A Register of User Adaptations by Storp Weber Architects by The Bartlett School of Architecture UCL

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Storp Weber Architects A Register of User Adaptations

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Storp Weber Architects A Register of User Adaptations: Le Corbusier’s Unité at Briey

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CHAPTER TITLE

CONTENTS

1 (previous) Unité d’habitation, Briey-en-Forêt, south elevation. Since being listed, the exterior of the building has been renovated and all flats and balconies have been painted grey. This is no longer the original concrete colour from when it was first built. 2 The Unité at Briey in the context of the surrounding landscape. Located in northeastern France, the Unité is a concentrated development surrounded by fields and a forest.

Project Details

Statement about the Research Content and Process

Introduction

Aims and Objectives

Questions

Context

Methodology

Dissemination

Project Highlights

Bibliography

Related Publications

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Project Details Author Patrick Weber Title

A Register of User Adaptations: Le Corbusier’s Unité at Briey

Output Type

Architectural study and exhibition

Date

2014, ongoing

Location

Briey-en-Forêt, France

Funding

£3,000 from The Bartlett Architecture Research Fund (ARF)

Exhibition

A Register of Adaptations, Apartment 102, Première Rue (16 September 2018)

Researcher

Sabine Storp

Research Assistants

Samson Adjei and Matt Lucraft

External Partners

Veronique Leonard, L’association La Première Rue

Thanks to Delphine Studer, Fondation Le Corbusier; the residents of Briey, especially Beate Heigel, Karole Krezierski and the late Pascal Schoening

3 Detail from a large-scale axonometric drawing of the original layout of the Unité d’habitation, Briey-en-Forêt. This drawing explores the relationship of Le Corbusier’s original layout of the apartments and their furniture fittings with the building fabric.

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Statement about the Research Content and Process Description

Methodology

An assessment of the post-design adaptations of Le Corbusier’s Unité d’habitation, Briey-en-Forêt. In light of its complex post-occupancy history, this ongoing study aims to critically evaluate the idea of architectural success in social housing.

This project adopts a multifaceted and innovative approach of post-occupancy evaluation, involving library research, systematic drawing, photographic surveys, occupant interviews, comparative design studies, participant observation, community engagement workshops, and an exhibition. This approach is designed and intended to address the architecture, history and social context of the building’s evolution over 40 years through a more rounded and holistic understanding.

Questions

1. How do we assess the relationship between the architect and the occupant in the context of the Unités?

Dissemination

2. How well has Le Corbusier’s theoretical construct for living sustained itself over a period of 58 years? How do today’s lifestyles and occupant needs relate to his ideas for standardised housing?

The dissemination of the research included one exhibition at the Unité of the author’s new drawings, photographs and two large-scale research books, consultation workshop material and curated archival material; one international keynote lecture in Croatia; four international lectures, including in China and South Korea; one conference presentation in Turkey and one published conference proceedings in Archtheo ‘15 IX Theory and History of Architecture Conference Proceedings.

3. What kind of lifestyle did Le Corbusier actually prescribe? How do we create a home when a specific mode of living is prescribed by the architect? 4. How do we define architectural ‘success’ in light of changing architectural programmes and occupant alterations, recognising the differences between an artist’s intentions and a user’s desires, and in the context of Briey, drastic sociocultural changes?

STATEMENT ABOUT THE RESEARCH CONTENT AND PROCESS

Project Highlights

This photographic and drawing-based study highlights the relatively unknown history of the Unité at Briey. The author worked with L’association La Première Rue – a collective of artists and architects formed to protect the Unité – to conceive and realise a significant piece of post-occupancy evaluation. Although dismissed by many as a failed project by Le Corbusier, the degree of adaptation and sense of community observed suggests that the criteria of ‘success’ in architecture be reconsidered.

STATEMENT ABOUT THE RESEARCH CONTENT AND PROCESS

4 A photographic study of Briey’s staircases. The stairs in Le Corbusier’s buildings were integral to the overall architectural feel. Many have since been destroyed, sold at auction or ‘hacked’, as depicted in this comparison study.

5 All of the Unités have casts of a man – the Modulor – and a series of relief patterns that reflect Le Corbusier’s ‘ideal’ measurements on their entrance walls. The Modulor was realised as a more simplified figure for Briey, in comparison to the other Unités.

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STATEMENT ABOUT THE RESEARCH CONTENT AND PROCESS

6 Briey’s residents often transport shopping bought in the town to the remote location of the Unité using trolleys. These have since become integral to the functioning of the building. 7 The corridors in the Unité are referred to as ‘streets’. Occasionally they fulfil the function of a real street; here, local children cycle on the Première Rue.

8 (overleaf) A newly renovated upper street. Several apartments have been opened up to allow natural daylight into the space. The colours, finishes and flooring merely echo Le Corbusier’s original intentions.

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Introduction

Over the years, social and economic decline have led to periods of abandonment and partially squatted re-occupation for Briey. It has been overlooked as an architecturalartistic work as many of its fitted interior furnishings have been stripped out, sold or consumed as firewood. Due to its social housing status, last-minute cost cuts and political manoeuvres, the variety of internal programmes envisioned by Le Corbusier were never actualised, which resulted in a remote residential building with few support services. In addition to this, there was a decline in the local economy due to the closure of iron ore mines in the region not long after construction. This created financial difficulties for the project and its community, and by 1982 the Unité was mostly abandoned. Since then, parts of the building have been renovated as affordable housing and it has also been partially listed as a heritage site to save it from demolition; in 1993, the façade, roof, gantry, hall, Première Rue and apartments 101, 116, 128, 131–4 were registered as historical monuments. The façade and roof of the former boiler room and its portico are inscribed with ‘Heritage of the XXth century’. Today, it is largely occupied by a diverse community with varying attitudes towards its status as an original ‘Le Corbusier’.

This study is an attempt to engage with the story and transformation of the Unité d’Habitation, Briey-en-Forêt, a historically overlooked yet symbolically important project by Le Corbusier; a Swiss-French architect and key proponent of architectural modernism. Completed in 1961, Briey was one of five Le Corbusier multi-storey housing projects alongside: · Marseilles (completed 1952) · Nantes-Rezé (completed 1955) · Berlin (completed 1957) · Firminy-Vert (completed 1965) The ideal Unité format was inspired by the compact self-sustaining idea of the cruise ship and was designed in accordance with Le Corbusier’s views on the ‘house’, described in Vers une Architecture as ‘a machine for living in’ (Le Corbusier 1927). Within this collection of essays, Le Corbusier describes how modern dwellings, and to an extent the city, should operate. Based on a largely selfcontained mixed programme, the Unité aimed to incorporate many of the diverse services one might associate with a functioning town, including nurseries, shops, restaurants, community spaces, hotels and laundrettes. Briey was designed with 339 duplex apartments over 17 floors and six internal ‘streets’ (8). It was the only one of the Unités classified under the Habitation à loyer modéré (HLM) rent-controlled housing scheme. The building was not, however, realised to the same standards of construction or mixed programmes of occupation as its siblings, with André Wogenscky – a long-standing collaborator of Le Corbusier’s – commenting that it ‘was not good, neither geographically nor economically, or sociologically’ (Abram and Vattier 2006).

9 Original drawing by Le Corbusier of the roof, 1960. The proposed design features a nursery and a running track. These did not come to fruition, however, and the roof remains unused to this day.

INTRODUCTION

10 Drawing by Le Corbusier of the 11 apartment typologies at Briey.

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The notion of a designed project – an ‘artistic’ work – with its inherent intentions and distinctive language is something that shaped both early expectations and a personal critique of the project. Over the four years of research, a new viewpoint and critique emerged that questioned the idea of ‘success’ in architecture, specifically in housing, and how it might be assessed. The Unité was conceived as ‘a machine for living’ and the buildings were designed using the latest technologies and most advanced understanding of social housing available at the time. The rigid format of inhabitation embedded in its apartment typologies and the built-in furniture has, however, been unable to reflect societal and technological change. This research proposes that housing design is a two-stage process: the architect’s design and resident adaptations. It introduces several granular levels of assessment that consider architectural intent, execution, versatility and the outcome as a post-occupation sum of its adaptations. This photographic and drawing-based study culminated in an interactive exhibition that invited Briey’s residents to relay the extent of their interior and architectural adaptations (30). In so doing, the author aimed to explore the degrees of change applied to the original project to consider whether or not the architectural agenda, and to some extent Le Corbusier’s theories, have succeeded, and what this could mean for how we gauge success in housing schemes overall. The project stems from Patrick Weber’s longstanding interest in the scope of Le Corbusier’s built legacy and its many interpretations over time. Given the varied histories, interests and adaptations involved in these interpretations, the work has today taken on new dimensions. Where many of Le Corbusier’s ideals were based

on principles – proportions, societal ideals, construction strategies and urban design approaches, to name but a few – the Unités have withstood, accommodated and reflected the needs and intentions of others. Sometimes these intentions have focused on preservation and at others accommodation. The results have on occasion become multidimensional and it is felt that they warrant a varied approach in engaging with the project as it is today.

INTRODUCTION

11 Photographs from both Briey and Marseilles Unités, depicting the original interiors, c.1960.

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12 A photographic diary of the construction progress, belonging to the original contractor.

INTRODUCTION

13 Briey was partially abandoned in the 1980s and 90s. A group of artists, including architect Pascal Schoening, squatted the building in an effort to rescue it. The images are a document of vandalised apartments, stripped of their original elements, c.1987–89.

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14 Drawing of the ‘ideal’ apartment by Le Corbusier, entered on the lower level, comprising the kitchen/ dining area. A bespoke staircase connects this space to the upper floor, featuring the master and two children’s bedrooms, which can be connected through a sliding partition to create a play area.

AIMS AND OBJECTIVES / QUESTIONS

Aims and Objectives

Questions

This study intends to:

1. How do we assess the relationship between the architect and the occupant in the context of the Unité?

1. Document the history of the Unité at Briey, including developments and changes since 1987 when the building was saved from demolition;

The Unité’s occupants in the 1960s reflected a diversity of individuals and families who were of their time and were familiar to Le Corbusier. Despite his intentions for the building with regards to social housing, many of the residents’ wider cultural contexts coincided with his own. The archetype of the Unité was initiated by Le Corbusier in Marseilles in 1952, and it is unlikely that contextual differences would have been reflected for Briey. It might be more suitable therefore to consider the relationship between architect and occupant as a monologue rather than a dialogue. Subsequently, many of Le Corbusier’s original but outdated high-modernist design standards and intentions have been adapted without consultation.

2. Engage with the post-occupancy history and transformations undertaken; 3. Critically evaluate the idea of architectural ‘success’ and how we assess social housing; 4. Record residents’ stories to gain a more comprehensive understanding of the building as an example of organic architectural urbanism and a framework for personal reactions and interactions.

2. How well has Le Corbusier’s theoretical construct for living sustained itself over a period of 58 years? How do today’s lifestyles and needs relate to his ideas on housing?

The Unité can be defined by an unambiguous language of materials in line with the contemporary modernist ideals of the day, a distinctive palette of details associated with Le Corbusier and a marked absence of decorative coverings and surface linings. An immutable concrete framework, including party walls and floors, which was augmented for living using wooden fitted furnishings, doors, stairs, metal handles, rails, hinges, etc. Despite interior adaptations, the concrete is largely unchanged and can be considered to have held-up over time.

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5. How do we define architectural ‘success’ in light of changing architectural programmes and occupant alterations, recognising the differences between an artist’s intentions, a user’s desires and, in the context of Briey, drastic sociocultural changes?

The wooden interior has not fared so well, although it can be argued that many of Le Corbusier’s ideas have survived in principle; for example, sliding doors, kitchen units, open-riser stairs and the general absence of wallpaper. Few, if any, of the original kitchens – as designed by Charlotte Perriand – have survived intact, largely due to being considered too small and inflexible.

Notions of ‘success’ might be best understood from the point of view of the occupants. In this regard, the interviews infer a broad range of interpretations (see p. 40). The Unité’s success must also be measured in consideration of its being saved from demolition in 1987, for which the city’s mayor at the time was instrumental in the rescue effort. By this time, most of the original modernist aspects of the building had been lost, but despite these alterations the concrete fabric of the building was left relatively intact. To date, only the nursing school that occupies the lower three levels of the north side of the building has made significant structural changes to accommodate larger lecture and seminar rooms.

3. What kind of lifestyle did Le Corbusier actually prescribe?

Le Corbusier’s greater intentions for the lifestyle of his Unité’s occupants was indicated in his book The Home of Man: … the few pieces of furniture, old or specially designed, instead of piled one against the other to their mutual ruin, are so placed as if to suggest, in a court of spacious and discreet, obeisance of the few towards the kingship of the one object or work of art prized above all others which, after wandering about for a few days, has at last found the spot whence it can spread over the whole dwelling its permanent lessons in intensity (Le Corbusier and de Pierrefeu 1948, p. 34).

4. How do we create a home when a specific mode of living is prescribed by the architect?

Tenancy rules in Briey are predominantly a function of the local government, not the architect, and few parts of the Unité’s structure are listed. Furthermore, Le Corbusier’s original modernist ideals expressed in the interior design have been overruled by time, e.g. the absence of surface decoration and ornamentation.

15 Axonometric drawing of the different apartment typologies.

16 (overleaf) Drawing of the front elevation. The omission of an internal shopping street and other communal spaces resulted in a plainer elevation.

QUESTIONS

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QUESTIONS

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Context

organised around interim floors designated as internal ‘streets’. Apartments with stateof-the-art interiors are arranged around these streets, including stairs designed by Jean Prouvé. The apartments feature fitted wardrobes, sliding partitions to connect or divide spaces, and bespoke ironmongery. All of these elements were integrated into the building and were not intended for removal. Of interest was Philippe Boudon’s 1979 post-occupation study, Lived-In Architecture: Le Corbusier’s Pessac Revisited. For this study, Boudon engaged with the residents of Quartiers Modernes Frugès (QMF) – a workers’ accommodation complex in Pessac consisting of 50 modernist houses, designed by Le Corbusier almost 40 years prior to Briey – and considered what it means to adapt signature modern architecture. Lived-In Architecture touches on many of this study’s initial questions. The residents in Pessac have made a variety of modifications over time, from closing-up open spaces on the ground floor to transforming terraces into habitable spaces (18). Le Corbusier commented on these developments: ‘You know, it is life that is right and the architect who is wrong’ (Boudon 1969). This reiterates and raises questions regarding Le Corbusier’s attitude towards the inhabitant while he was designing the Unité, given the similarities in their socialist agendas and specific target demographic. Boudon’s study was reassessed in Ada Louise Huxtable’s 1986 essay Architecture, Anyone?, which questions previous critiques of the project’s success as potential misinterpretation – Boudon himself states that an aim is objective in his reflection of the project – and thereby presents an alternative and more favourable viewpoint on resident’s adaptations and the resilience of Le Corbusier’s intent. Boudon’s study was later discussed in Fred Scott’s On Altering Architecture (2007).

Weber has employed archival and library research and wider explorations into the history of Briey in this study. Joseph Abram and Guy Vattier’s book Le Corbusier à Briey: Histoire Mouvementée d’une Unité d’Habitation (2006), co-written with the former mayor, is currently the only published book specifically addressing the political turmoil surrounding the near demolition of the Unité. The Unité principle came to represent a new housing typology in which the singular architectural form is enriched with the services and facilities expected of a modern city. This formed a slow development of thought, the theoretical basis of which dated back to Le Corbusier’s aspirational plans for the Cité-jardin vertical (vertical garden city), which was indirectly influenced by Ebenezer Howard’s Letchworth Garden City and his book Garden Cities of To-morrow: Urban Planning (1902). For Le Corbusier, the figureground relationship of the garden city would be further polarised into a continuous landscape, a ‘garden ground’, lightly touched by high-density urbanised forms, or housed cities, elevated on pilotis. The high-density Ville Contemporaine – an unrealised city for three million inhabitants – designed by Le Corbusier with Pierre Jeanneret in 1922, was a key step in the formalisation of this agenda. Soviet communal housing projects were of particular interest, specifically the Narkomfin Building in Moscow designed in 1932 by Moisei Ginzburg and Ignaty Milinis. Of the Unités, the original Marseilles project, completed in 1952, is lauded as a successful housing prototype. Its diverse internal programme includes shops, educational facilities, a public hotel and a restaurant. In keeping with the concept of a ‘stacked urbanism’, these services were

CONTEXT

17 Original site plan for Briey, 1956. The Unité was planned as part of a wider development, featuring shops, a cinema and housing. Most of these plans remain unrealised, however, leaving the Unité in an isolated position.

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CONTEXT

A contemporary project that echoes many of the parameters of Briey is Jean Nouvel’s Nemausus 1 HLM housing project in Nimes, built in 1987 (19). Nouvel fought with the developer to be more generous with the volume of the individual apartments, eventually making them 30% bigger as a trade-off for delivering a 30% cheaper building. The tenants were obliged to sign an agreement preventing them from decorating, thus retaining the space and structure as Nouvel intended, including bare concrete walls, exposed services and fake builder’s markings. Over time, however, they started to personalise their spaces, decorating walls, carpeting floors, using curtains to screen off private areas and cornices to blur the line between wall and ceiling. Weber also looked at similar photographic studies in his research. For MvRDV’s WoZoCo housing complex project, the new-build interiors were photographed before and shortly after occupation. The architects Lacaton & Vassal, meanwhile, have conducted photographic studies of their refurbished apartments not long after project completion. Weber’s study departs from both of these examples by reflecting on several decades of transformation.

18 Comparative images of the houses at Pessac before (top) and after (bottom) occupation.

19 (overleaf) Richard Copans and Stan Neumann, Nemausus 1—A housing project of the 80s, 1995. A selection of stills show various post-occupancy modifications.

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CONTEXT

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Methodology

1. Archival and library research, addressing the historical, architectural and socioeconomic contexts of Le Corbusier’s practice, the Unité and Briey

Post-Occupancy Evaluation (POE) approaches have several definitions and bring with them their own metrics for success. The RIBA and BRE methods are based on the SMART format: specific, measurable, achievable, realistic and time-bound. In general, these frameworks are suited to studies of contemporary projects where a design team has a greater remit over the measured feedback of a building’s development. In the majority of cases these methodologies aim to be quantitative in measuring success. In the case of Briey, however, with its long history of unplanned changes through varying agendas and alternate users, a more flexible, phenomenological and participatory methodology has been adopted. Qualitative findings make greater allowances for addressing resident feedback, permitting broader comparisons and a more holistic understanding of the maturation of the project.

Photographic records of the construction process, combined with written documentation and drawings, shed some light on the context and original intentions for a Unité with more communal facilities than we see today. This documentation also reflected the health of the economy at the time and some of the optimism behind its creation, evidenced in newspaper articles and records of the social diversity present in its earliest population.

METHODOLOGY

2. Systematic photographic surveys assessing the architectural and interior modifications by residents, including the stairways, communal spaces and building envelope

Photographic investigations explore the traces of previous occupation and hope to uncover the history and important clues in understanding Briey. The photography undertaken ranges from systematic documentation of alterations to the staircases in each of the apartments to more adaptive records dependant on the individual’s interior configuration (20–2).

20 Various interior details document the memories: the imprints of a lost wall on the vinyl flooring and layers of paint on a ceiling revealing the removal of interior partitions.

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21 A photographic study of the Unité’s original Le Corbusier stairs.

METHODOLOGY

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METHODOLOGY

22 #5

22 A critical view of apartments: #1: a pared back interior revealing the original concrete structure; #2: an apartment fitted with elements found around the building; #3: detail of a partition wall separating a space into two distinct areas, planned using the animation and game design software Blender;

#4: a living space that reflects the transitory DJ lifestyle of the owner; #5: an apartment designed around a view from the top floor of the building; #6: a diverse live/work space, incorporating a plant nursery, carpentry studio, beekeeper’s workshop and a living space featuring handmade furniture.

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3. Resident interviews and documentary drawing

a dual reflective journey. This journey has tracked a gradual shift: from appreciating the supposed ‘failure’ of the project in regard to Le Corbusier’s doctrine to its unplanned success through its unpredicted adaptation and diversity of inhabitation and community. Many of these changes have been undertaken by the residents themselves and reflect varied levels of skill. In turn the success of housing design has been understood as a two-stage process, with creative adaptation forming the second stage, following the architect’s original design.

As part of a larger study of Le Corbusier’s work, this project looks at Briey from multiple perspectives. Given its long history, it has been necessary to engage with its current inhabitants through their stories and physical adaptations, the local socioeconomic context, the building in the historical context of its more popular siblings, programmatic alterations to the building’s fabric and other material. The study has been conducted over a four-year period, producing four informative interviews and an array of documentary study drawings that track the extent of the physical adaptations made to the building’s framework (23–9). No one perspective is considered to be as summarily effective as an approach to addressing the questions. This method is in line with approaches and objectives of participant-observer studies. The task of gathering a sufficient range of resident participants is ongoing and further research with a much broader and more demographically representative base of the Unité’s inhabitants is necessary. In addition, this project involves the author’s personal reading as a participantobserver of Briey and its multifaceted adaptations. Weber’s visual observations and the interview-based responses that he collected from the building’s present inhabitants have formed the basis of

23 Drawing of one of the apartments with the original elements designed by Le Corbusier indicated in yellow.

METHODOLOGY

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24 View of alterations in apartment 113.

METHODOLOGY

25 This taxonomy shows the range of alterations in apartment 113, from left to right: pink = original doors; orange = kitchen units; green = seating/soft furnishings; olive = tables/ storage; orange = lighting; blue = small storage units.

METHODOLOGY

26–9 (overleaf) Axonometric study of apartment 2, based on original drawings and photographs. Its occupant, Pascal Schoening, collected found

Le Corbusier fittings, including doors and a roof of an abandoned kiosk, using them to create an arrangement of spaces, walls and partitions.

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METHODOLOGY

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4. Community response through the installation of an exhibition

Architects generally do not get the opportunity to revisit and re-evaluate their built projects through the adaptations of their building’s inhabitants. In this regard, the drawing documentation intends to present a record of the various physical alterations against the expression of the more resilient aspects of the Unité.

The exhibition A Register of Adaptations took place in two spaces in apartment 17, which is currently uninhabited. In the first space, two large wall-mounted drawings were presented. One was an axonometric drawing representing the building as a whole, including its original fixtures and fittings, stairs, kitchens, built-in furniture and sliding walls (34); the second specifically addressed apartment 2 – the flat of Pascal Schoening – and how it had been altered, adapted and filled with personal belongings to embody a very different way of living within the context of the Unité (26–9). At the centre of the space was a table displaying all of the study’s drawings in the form of two books: Volume One documented the history of the Unité; Volume Two contained axonometric drawings of each of the original apartments as shells without the Le Corbusier fixtures and fittings. The residents were encouraged to explore their spaces and reflect on how they had adapted them; however, only two of the residents were persuaded to do so. It appeared that drawing in a book, the act of updating a printed document, proved to be more intimidating than changing a national monument (30). The second space of the apartment/ gallery had a workshop set up. The intention was to allow visitors to draw the way they would like to live in the Unité. Some external visitors – adults and children – took the opportunity to draw the different ways that they would like to see their lives playing out within these spaces. The drawings were then displayed on the walls.

METHODOLOGY

30 Briey’s residents were encouraged to illustrate a book, indicating previously made and intended future adaptations to their apartments.

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31–3 (overleaf) The exhibition’s visitors were encouraged to explore how the spaces could be adapted.

METHODOLOGY

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METHODOLOGY

34 Axonometric study outlining the original layout of the building, its apartments and built-in furniture fittings.

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METHODOLOGY

35 Axonometric study and books on display at the exhibition.

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Dissemination

Project Highlights

The study is enmeshed with the two-day exhibition A Register of Adaptations, installed within the Unité as part of the French Heritage Monument Day Journées du Patrimoine in 2018. The exhibition featured: · Two authored books with large-scale drawings for resident participation; · A photographic survey of eight apartments; · Two large wall-mounted isometric drawings; · Curation of archival material from the Fondation Le Corbusier.

This photographic and drawing-based study highlights the relatively unknown history of the Unité at Briey, which has made few appearances in the canon of Le Corbusier’s work. The author worked with L’association La Première Rue – a collective of artists and architects formed to protect the Unité at Briey and promote it as a major work of architectural heritage – to conceive and realise a significant piece of post-occupancy evaluation. Although dismissed by many as a failed project by Le Corbusier, the degree of adaptation and sense of community observed suggests that the criteria of ‘success’ in architecture be reconsidered. It proposes that adaptability in existing architectural frameworks and plans could be beneficial when considering present-day housing concerns.

The ongoing research has been presented internationally at: · Archtheo ‘15, Istanbul (2015) · Sichuan Fine Art Academy, Chongqing (2017) · DAKAM Conference, Dubrovnik (2018) · China Academy of Art, Hangzhou (2018) · Hanyang University Seoul, South Korea (2019) The study has been published in Archtheo ‘15 IX Theory and History of Architecture Conference Proceedings.

36 Poster advertising the exhibition.

DISSEMINATION / PROJECT HIGHLIGHTS

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Bibliography Abram, J. and Vattier, G. (2006). Le Corbusier à Briey: Histoire Mouvementée d’une Unité d’Habitation. Paris: Editions JeanMichel Place. Boudon, P. (1979). Lived-In Architecture: Le Corbusier’s Pessac Revisited. Cambridge, Mass: MIT Press. Le Corbusier, Boesiger, W., Jeanneret, P., and Stonorov, O. (1946). Le Corbusier and Pierre Jeanneret, Oeuvre Complete de 1910-1929. 1. Zurich: Les Editions D’Architecture Erlenbach-Zurich. Le Corbusier (1923). Vers une Architecture. Paris: G. Crès. Le Corbusier and De Pierrefeu, F. (1942). The Home of Man. London: The Architectural Press. Heidegger, M. (1971). ‘Building Dwelling Thinking’. Basic Writings: Martin Heidegger. London: Routledge. Howard, E. (1902). Garden Cities of To-morrow: Urban Planning. London: Swan Sonnenschein & Co. Huxtable, A. L. (1986). Architecture, Anyone? New York: Random House. Nemausus 1—A Housing Project of the 80s (1995). Directed by Richard Copans and Stan Neumann. Produced by Illuminations Media. Scott, F. (2008). On Altering Architecture. London: Routledge.

BIBLIOGRAPHY / RELATED PUBLICATIONS

Related Publications by the Researchers Weber, P. (2015). ‘Home/Life – A Register of Adaptations to the Fabric of Le Corbusier’s Unité in Briey, France’. Archtheo ‘15 IX. Theory and History of Architecture Conference Proceedings. Istanbul: Dakam. pp. 244–52.

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Instruments Nine and Ten Nat Chard Coworking Spaces Izaskun Chinchilla Architects Organic Growth Pavilion Izaskun Chinchilla Architects TransDisciplinary PostDigital FrAgility Marjan Colletti + REX|LAB

Discrete Timber Architecture Gilles Retsin LA Futures Smout Allen

Kew House Tim Lucas

Infractus Smout Allen

Losing Myself Yeoryia Manolopoulou, Níall McLaughlin

A Register of User Adaptations Storp Weber Architects

Oxford Projects Níall McLaughlin Architects

Uncovering Casa Sperimentale Storp Weber Architects

High Street Regeneration Jan Kattein Architects

Funicular del Tibidabo Miàs Architects

Oxford North Jonathan Kendall

The Cloud Miàs Architects

Cork Construction Oliver Wilton, Matthew Barnett Howland

Hakka Cultural Park Christine Hawley, Abigail Ashton, Andrew Porter, Moyang Yang

Alga(e)zebo mam

55/02 sixteen*(makers)

Chong Qing Nan Lu Towers mam

Envirographic and Techno Natures Smout Allen

City of Ladies Penelope Haralambidou Discrete Methods for Spatial Robotic Extrusion Manuel Jiménez García, Gilles Retsin

Playing the Picturesque You + Pea

2015 SERIES

Bloom Alisa Andrasek, José Sanchez House of Flags AY Architects Montpelier Community Nursery AY Architects Design for London Peter Bishop 2EmmaToc / Writtle Calling Matthew Butcher, Melissa Appleton River Douglas Bridge DKFS Architects Open Cinema Colin Fournier, Marysia Lewandowska The ActiveHouse Stephen Gage Déjà vu Penelope Haralambidou Urban Collage Christine Hawley

House Refurbishment in Carmena Izaskun Chinchilla Architects Refurbishment of Garcimuñoz Castle Izaskun Chinchilla Architects Gorchakov’s Wish Kreider + O’Leary Video Shakkei Kreider + O’Leary Megaframe Dirk Krolikowski (Rogers Stirk Harbour + Partners) Seasons Through the Looking Glass CJ Lim Agropolis mam

ProtoRobotic FOAMing mam, Grymsdyke Farm, REX|LAB Banyoles Old Town Refurbishment Miàs Architects Torre Baró Apartment Building Miàs Architects Alzheimer’s Respite Centre Níall McLaughlin Architects Bishop Edward King Chapel Níall McLaughlin Architects Block N15 Façade, Olympic Village Níall McLaughlin Architects

Hydrological Infrastructures Smout Allen Lunar Wood Smout Allen Universal Tea Machine Smout Allen British Exploratory Land Archive Smout Allen, Geoff Manaugh 101 Spinning Wardrobe Storp Weber Architects Blind Spot House Storp Weber Architects

Regeneration of Birzeit Historic Centre Palestine Regeneration Team

Green Belt Movement Teaching and Learning Pavilion Patrick Weber

PerFORM Protoarchitecture Lab

Modulating Light and Views Patrick Weber

A Register of User Adaptations by Storp Weber Architects

Articles inside

Methodology

Context

Statement about the Research Content and Process

Introduction