AIRSIDE : INTERCRIT

Project 4 (Grad Dip Architecture 09 UCA Canterbury)

Investigation into Manston Airport and Air-travel at 3 focusing scales.

MACRO

MEDI

MICRO

PARTI

chris simmons 0

ASH 41 : CITY ON DEMAND

Project 3 (Grad Dip Architecture 09 UCA Canterbury)

Manifesto

The current model of Urban Development is speculated through developers; driven by economic profit rather than community. Winding streets of stock built housing populate our

suburbs; relentlessly boring non-places degraded through regimented blandness, the individual needs of the person are forgotten and the default is accepted. The users of the spaces are anonymous; the only exchanges that occur are monetary. This commuter based society results in dead towns without social experience.

We question this trend and aim to create places of social exchange, where people not only

SLEEP/EAT/WORK but enjoy and expe- rience with others within memorable places. Ashford’s development has so far created spaces of “dead” culture and we endevaur to alter this loosely within the council’s timeframe of the three phases (2021,2031,2041)

To create community we will impliment a network of Social Exchangers into the existing adequate Infrastructure. These Hubs allow for peoples exchange of emotions, conversations and experiences and aim to create links between users of this new devel- opment. They are deployed as catalysts for, coding

the development of each achipelago's programmes and styles. We light the touch-paper, add the wood and watch the fire burn.

The explicit nature of each area leads to a rich and varied urban landscape with an air of escapism. Journeys between each island of identity create transitional moments of realised falsity. Mem ories are made through sequential triggers, locations are cemented through individuality, landmarks are used as way-f

inding nodes, prominant and representative of spatial location. Through time the augmentation of programme leads to paradox’s of usage, unexpected meetings of the individual and vividity throughout.

To quote Kevin Lynch “The final objective of such a plan is not the physical shape itself but the quality of an image in the mind.”

We embrace the false with open arms, accept the absurd and poke fun at the mundane. We create a City On-Demand where Tran- sience is key;

“If they want a Mountain, they can have a Mountain. If they want a Beach, they can have a Beach”

John Pritchard, Ben Reay & Chris Simmons 0

Liminal Space : The Memory Machine

Project 2 (Grad Dip Architecture 09 UCA Canterbury)

Liminal Space

Origin: 1880–85; <>

Liminality is derived from ‘limen’, meaning threshold. The concept of liminal space as introduced by anthropologist Victor Turner, suggests the idea of ambiguity and ambivalence. This in-between space should allow active exchanges of ideologies, concepts and methods of working. There is an indication of a transition from one state or space to another, an on-going search for answers, yet the end point might not or need not be defined. Therefore, the ‘liminal space’ might be read as a metaphorical realm where ideas and concepts: artistic, political, cultural, social or otherwise, are in constant states of contestation and negotiation.

Lim Le Ann: Liminality in the Arts

“The Memory Machine”

Memory is integral to experience and it is the interception of memory where opinions can be altered.The Memory Machine sits in the area of flux between Encoding (Receiving, Combining and combining information), Storage (Creation of Permanent Record) and Retrieval (Calling up information responding to stimuli).

The Memory Machine enables the Retrieval of past memories of an age gone by stimuli of materiality and form. It Encodes new memories through its use as an event on the Liminal Space of the train and it strengthens Storage of the Memory by providing review able photographic evidence.

Memories are Falsified, stored memories are hijacked and the Users are left questioning their experience of Trains throughout their life.

The Machine questions “Authenticity”, not only of the Memory but of the Machine itself. The brain is questioned if this is Authentic by the user, its look and materials appear aged and of a past time however it is not consistent. The process itself is also False/Authentic, the act of using props and background is strongly false however the photographic results appear Authentic through their Aged appearance and presentation.

The machine is a paradox that does not strive provide an answer but merely a question

Chris Simmons 0