The aim is to create modules of habitation that can sprawl and interconnect to provide a multi-layered/relational living environment. The curved shape is arrived at to dictate spatial relationships and proximities through inevitably providing a courtyard or atrium in which light can be dispersed into the gardens both naturally and mechanically through heliostats.


The garden is seen as an essential part of retired living, providing beauty and well-being. Gardens can be experienced in the privacy of every back yard, even as the building rises vertically. There are also semi private gardens in gathering spaces to provide quality social nodes. The module mediates the horizontal plane to create raised multiple ground levels to enable a neighborhood street feel on every floor.

The facade forms an archive of Georgia’s vernacular architecture, and the memory and trace of those that inhabit the facility. 100 years from now, in the context of a hyper intelligent architectural environment, this facility will be the conversation that Georgia and the world has with its past as remnants are preserved and examined.

The occupation of the plan and facade of the unit is open to manipulation to the limit of the grid.




The Inhabited Walls


The Wall – Watch Towers




This element study is focused around understanding the boundary conditions of river edges in Tblisi, and sets out to answer the questions:

  • How do the river edges function as boundaries?
  • Why and how do the boundaries develop and what effect do they have to the social structures?
  • What is the technical make up of the boundary from a design, structure and construction point of view?

Vere River

Cross Section of Vere River

Section showing fortification of river edge

 The Elements making up the fortification for flood resistance are rip-raps held together in a honeycomb like structure, hooking to each other by steel bars embedded and extruding on four corners of each unit.

Over time the steel will rust and disintegrate and the precast concrete rip-raps will begin to chip and holes will begin to appear as the impact of the water tries to penetrate through.

The events that led to (to be contd…)

(work in progress)



  • Retirement Home for Europeans in Georgia located in coastal town of Anaklia.
  • Hotels are the only existing habitable facility for guests.
  • Local Georgians are eager to receive the retired guests who come from Europe with wealth, skills, and presenting knowledge transfer opportunities.
  • Europeans move to Georgia to benefit from assisted living, value for money, share in culture and life experience. The first users become spectators of the raising from the ashes of a new deep sea port that will spur on the growth and development of the town.


  • Yr 2019 – First Guests occupy a newly completed assisted living facility
  • Yr 2018 – 2020 First Phase of the Port – Infrastructure (roads, railway tracks, power station and grids, piped water, drainage, ICT)
  • Yr 2020-2022 Second Phase of Port – Buildings and Port Infrastructure (yards, warehouses, cranes)
  • Yr 2022 – Port becomes operational and becomes a hub of trade of activity
  • Yr 2022 – 2040 – Later Phases and growth and expansion of the town
  • Yr 2018 – 2050 The building negotiates its place within an expanding territory. The port is forced to confront the retirement home, and a process of mediation promotes the visibility of ageing.

Research Question:

Ageing is visible, in people and in objects. Rather than cover up, fix or hide ageing, can architecture confront the way Georgian society and society as a whole deals with its aging population?


The fringe/periphery of the proposed Free Trade Zone and adjacent to walled Anaklia Hotel.


  • The personalised facade embodies celebration. The symbol of the facade itself is individuality in ageing.
  • The wall embodies the threshold between life and death. The symbol of the wall itself is the negotiating of relationships; the foreign residents and the locals, the residents and the tourists, the residents and the multicultural port workers.


  • To be able to experience the celebration of ageing through architecture and programme.
  • To make ageing visible in the urban context

Precedent Study

Baths of Diocletian, Rome

PLAN AD300’s

Preserved walls in Solid Black | Demolished walls in Hatch

Boundary wall creating a precinct / state of exception



The Continuously Connected Wall, Infinite/infinity | The Gardens – Private, Semi-Private, Semi-Public, Public


Demolished or Underutilized in Red | Preserved in Grey       Existing/Preserved in Grey | New in Yellow

Erasure, Trace and Memory.


Heterotopic Hospitability

The project proposes a new industry in Anaklia, a retirement home for Europeans that administers the expatriation of retirees within a precinct, and critiques how Georgians, and society at large, deals with its aging population.

A heterotopic programme inhabited by:
• The Hosts – Local Georgians
• The Guests – European Retirees

Through an assemblage of experiences narrating Georgian hospitability:
• The inhabited boundary wall
• The living space
• The belvedere and spectating platform
• The garden with restaurant
• The sacred space
• The burial space and the mausoleum

Contextual Gesture
• The Wall composes a state of exception mediating varying degrees of connection and interaction between side A + wall, side B + wall, side A to B, by interruptions and projections of the surface.

Formal Gesture
• The form and facade of the living space is a framework that allows for personalisation.
• The Belvedere is an elevated walkway that spectates onto the activities of the port.

• Making aging visible in an urban context, and the threshold and crossover between life and death celebrated, through the performance of material, programme and form of the architecture.
• An assisted-living facility becomes prime commercial urban space with a global market potential.


Verbs from my brief translated into physical model:


NEGOTIATE : ‘find a way over or through’ / CONNECT / MEDIATE .. CONTROL /

Mediate /ˈmiːdɪeɪt/ : intervene in a dispute in order to bring about an agreement or reconciliation.

Convey Model /kənˈveɪ/ : transport or carry to a place


Mediate and Convey Model


Mediate Model

Convey Model

Constrain /kənˈstreɪn/ : severely restrict the scope, extent, or activity of

Constrain Model

Mediate and Convey Model


Idea Development Sketches


Mapping in Anaklia

I mapped plot boundaries, security points and bollards. In mapping the plot boundaries I categorised them into three types; fence, hedge, and wall. The types are further categorised into heights; low, head height, and above head height. I noted that the residential areas in Anaklia had clear fences or low metal fences that were quite friendly and transparent, this became quite opposite on the commercial beach front with the hotels which had high solid walls and did not connect with the street apart from the entrance openings.


Typical Residential boundary – Fence type 01

Typical Residential Boundary – Fence type 02

Hotel Boundary – Hedge

Hotel Boundary – Wall

Hotel Boundary – Wall (Fortress)


Security Points – Police station at the beach


Security Points – Abkhazia border and checkpoint


Cadastral lines

  • Uninhabited areas can be dotted lines
  • Inhabited areas can be solid lines also demarcating existence of plot boundaries, and it is annotated or mentioned that residential boundaries are fences.
  • For plot boundaries with walls, plot boundary to either thicken or have a double line




Land use

  • Hatch pattern for agricultural land use
  • Other land use can be plain? Assuming what is not agricultural is residential (some with subsistence farming) and commercial (hotels and shops)

Ideas for representing topography and water bodies.


The project confronts three existing scenarios in Georgia: The informal facadism of residential urban buildings; Europeanisation as developed in Batumi hotel district; hospitability and civic pride. On the global agenda, Western demography is changing and set to become a predominantly elderly population due to reduced child birth and declines in mortality. Georgia positions herself to receive migrating elderly guests into a semi-public enclave, a Georgian retirement home in Anaklia.

Anaklia has a Mediterranean calmer climate, is surrounded with water, and resident to hospitable people, all factors working together to produce cognitive psychological benefits for the elderly to enjoy later life and wealth, while providing a network of economic transactions, and transfer of wealth from Western countries to Georgia. The programme administers the social and hospitable aspirations of Georgia, through performance in movement of Europeans and Westerners into Anaklia for production, consumption, and living within the confines of the site, narrated by a heterotopic collection of spaces; the garden and restaurant, the living space, the burial space, the museum, the bath, the surface that connect them all, and the boundary that holds it all together. Georgian ideals and traditions of feasts, celebrations and hospitality are performed within this archipelago of heterotopic hospitability. This happens in the context of a port city that channels the movement of commodities through Anaklia for economic and geo-political gain. Economically and socially Georgians benefit more from better pay as carers, than as unskilled labourers at risk of exploitation.

The archipelago is defined and limited to make it desirable and familiar and buildings rise vertically. The edge of the site is the frontier of political confrontation, reckoning and exploring a framework of social relations between Western elderly pensioners, the Georgian’s that host them, and the operations of the industrial zone, and the labourers that support it. The project is the embodiment of what Georgian modernity looks like in the face of “modern” Europeanisation and Industrialism as demonstrated in Batumi, Poti, and future Anaklia. This project reaches back into multifaceted Georgia with Persian, Islamic and European roots to present a Georgian architecture based on Georgian traditions, forms, habits, and values.

In new awareness and liberalisation from Europeanisation and standardisation the façade is reimagined to become a collage celebrating Georgian elements, motifs and artefacts. The façade represents the rediscovery of what is Georgian, a spectacular and symbolic tribute to the history, pride and culture of the country and people. This is a stark exception from the uniform, industrialised, and mass-produced facades of capitalism. In global capitalism the subject is mute from relating to the façade in meaningful ways, and this project brings into effect the unmuting of the subject and the transformation of the façade into a canvas and object of collective meanings and desires. The facade is viewed as a political tool for subverting power to the subject, and de-institutionalising power from one of absolute exclusion to one of pluralism and difference.

Walking King’s Cross, London

In preparation for mapping the unknown territory in Anaklia, and discovering elements in Tblisi and Batumi we walked around King’s Cross, an area undergoing major redevelopment.

Having been given a brief introduction to the history of the area and the five sites we wanted to explore, we split into groups to initially scope out the areas and note down our observations. We regrouped and toured the sites together discussing each group’s findings as well as new uncoverings.


King’s Cross Station


At the entrance of the station opposite St. Pancras there was an ill-defined transition area. For example there is no clear juncture between the road paving and the pavement, which were level. Elements like obstructive parking and no clear orientation or access made it seem hard to draw people in and create a flow between the two stations.


In the main entrance square to the station use of large street furniture, housing trees, breaks up the space almost into a maze. The placement of bollards at the street edge implies that the square is for pedestrian occupation while there remains little unobstructed open public space. The fact that the building opens onto the square with exit doors further reinforces the hindrance of flow and gathering.


British Library

Some thought that the library had a harsh separation from the outside streets. There are instances of multiple levels of barriers, such as fences, walls, ditches, and stepped boundaries. Inside the boundary this creates a kind of secret garden by being sunken and enclosed, with a series of terraces and intimate spaces.

There is tight security through a small entrance which opens up into a grand lobby where the stair and the roof rise together towards the core of the building. The core is expressed as a monumental tower of stacked books surrounded by open galleries free for inhabitation. The library expresses a secure places for its collection and users while still being a public building.



Somers Town Housing

We went around different mid 20th century social housing and noted the difference in typologies. Low lying terraced houses in red brickwork arranged along internal streets characterises one of the typologies, while stacked higher density apartments in white stucco arranged around courtyards with external walkways characterises another.

The internal streets of the brick terraced houses felt more welcoming and secluded. Visually the stepping back of the building from the internal street gives an openness and human scale. On the street side the building steps out at a high level towards the street which seems imposing. There are a few areas where the open space is sunken, and in one area in particular was a large mound enclosed by a low wall which seemed strangely inaccessible, and perhaps functions more as a landscape feature.

In contrast the white multi storey building had narrow elevated entrance walkways which doesn’t seem to be inhabitable, or present much opportunity for social interaction. We noticed the two typologies both aimed to create semi private environment, through the use of the internal street, and the courtyard.



St. Pancras Old Church

The St. Pancras Old church is said to be the earliest Christian church in London. It stands in the setting of a green open space spread with majestic London Plane trees with large canopies. The church grounds is surrounded by infrastructure on all sides, including a road separated by a wall and fence; and the high walls alongside the extensive train tracks (the approach to St. Pancras International Station) forming a boundary.  It seems overtaken by the development of King’s Cross, and locked in with little integration into any surrounding areas.

There was the interesting fact that the roof of John Soane’s wife’s tomb, which he designed, was an inspiration for the red telephone booths signature form. There is also a remarkable site of gravestones seemingly growing out of an old ash tree, the result of a monument created by Thomas Hardy when graves were pulled out of the ground to pave way for the development of the railway.

[#Image of Hardy Tree Tombstone Monument here]



Granary square

The northern area has undergone extensive regeneration, much of it inhabiting industrial buildings and infrastructure like gas holders and the coal drops. The coal drops are a particular moment where the train network meets the old transport network of the canals and the two levels intersect, allowing them to pass over loads of coal. There is high density housing in the gas canisters with designed outdoor areas with high levels of security patrolling and surveillance as we walked through.

The housing abruptly ended with construction sites behind hoarding of ubiquitous leaf pattern that continued endlessly making none of the usual efforts to adorn them with publicity images, perhaps because it was in no way an inhabited area, next to industrial sites and only access roads. The housing development had a mish mash of architectural expression with high end finishes being a common factor.

We saw evidence of CSR (corporate social responsibility) with the Skip Garden, a café and garden tactically located next to the viewing platform used for publicity as it shows how the development is imagined.