge upon the workshop space. Therefore the new office accommodation was conceived as an ‘inhabited beam’ suspended above the shop floor; yet another piece of industrial equipment. Despite being an extremely small project, a rigorous design process was applied to ensure that the choice of materials and the detailing accurately communicated this concept.

George Brennan discussed his time with Foster & Partners (a practice who boasted a mere fifty to sixty employees when the Londonderry practitioner joined the firm in the mid 1990s, a number which had swollen to over a thousand by the beginning of the decade) while Ian McKnight of Belfast practice Hackett Hall McKnight reflected upon his employment in David Chipperfield's London office. What emerged from both talks was that, much like Tom de Paor's office, both firms possess rigorous design methodologies. George Brennan abbreviated Foster's unique modus operandi to listening (conversations and consultations); analysing (sketching); proposing (drawing); testing (modeling); delivering.

Discussing Chipperfield's approach, Ian McKnight described the technique in two distinct sections, processing and process. Processing consists of consideration of context (either reactionary or sympathetic), techniques of construction and materiality, and formal approaches (suggesting a series of default methodologies). Process consists of concept (in the form of sketches), modeling (for both development and representation) and drawing.

From these talks we can devise an (almost) exhaustive design checklist. Makovecz asks us to devise a concept is based upon local and national identity, dealing with symbolism and issues of political power. Tom de Paor asserts that once devised the concept is rigorously applied throughout the project. Chipperfield suggests that a hermeneutic design process should be implemented, using the concept, the context the client and the end user as tools for interpretation. Foster tells us that the design must be tested and retested using a combination of sketching, drawing, modeling and proposing; a process continuing throughout construction. Party encourages an enjoyment and pleasure derived from the fabrication of a technological and sociological space existing in spite of its context and because of its context simultaneously.

The 'Passion and Love‘ lecture series is set to continue in the New Year.

Alleyspace Intervention, Belfast's Holylands

The following was published in RSUA Perspective magazine, July 2009.

The word ‘student’ has become a four-letter word in Belfast’s Holy Lands. The events of St Patrick’s Day three months ago served to underline years of strife between the student population and local residents of the South Belfast neighbourhood. A fledgling Architecture student society based at the University of Ulster decided to try and turn the tide of local opinion in student’s favour.

Born out of an RSUA organised student forum held at PLACE, the idea was not established as a direct response to St Patrick’s day, but rather sought to re-evaluate the vernacular Belfast terrace, paying particular attention to what the society’s members regarded as it’s biggest design flaw, the rear alleyway. This leftover, utilitarian space has become synonymous with anti-social behaviour, including drug-use and fly tipping, and is often used by burglars to gain discrete entry into properties.

After talking with the local residents of University and College Park Avenue the students came to the conclusion that this was mainly due to the lack of surveillance. One local resident recalled the days when, instead of being confined by nine-foot high walls, private yards were enclosed with two-foot fences over which gossip and chat were exchanged, intended to simply demarcate ownership rather than create an aggressive fortification.

This vision of the alleyways’ halcyon days inspired the society to attempt to recapture this atmosphere, and use it in an attempt to address the anti-social behaviour that takes place in such spaces. Hugh Magee, one of the event’s organisers remarked “No space is provided for interacting with your neighbours any more while the alleyway would be perfect for this. If we can make landlords and residents rethink this space a greater sense of community and security could be created.” Time and budget restraints made any permanent intervention unrealistic, so the group decided upon attempting to transform the existing alley space into a social area, creating a positive interface between the Holy Land’s permanent and temporary denizens. 

This was the thinking that led to the student collaboration invading one of these alley spaces on the 5^th of June. A series of simple plywood partitions created a sense of place along the linear spine of the alley. A basic roof structure combined with overhanging foliage proved effective in creating the perception of an urban garden. And most importantly a bottle of beer, free food and a warm greeting created a welcoming atmosphere for anyone who turned up.

Despite initial fears that the event would be treated with suspicion and apathy in the wake of St Patrick’s Day, the intervention was greeted with overwhelming positivity from all who attended. Over sixty people turned up over the three hours the intervention was in place, and even the PSNI made an appearance condoning the positive student action within the area. Local resident and psychology lecturer at the University of Ulster Professor Peter Weinreich gave his thoughts on the intervention, saying “the evening transformation of part of this space by this group of students was a lively encouraging event, successfully bringing together students and local long-term residents for lively chat. Music, food and beverage outside in the open contributed to a pleasurable occasion.”

The group is currently planning further interventions within the city.

Contributors

Daniel Bell

Rory Caithness

Conor Gallagher

Janet Hall

Dean Johnson

Ian leinster

Hugh Magee

Chris Weir

Thanks to Able Builders for providing materials

Respecting Buildings in NI

The Following was published in September edition of The Ulster Folk arts magazine and also on the PLACE blog.

I was brought up in the tail end of 'The Troubles,' so much so that I never really felt affected by them. It's only in retrospect I see that it has entirely defined the relationship I have with the city I call home.

'The Town,' as Belfast city centre was ominously referred to in my youth, felt like another country; full of danger, glimpsed only in grainy news reports and rushed shopping trips. This is why I found the Urban Design Summer School hosted by PLACE, Belfast's centre for architecture and the built environment, so refreshing.

 Based in an empty shop unit in the Obel Tower, this week long summer school was open exclusively to people aged 14 to 19. Activities over the week included presentations by local designers, theorists and built environment professionals, tours of contemporary iconic architecture around Belfast such as the MAC, the Lyric and the newly renovated Ulster Museum and sketching and model making workshops. A particularly revealing workshop asked 'what is Belfast missing,' prompting a diversity of responses from 'more appreciation for historic buildings' to 'warehouse raves.'

I believe initiatives like this enable the young participants to have a dramatically different relationship with the city than I did in the years leading up to and immediately after the 'peace process.' But further than this, it also tackles an unforeseen product of peace; the widespread attitude that, because the city was so starved of civic progress during the violence, any development is good development. So much of our built environment is judged purely from the view of short term financial gain rather than the long term goal of a quality urban condition.

Director of PLACE and local architect Aidan McGrath describes the intentions of the school. "It’s not our objective to encourage these 30 young people into a career in architecture or town planning. We're just hoping to make them...more discerning, more critical of the built environment, and more demanding of those professionals and politicians who deliver it."

The recently approved Royal Exchange scheme, which includes bulldozing North Street Arcade and the disruption of the unique grain of warren-like alleyways, and the decision to demolish the Athletic Stores are examples of financially led decisions which get the go ahead despite being largely opposed by all apart from business concerns which stand to make a lot of money, to hell with the city! Yet the only groups speaking up seem to be the built environment professionals, so often viewed as being intellectually warped or biased. Perhaps a more knowledgable populace would feel confident enough to join these debates, paving the way for more considered urban development.

An informed, proactive, critical and involved populace is key to the development of a quality public realm. Initiatives like this, 'somewhereto_' and the 'I Wish This Was...' workshops will hopefully arm the citizens of Belfast with the knowledge and confidence to demand better from those with the power to shape the city.

Now that we've started to heal our social situation perhaps it's time to heal our urban situation.