November 23rd, 2013
It is good to see the CiA students making full use of the university facilities, here is a link to the workshop site which details their process of construction
November 10th, 2013
Despite the wind and the rain, the procession through the centre of Preston, from the Corn Exchange, into the Flag Market and onto the Bus station was an unforgettable experience, and in what was an extraordinary piece of luck, the sun came out just as the procession reached the Bus Station itself, thus, for a few minutes, the highly articulate modelling of the parapets was clearly expressed on both the building and the model. This project was a collaboration between MArch CiA and the 3rd Year unit: Processional Cities.
October 10th, 2013
The basis of the design workshop was an examination of the still abandoned parts of Arsenale in Venice. The area, which until recently, was still used by the military, is gradually being assimilated into the city. Great discrimination needed to be taken with this absorption. The city of Venice has an incredibly distinct character, and any changes must take into consideration the qualities of what is there in combination with the needs and technology of the Twenty-First century: pastiche is not an option!
The Arsenale itself is an impressive and complex cluster of boatyards, armories, and wet and dry docks, assembled around two large harbours, all of which is protected by high brick walls. It was responsible for the bulk of Venice’s naval power during the middle part of the second millennium AD. It was one of the earliest large-scale industrial enterprises in history. Even Dante was impressed by the sheer presence of the place:
As in the Arsenal of the Venetians
Boils in winter the tenacious pitch
To smear their unsound vessels over again
For sail they cannot; and instead thereof
One makes his vessel new, and one recaulks
The ribs of that which many a voyage has made
One hammers at the prow, one at the stern
This one makes oars and that one cordage twists
Another mends the mainsail and the mizzen…
As always, we started with a thorough examination of the site, its surroundings and what can only be described as a Venetian coach trip; our own personal Vaporetto ride around the islands of the Lagoon. The visits were accompanied by a series intense lectures and talks by the curators of the sites. The passion of the conservation architect can not be overestimated; the enthusiasm that they held for their subject and the remains in their custody was inspirational.
The group of students was divided into small inter-nationality group, each containing one student from each institution. This inevitably initially caused much tension. The problem of language, difference in approach and differing priorities will create anxiety and disagreement, but it also encourages cooperation, understanding, compassion and eventually synergy. And so it was here, initial distrust was gradually replaced by firm friendship. There was a great amount of professional support for the workshop, and this involvement included the architects and conservators to the Arsenale, structural engineers, architects, conservation architects, as well as two or three academics from each participating university, almost an embarrassment of riches
The students were encouraged to analyse the qualities of each place before attempting to make changes. They looked particularly at the context, that is the history, topography, geology, the very nature of the place. From this analysis they developed an understanding of how the place could be activated. They needed to feel confident that the proposals that they were making were totally appropriate to the qualities of the sites. The students all worked hard to produce proposals of great quality and worth. They endeavoured satisfy all of the often conflicting demands of the conservators, users, consultants and academics, but what was created were truly context driven proposals, which explored the relationships between the water, the buildings, the climate and the place.
This is the fourth collaboration that CiA have made with IUAV, and the second with Granada. Every year the students work incredibly hard, they put in long hours in the studio and then always an enjoyable night in the squares, bars and restaurants of Venice. And again, this year all of them embraced the project with enthusiasm and plenty of intellectual inquiry, and all were a credit to their own institution and the project. Everyone travelled an enormous distance; physically, intellectually and emotionally. The manner in which architecture is taught and discussed varies from one institution to another and certainly there were often great divides between the approaches of each nationality, but of course, there were also great similarities. This was a project that served to bring together the North and South of Europe. It showed how a love for storytelling combined with an understanding of history and technology could bind together a group of disparate and distinct individuals into a forceful united team. This was a project that ventured to create something appropriate, distinct and contemporary from the variously eccentric approaches of our enormous continent.
The design proposals can be viewed here:
September 22nd, 2013
Architecture can facilitate the exploration of identity through the examination of the specificity of the context in which it is embedded. The constructed environment is often charged with narrative content, certain elements come to the fore, while others are more modest, more unassuming, but no less important or carefully considered. These mechanisms tell stories, they engage the imagination, they enable, through the construction of space, time and sequence, the development of new forms and places.
Continuity in Architecture will examine two sites; each has an entangled relationship with the fluctuating environment on which it is situated. Grange-over-Sands sits upon the inconsistency of the River Kent at the northern edge of the vast and treacherous mudflats of Morecambe Bay, while Venice was formed upon the mosquito ridden muddy promontories which appeared and disappeared within the watery safety of the silent Lagoon.
Year 6: Projects in Venice
The sixth year projects this year will be based around sites within the Arsenale area of the city. The area provides a rich context for the exploration of an urbanism born of crisis, an experimental architecture responsive to challenging environments, a dense fabric of building and memory. As part of the ERASMUS funded project entitled HAULuP, CiA will be exploring historical sites in the Venice. This will provide the basis for much greater exploration and the definition of the final year project. Current sixth year students are in Venice attending a workshop concerned with the interpretation and protection of the Arsenale area. A choice of these sites, and others in Venice, will form the basis of their final project. Students wishing to join CiA in sixth year will have the same choice of sites and the opportunity to visit Venice.
insula /in·su·la/ (in´sdbobr-lah) pl. in´sulae [L.] 1. an islandlike structure
Insulation (cf latin) is the purposeful enclosure, conditioning and modification of a structure to allow habitation. We will explore core architectural concepts with technical roots - protection, layering, shelter, threshold – and by solving problems similar to those of past generations we will further link building propositions to history and context.
Reading List: Tafuri, M. Venice and the Renaissance. MIT Press 1995. Mancuso, F. Bruttomesso, R. Veneto Italian Life Style Scenario. Process Architecture 109 1993. Goy, R. Venice. The City and its Architecture. Phaidon 1997. Morris, J. Venice. Faber and Faber 1983. Huber A. The Italian Museum. Edizioni Lybra Immagine. 1997. Janson, A. Bürklin, T. Auftritte Scenes. Interaction with Architectural Space: the Campi of Venice. Birkhåuser 2002. Frascari, M. The Tell-the –Tale Detail. VIA 7: The Art of Architecture 1984. Los, S. Carlo Scarpa, an Architectural Guide. Arsenale Editrice. 1995
Year 5: Projects in Grange-over-Sands and Venice
It is proposed that fifth year students use the small town of Grange-over-Sands as the starting point for a series of projects, and, through the development of ideas about the relationship of public and private, the city and the interior, propose buildings for home and for social life on chosen sites in the town.
Project 1 Finding the Place: A Lexicon of Grange
Project 2 Social Performance: we will collaborate with the planning, design and then partake in a procession
Project 3 Being There: Travel to Venice. Engage in empirical research. Examine, analyse and record key elements of the city
Project 4 Buildings for Home and for Social Life in Grange
How can the relationship between the citizen and tourist be managed within the form of the town? What models and precedents exist for the architectural expression of the relationship between the private and public life of the citizen? How do we build in an environment of density, inundation and collapse?
Essays: Diverse architectural approaches to the creation transformation of space
Reading List: Site Projects by David Leatherbarrow. Critical Regionalism by Kenneth Frampton. Contextualism: Urban Ideals and Transformations by Thomas Schumacher. The Architectural Uncanny by Anthony Vidler. Let the Trumpets Roar! – The Roman Triumph by Richard Brilliant. The Rights of Retreat and Rites of Exclusion: Notes Towards the Definition of Wall by Robin Evans.
“Make way!” cried Krespel; and then running to one end of the garden, he strode slowly towards the square of brick-work. When he came close to the wall he shook his head in a dissatisfied manner, ran to the other end of the garden, again strode slowly towards the brick-work square, and proceeded to act as before. These tactics he pursued several times, until at length, running his sharp nose hard against the wall, he cried, “Come here, come here, men! break me a door in here! Here’s where I want a door made!”
The Cremona Violin. E. T. A. Hoffmann
June 16th, 2013
Projects in Cartmel and Venice
This year we have studied two locations, one home and one away. Both have a direct connection with sanctuary and with water. It is fabled that Cartmel Priory was founded in a place where fresh water flowed in opposite directions, and Venice, for whom water is not a problem but a theme, was originally a refuge for those locals who were driven into the muddy lagoon by barbarism, brutality and heresy.
See more CiA work here
The aim of these projects was to find a formal solution to a site specific problem through the medium of contextual analysis, choice and manipulation. Ordinary things contain the deepest mysteries and the architect needs to have the capacity to condense the artistic potential of the region while reinterpreting cultural influences, for the building to show a great understanding of both place and tectonics, but also to be totally relevant to the twenty-first century; an architecture that uses contemporary technological and is suitable for the needs of today. This means not resorting to pastiche, but designing buildings and interiors that are visually and operationally applicable to the present day. It is almost thirty years since Kenneth Frampton wrote of the importance of Critical Regionalism, Rowe and Koetter composed Collage City and Rossi recorded The Architecture of the City, and although these ideas, which emerged as a reaction to Modernism, are more than a generation old, they are now more relevant than ever. One of the most pressing concerns for today’s society is how we engage with the existing situation in an appropriate, environmentally friendly and sympathetic manner. The pursuit of strategies for carbon-neutral buildings and places combined with issues of sustainability and heritage are central to all forms of design practice. The vernacular can offer great possibilities, after all, we have for centuries dwelled upon the problem of how to create controlled and conditioned environments for social relationships in buildings. We live under the same sun, shelter from the same rain, and resist buffeting from same wind as our ancestors, and yet within contemporary architecture we devote ever more resources and seek ever more complexity in solving these problems. We believe that less attention should be paid to the gratuitously flamboyant one-off project and more focus placed upon the appropriate. We search for inspiration in the normal and we take encouragement from the familiar. We seek to enhance rather than to overwhelm, we are inspired by the strangeness of the everyday, the unfamiliarity of the commonplace. We seek to establish our position as individuals in a dialogue with the common ground. We look, not just at the design of buildings, but also at the territory around them; public space, shared space, collective space. We investigate how a relationship between constructed form and controlled space can be established. The development of form is a one-by-one practice, a building is composed of diverse concerns and different horizontal connections can be uncovered, using the situation as the compositional driver. Programme evolves from the specific character of the site; it is something that emerges as the form of the building develops. Within a school of architecture, to construct has two different meanings, the first is the more obvious concentration upon the technology of the design, to understand the nature and ontology of the construction, to be aware of how and why a structure is built as it is. The second meaning is the production of the methods of communication. Evans claimed that “recognition of the drawings power as a medium turns out, unexpectedly, recognition of the drawing’s distinctness from and unlikeness to the thing that is represented, rather than its likeness to it, which is neither as paradoxical nor as dissociative as it may seem.” We believe that it is important that intent is shown as well as proposal. Context has dominated the design process; therefore it should play an important role in the communication. If the proposal is one element among a structure of objects and moments, situation will command.
Remember Reveal Construct
February 25th, 2013
Continuity in Architecture is almost twenty years old. It is something that we would like to celebrate and we fully intend to mark the occasion with some sort of jamboree or other such event. Look out for further posts.
Over the years we have conducted projects in many different locations: Palma, Venice, Barcelona, Dubrovnik, Dublin, Manchester, London, Valencia, Sant Sadurni, just to start with. But there is one location that we keep coming back to, it is a place that through position, evolution, history and neglect has a huge amount to offer us in Continuity in Architecture: it is of course: Preston. We have produced some marvellous proposals for the place, from bridges to tunnels, new urban squares to department stores, almost non-existent interventions to massive demolition works, all of which have their basis in the understanding and translation of the qualities of the area.
So it is with great anticipation that we notice that another institution has also recognised the worth of the place. The RIBA have just launched their FORGOTTEN SPACES competition in the engrossing city of Preston. Why not have a go? Why not have a look at the project that you’ve already designed? Let us remember some of your fabulous work. See extract from the competition brief below and competition call here
“Preston is full of potential for development, with proposals for major investment across the city. However, there still remain pockets of obscure leftover land and neglected plots that could- with imagination and new thinking- accommodate a host of functions, respond to local needs and provide a counterpoint to these wider investment proposals.
Held for the first time in the North West, this design competition asks architects, planners, artists, engineers and landscape designers to nominate an existing over- looked site in Preston and propose an idea for its improvement.
A ‘forgotten space’ could be small or large - a grassy verge, a wasteland, an unused car park, a derelict building, an empty unit, an underpass or a flyover. The proposal could be simple or complex, a commercial or public facility, a piece of public art or a new building. The main requirement is that it responds to the surrounding area and serves a function for the local community.”
February 18th, 2013
“…I would say that even in historic times documents are not always available, and buildings (monuments, vernacular constructions and public works) are themselves important texts, often providing the first and most lasting impression of a culture.”*
The voids in the urban landscape, which are created by virtue of the enclosing nature of the surrounding buildings, have great value. These gaps, spaces or holes are important, for it is these that are occupied, that the visitor or resident will visit, pass through or inhabit. The structures that surround these squares contribute to the quality of the environment. Many buildings are deformed to accommodate the purity of the square, however some can exist as pure elements even within a complex system of buildings and voids. Ideal forms can exist as fragments, and can be viewed as mere collaborative elements to be“collaged” into an urban environment, and thus, rather than exist exclusively as landmarks, can contribute to the composition of the city.
In December 2012 Preston City Council voted ‘in principle’ to demolish Preston Bus Station and replace it with a surface car park. This building is a major cultural landmark and it should be preserved and creatively adapted to serve the city. It could act as a key building and public space to make Preston accessible and temper the decay that is affecting our city, and so many other city centres across the UK.
We will explore the nature of the fragment within an historic city, we will bring the Bus Station to Antwerp, it will occupy a definite place within the urban environment, it will:
INTERRUPT the city
September 25th, 2012
Projects in Venice and Cartmel
This year Continuity in Architecture will offer two projects, one at home and the other away, but both have a strong connection with water and with travel.
“It is very old, and very grand, and bent-backed. Its towers survey the lagoon in crotchety splendour, some leaning one way, some another. Its skyline is elaborate with campaniles, domes, pinnacles, cranes, riggings, television aerials, crenellations, eccentric chimneys and a big grain elevator. There are glimpses of flags and fretted rooftops, marble pillars, cavernous canals. An incessant bustle of boats passes before the quays of the place; a great white liner slips towards its port; a multitude of tottering palaces, brooding and monstrous, presses towards its water-front like so many invalid aristocrats jostling for fresh air. It is a gnarled but gorgeous city… the whole seems to shimmer – with pinkness, with age, with self-satisfaction, with sadness, with delight.” James Morris, Venice
“I have written about the Britons who first hid themselves here from their Roman invaders, of the Viking sailors who crossed the northern seas in search for homes, of their Anglian and Norman-French overlords, of the monks and Canons who with a call from God came here to teach and to build, bringing with them a stable Christian civilisation. Those who followed have made many mistakes, they have quarrelled and suffered and found happiness; they quarrelled about religion and politics, they suffered from flood, plague, hunger and fire, and each generation as it grew up has found countless homely pleasures, cheerful friendships, the love of their homes and work on the sands, in the fields and woods, even as many of us do today.” Sam Taylor, Cartmel: People and Priory
The story adjusts its gait to the slow progress of the iron-bound hoofs on the climbing paths, towards a place that contains the secret of the past and of the future, which contains time coiled around itself like a lasso hanging from the pommel of a saddle. Italo Calvino, If on a Winter’s Night a Traveller
Remember Reveal Construct
April 25th, 2012
Continuity in Architecture is delighted to announce the opening of an important exhibition of twelve projects from the Erasmus Intensive Workshop held in Venice in Autumn 2011. The show features the work of post-graduate students from the CiA Unit of Manchester School of Architecture, collaborating with students and professors from Granada and Barcelona (Spain), Venice and Catania (Italy), and Oulo (Finland). The programme is in its third year and was established to explore the adaptation of archaeological sites for modern purposes. This year extraordinary sites of ancient civilisations in south-west Sicily - in Scicli, Syracuse, Paliké and Camarina - were the inspiration for dramatic design interventions in the landscape that redefined and reinterpreted place.The exhibition will be in the RIBA Hub, Cube Gallery on Portland Street from 26 April - 18 May 2012.
March 5th, 2012
Sally Stone has just returned from the Winter School at the University of Antwerp. This important annual event invites academics and architects to run projects upon a specific theme, this years was Transformer.
Antwerp, an important city in northern Belgium, in the north of Europe, has been sought after and fought over for centuries thanks to its sheltered position on the estuary of the River Scheldt, the mild climate and the tolerant people. The legacy is a patchwork of ancient and modern architecture in which baroque rubs up against art deco, the traditional adjacent to the contemporary and the scarified next to the ephemeral
Look, said the voice … “A vacant lot at dusk” … “Long blurry beach” … “Sometimes you’d think he’d never use a camera before” … “Crumbling walls, dirty terrace, gravel path, a sign that says Office” … “A cement box by the side of the road” … “Restaurant windows, out of focus” … I don’t know what the hell he’s trying to get at.”
Antwerp by Roberto Bolaño
the City: the Building: the Room
“One could look from the campiello through openings, balustrades, screens, and discern the garden at the other side … and behold something at once a mystery and reality.”*
Architecture is the mediator between the City and the Room. An act of translation occurs at the point where the outside meets the inside. The window, door or threshold transforms the nature of the exterior and moderates it to accommodate the interior. When viewed from the hostile environment of the outside, the interior can possess qualities that are perhaps ethereal, enchanting or reassuring.
Imagine a crowd gathering in the Grote Markt, the quality of the light in the square, the coldness of the damp and windswept space, look through those twinkling windows of the tall imposing buildings, envisage what would be happening in these spaces, picture the character of the rooms behind the facades, create this interior.
*Carlo Scarpa talking about the Fondazione Querini Stampalia
The City: We examined the particular qualities and characteristics of routes from the Grote Markt to the edge of the central area, and then back again. This analysis led us to create proposals for the transformation of the journey into a narrative; that is a collection of forms and spaces that communicated the essence of this excursion.
The Building: We analysed the particular qualities and character of the Guild-Houses that face the Grote Mark. We looked at the size, scale, materials, construction, occupation and most importantly the quality of the light.
The Room: We translated the ideas that were developed for the abstract space into a real proposal for the interior design of a space or collection of spaces within the Guild-houses.
February 27th, 2012
Pugin: the Search for the True Gothic
2012 marks the two-hundredth anniversary of the birth of Augustus Welby Northmore Pugin, one of the most important architects of the nineteenth century. His approach to the interpretation and creation of a neo-gothic architecture based upon an archaeological approach to mediaeval sources was the key influence on the development of Gothic architecture in the Victorian age. This in turn fed Modernist theories of the relationship between the component parts of architecture and functionalist approaches to domestic design, particularly in the Arts and Crafts movement.
The church of Our Lady and St Wilfrid and the adjacent presbytery represent a unique opportunity to study a group of Pugin’s buildings in something near to their original state. The church itself is a total work of art; a rich expression of ritual, archaeology, local material and rich ornament combined to produce a beguiling architectural whole. Adjacent to the church is the presbytery, a severe proto-functionalist house displaying Pugin’s concern for the plan as generator, rejecting superficial stylistic references. Both buildings were designed by Pugin but constructed without his personal supervision. This was typical of Pugin’s relationship with clients and builders, and the method was taken to its extreme when an exact replica of this church was constructed in Australia.
Pevsner considers the construction of this “small but first rate” church to be so significant that it caused “the vigorous field of ecclesiastical architecture (to be) hijacked into True Gothic”… “His little Catholic church at Warwick Bridge is a perfect document of the new attitude, the revival of an ideal English Gothic with religious fervour” and “It is here and more or less precisely in 1841 that archaeological accuracy begins in English church design.”
How can the buildings at the church of Our Lady and St Wilfrid in Warwick Bridge be understood as the original model for a new approach to the understanding of true Gothic principles and a precursor of particular theoretical and practical approaches in Modern architecture.
There are particular opportunities for links with industry through collaboration with Francis Roberts Architects, an architectural practice with a reputation for sympathetic and skilful architectural conservation work. This relationship will aid the student and provide direct access to the parish priest, the parishioners, and expert historians and conservators.
Possible Aims and Objectives
Contribute to the understanding of Pugin as an architect and show how clients and builders remotely interpreted his designs. Compare the results with the original drawings.
Conduct a definitive historical and physical survey of the building. Access and analyse the building in relation to the documentary evidence. This search can use the Benedictine archive at Ampleforth and other sources
Analyse the techniques used in construction and decoration. Contribute to the development of a conservation plan.
Situate the design of the church and the presbytery in its historical context and place it within a contemporary discourse. Acknowledge issues of practical art verses theory
Contribute to the stewardship of these buildings through an understanding of original construction techniques and contemporary methods of conservation and repair.
Review the available literature on Pugin.
Informal enquiries can be made to Sally Stone, email@example.com
More information on how to apply: CLICK HERE (then select the ‘Art & Design’ tab)
September 20th, 2011
Over the last forty years the western world has witnessed massive social and economic restructuring. The old heavy industries, upon which our society was constructed, have collapsed. Countries such as the UK and Spain, once the workshops of the world, are now reliant upon the new service and information-technology industries. The urban areas within these countries contain a vast wealth of memory and experience. We need humility in the face of such grandeur of industrial legacy if we are to construct new elements in these neglected areas. Within the cities of the industrial revolution a new form of spatial production is needed to invest the dying urban patterns and decaying fabric with meaning.
Continuity in Architecture will run two projects both in post-industrial cities. Each city has approached the problem of how to transform the unban environment to accommodate the needs of the twenty-first century population in a different manner. We will examine the qualities and character of the places before making design proposals.
It was a town of red brick, or of brick that would have been red if the smoke and ashes had allowed it; but as matters stood, it was a town of unnatural red and black like the painted face of a savage. It was a town of machinery and tall chimneys, out of which interminable serpents of smoke trailed themselves for ever and ever, and never got uncoiled. It had a black canal in it, and a river that ran purple with ill-smelling dye, and vast piles of building full of windows where there was a rattling and a trembling all day long, and where the piston of the steam-engine worked monotonously up and down, like the head of an elephant in a state of melancholy madness. It contained several large streets all very like one another, and many small streets still more like one another, inhabited by people equally like one another, who all went in and out at the same hours, with the same sound upon the same pavements, to do the same work, and to whom every day was the same as yesterday and to-morrow, and every year the counterpart of the last and the next.
(Charles Dickens, Coketown)
Blind with Love for a Language
The prospects of the Barcelonese worker remained the same throughout the nineteenth century: grinding, brutish, and without much hope of change. Statistics altered and demographic shifts were seen: for instance, the more machines were used in the mills, the more demand there was for women to run them, since machinery did not require as much physical strength, and women could be paid less. But the vile calculus of human misery was unaltered… They lived cramped in garrets and basements, without heat or light or air. Midcentury Barcelona made Dickensian London look almost tolerable; Cerda` found that its population density was about 350 people per acre, twice that of Paris, and that workers had a living space of about ninety square feet per person.
(Robert Hughes, Barcelona)