'To me, the presence of certain buildings has something secret about it. These buildings appear to be anchored firmly in the ground. They make the impression of being a self-evident part of their surroundings and they seem to be saying: "I am as you see me and I belong here.� I have a passionate desire to design such buildings. Buildings that, in time, grow naturally into being a part of the form and history of the place.' Peter Zumthor - Completed Landscapes
TERRA
The architectural manifestation of historical trauma through an investigation into the precarious and unstable nature of geological volumes
Lewis Brown, 2018
Contents Proposal
Background Brief
8
Drawing Set
30
Site History
10
Visualisations
44
The Berlin Wall Memorial
12
Physical Models
52
Memory + Connection
14
Tectonic Study
60
Structural Strategy
62
Environmental Design
64
Intention Architecture of Place
18
Volume + Void
20
Development of Form
22
Programme
24
Memory + Experimentalism
26
Reflection Post-Crit Reflection
70
Further Development
71
Background Brief
8
Site History
10
The Berlin Wall Memorial
12
Memory + Connection
14
Brief Experimental Theatre
Memory + Connection
Berlin Nordbanhof
To design a theatre - 'a venue for non- verbal experimental theatre'
The theatre and architecture should respond poetically to the history of the site, providing opportunities for the user to reflect and remember.
The proposed site is located above the Berlin Nordbanhof S-Bahn station, at the end of Berlin Wall Memorial Border Strip.
Experimentalism + Empiricism
The site is at the intersection of the Berlin Wall which divided East Berlin from the West.
A theatre to - 'foster tolerance and diversity in Berlin.' A theatre to - 'reference the history of the site, where the memory of past events is tangible and needs to be remembered.'
The Berlin Wall Memorial Strip 8
The project will be a personal investigation using theoretical experimentation and empirical processes to achieve a truthful architectural response.
The site at Berlin Nordbahnhof, November 2017 9
Echoes of the Berlin Wall The Two German States
Berlin Wall Memorial
Fernsehturm Berlin
Brandenburg Gate
Potsdamer Platz
Jewish Museum
East Side Gallery
The Isolation of West Germany
A Divided City
Berlin Nordbanhof: the division of the site
In 1949, after the Second World War, the division of Germany - and its capital, Berlin - into West Germany (Allies) and East Germany (USSR) was formalised. Movement between the two states remained accessible until 1951 when the GDR started to restrict the movements of its citizens. The oppression of the SED government caused many East Germans to flee to West Berlin. In 1961, the GDR built a wall to prevent its citizens leaving.
Berlin was divided into West Berlin and East Berlin. When built the Berlin Wall tore apart communities and even separated families living on the same street.
The site is intersected by the former position of the Wall, the site straddles 'no-mans land' between East and West Berlin.
10
The scars left by the wall are still evident today, both physical and otherwise.
Site Analysis
straßer
Invaliden
Tram + S-Bahn
Ga rte n
str aß
e
raß
e Bus stop
olf W ei l u
S-Bahn
e
au rn
Be
th
J
er
ß ra
t rS
t -S orn
Ga rte n
str aß
e
Accessibility
Urban Context
Place-maker
The site above Berlin Norbanhof is positioned on an open expanse of land at the end of The Berlin Wall Memorial.
There is a lack of urban density surrounding the site.
There is a need for the theatre to act as a place-maker to orientate and define its urban context.
The site is accessible and visible from all directions, this should be reflected in the architectural proposal.
The proposal should respond not to the urban context but to the powerful historical context that remains very present.
The building should act as a beacon visible from the surrounding area.
11
The Berlin Wall Memorial
Original Border Strip Chapel of Reconciliation
Window of Remembrance
Archaeological windows Information point
Representation of a grave field
Site of TERRA
Intersection of Berlin Wall on site
Documentation Centre
12
Original Border Wall
Visitor Centre
Norbahnhof Station
A Continuing Narrative
Chapel of Reconciliation
Original Border Strip
Window of Remembrance
Original Border Wall
A protected heart of rammed earth contained within a timber screen invites us to re-conciliate our differences.
An area of the original border strip is retained as a physical reminder of the sites history.
The Window of Remembrance documents those who lost their lives as a result of the wall.
The original wall is retained in parts, the position is marked by weathered steel posts.
Norbahnhof Station
During the period of division in Berlin, Norbahnhof Station was a Ghoststation, meaning trains that passed through were not allowed to stop as they travelled in and out of East Berlin. The station itself became a part of the Wall defences, and many East Berliners lost their lives trying to escape through it to West Berlin.
heart + skin
Although not part of memorial, the architectural response to this site must acknowledge the history and continue the narrative of remembrance.
13
Memory + Connection In 1961, the initial construction of the Berlin Wall took place over night and left Berliners stunned. Formal protests took place immediately but were ignored however by the SED. Tensions between the East and West grew, and the people of East Berlin were left feeling powerless under the oppression of the Soviet government. The Berlin Wall tore through the fabric of the city and its people, subsequently becoming the setting of countless escape attempts. By the time the Wall collapsed on 9 November 1989, almost 200 people had been killed trying to escape the trauma inflicted by it. It is to these themes of conflict and occupying dangerous and uncomfortable environments that my project aims to respond to.
Residents of East Berlin fleeing to the West in August 1961, shortly before the construction of the border wall.
14
Border guard Hans Conrad Schumann jumps the barrier after the construction of the Berlin Wall at Ruppiner StraĂ&#x;e, August 15, 1961
Frieda Schulze, aged 77, escapes from her apartment on the first floor of a house on the frontier, September 25, 1961
How to Manifest Emotion Through the Architectural Experience?
1. Fracture
2. Sculpture Mass
The historical trauma of the wall fractures the landscape into four separate architectural elements.
The geological volumes lean outwards and infringe on the negative space.
The concrete volumes, energised by the historical disturbance of past events, emerge from the landscape.
The 'in-between' spaces become cramped and uncomfortable environments, evoking the emotional history of the site.
15
Intention Architecture of Place
18
Volume + Void
20
Development of Form
22
Programme
24
Memory + Experimentalism
26
Architecture of Place
TERRA takes inspiration from geological forms in order to convey the emotional narrative of the past This approach thus creates an architecture that is of the earth and responds to the sombre history of the site The buildings as geological elements of the landscape, an architectural manifestation of the poetry of the place in which they exist Icebergs and rock formations colliding, the precarious nature of the space in-between
Architecture of the earth 18
Geological elements colliding
Analysis of Form
Kursaal Congress Centre, San Sebastian Raphael Moneo, 1999
Hepworth Gallery, Wakefield David Chipperfield Architects, 2011
The buildings are conceived as geological icebergs with inherent weight, energy and movement, where the volumes act as containers for the auditoriums within.
The homogeneous concrete volumes are conceived as solid objects in the landscape, an ensemble of geological forms.
The light shines through the homogeneous facade in a way resembling an iceberg, and further strengthens the geological aesthetic.
This concept is evident throughout the architecture, from the forms to the flush glazing detail.
19
Volume + Void: the 'In-Between'
Band, Los Angeles Richard Serra, 2006 Serra's work is concerned with the human experience when confronted by an in-human scale. Often using large sheets of weathered steel, the sculptures have recurring themes of instability and precariously balanced masses. This is intended to evoke an emotional response of fear and feelings of insignificance from the viewer. I became interested in exploring the concept of massive volumes meeting precariously and creating uncomfortable environments in the spaces between.
Maquettes testing scale and the relationship between volumes
20
Memorial to the Murdered Jews of Europe Peter Eisenman, 2004
Garden of Exile, Jewish Museum, Berlin Daniel Libeskind, 2001
The memorial is made up of 2711 concrete stelae. They are designed to produce an uncomfortable and confusing environment in the gaps between.
The Garden of Exile, part of the Jewish Museum evokes similar forms and concepts as the Holocaust Memorial.
The ground undulates, descending into the heart of the memorial where you become lost in the monumentality of the stelae.
Oleaster pants, a symbol of hope, grow out of the stelae.
Initial diagrams to interrogate the emotional feeling of certain architectural experiences, and how they may be included within TERRA.
21
Development of Form
Initial massing of three forms. Models and sketch showing initial studies of circulation raised to first floor level. Entering between masses. The buildings were conceived as concrete containers, offering protection from the uncomfortable environment outside. I initially envisaged the entrance block being raised above the ground level in order to give the experience of being below a suspended mass. However, I came to realise this was a distraction from the main concept of geological elements being a part of the landscape.
22
Subsequent development model exploring ideas of entering through slices in the landscape. Entry sequence carved out of the earth, then ascension up to cantilevered volume. Through the model making process I was aiming to replicate geological forms present in nature, however, the geometry did not become fully realised until later in the design process.
Further iteration of form development. I had now refined the geometry of the main theatre volume but had not yet produced a coherent scheme. I continued to struggle to realise the ambition of the scheme whilst also having a raised block. I think that this model is successful in demonstrating the types of environments I had aimed to create in the 'in-between' spaces. I also began to think of the bridges between volumes as glass shards connecting geological elements. Sketch showing initial concepts for fenestration, developing on from the idea of creating slices in the landscape. Openings are created by slicing through the concrete structure, the apparent randomness allows optimal daylight into each space. The theatre roof opens up to act as a beacon.
23
Programme
2
2
Public / circulation Theatre spaces Private / school Plant WC
1
1
G
G
Entrance sequence
24
The building accommodates additional functions as well the two primary theatre spaces. These include staff offices and meeting room facilities, and a school theatre workshop. The isometric diagram show how the functions are arranged over the three separate blocks, and also how they are connected at first floor level.
Isometric programme diagram
The entrance sequence diagram shows how the audience enter and ascend up through the building to view a performance. First collecting a ticket and removing their coat, then continuing up through the building and bridging across to the main theatre.
Accessibility and visibility Accessible through slices in the landscape, the entrance is easily accessible from every approach.
Multifunctional circulation The diagram above demonstrates how the flexible circulation space connected to the double height cafe can act as a viewing platform for performances.
25
Memory + Experimentalism
1. Architectural Imposition
2. Architecture of Place
A traditional approach to architectural design in which the architecture is devoid of meaning, an object building unrelated to its context imposed on the landscape.
The buildings are conceived as geological elements that are as one with the landscape they exist in, sculpted by the memory and scars of the history of the area to create meaningful form and experience. TERRA is an architecture that challenges the traditional theatre typology and is specific to place.
26
Visual Theatre
The type of non- verbal experimental theatre taking place within TERRA will be visual theatre, particularly in the style of Richard Wilson. Wilson's work can be described as an investigation into light, form, movement and colour. Both the performances and the architecture encourage personal introspection and reflection within the viewer. The darkness of the architectural themes explored are in contrast to the vibrant light and colour of the theatre taking place within the geological volumes. Thus, experimentalism within historical container.
In the secondary theatre space the environment is less formal and the performances are intended to be immersive. The boundaries between audience and performer become blurred. 27
Proposal Drawing Set
30
Visualisations
44
Physical Models
52
Tectonic Study
60
Structural Strategy
62
Environmental Design
64
Site Plan 30
1:500 @ A3
0
5
10
15
25m
31
Site Section (east) 32
1:500 @ A3
0
5
10
15
25m
33
Ground Floor Plan Programme 1
Deliveries and workshop
2
Actors changing area (green room)
3 Plant 4 Kitchen 5 Cafe 6 Reception 7
Tickets and cloakroom
8
Outdoor performance area
Ground Floor Plan 34
1:200 @ A3
0
1
2
5
10m
2
4 3
1 5
6
7
8
35
First Floor Plan Programme 1
Theatre stage
2
Light and sound desk
3
Open plan office with kitchen and meeting room
4
School workshop
5
Flexible circulation
6
Green room
First Floor Plan 36
1:200 @ A3
0
1
2
5
10m
3 1 4 2
5
6
37
Second Floor Plan Programme 1
Visual theatre (primary)
2
Immersive theatre (secondary)
Second Floor Plan 38
1:200 @ A3
0
1
2
5
10m
1
2
39
East Elevation 40
1:200 @ A3
0
1
2
5
10m
41
Short Section Programme 1
Immersive theatre
2
Entrance and tickets
3
Flexible circulation space
4 Offices 5 Plant 6 WC
Short Section 42
1:200 @ A3
0
1
2
5
10m
1 3
2
4
5
6
43
Long Section Programme 1 Cafe 2
Flexible circulation space
3 Plant 4
Visual theatre
Long Section 44
1:200 @ A3
0
1
2
5
10m
2
4
1 3
45
46
Elements of the landscape
47
Cafe 48 within a concrete container
Theatre acting as a beacon along the Berlin Wall Memorial
49
A Journey Through Volumes
Approach between volumes
50
Overhanging mass
Suspended in the void
Opening up
Shards between geological forms
Concrete container
51
52
53
54
Crowding of concrete
55
56
Articulation of clashing volumes
57
Theatre Volume A 1:50 sectional model through the main theatre space was built to demonstrate the form, materiality and atmosphere of the space. The internal volume of the theatre space is conceived as a concrete container in which non-verbal performances take place. The inner concrete skin is sculpted to form seating and create an intimate relationship between audience and performer.
Lighting trusses help to break up the volume
58
Timber benches are designed into the stepped concrete to provide seating
Translucent glass louvres ensure high levels of diffuse natural light
59
Tectonic Study
Cast in-situ concrete was decided on as the primary structural system from the initial concept design stage. Therefore the building forms were designed with this knowledge in mind. The in-situ cast concrete form delivers not only the structural properties but also embodies the core architectural ideas explored throughout the project. The architectural intent is manifested through its materiality, and the concept could only be realised through this medium.
60
The material palette employed both internally and externally is kept very limited in order to enforce the concept of homogeneous forms explored. It also provides a neutral backdrop to the colourful performances of visual theatre taking place within. Concrete is used as both structure and finish, including the handrails. Timber is used for the bench seating as it is a tactile material. The industrial aesthetic is continued through the design of black steel truss lighting rig. Externally the glazing will have a partially mirrored finish (see Hepworth Gallery page 19) to promote the homogeneous form concept.
Persistence Works, Sheffield FCB Studios, 2001 This concrete clad building is coated in KEIM Lotexan, a water repellent and dust suppressant treatment that is long lasting (25 years) and has minimal effect on the appearance of the concrete. Externally, the same coating will be applied to the concrete faรงades of TERRA, ensuring that the vast concrete surfaces remain unstained.
61
Structural Strategy
2
The primary structural concrete walls are shown highlighted in red. On the ground floor there are also concrete columns supporting the first floor theatre, school workshop. Where possible the floor decks are cantilevered from the structural walls. The service voids create rigidity in the structure through geometry created.
1
G
Key detail junctions overleaf 62
Roof parapet
Glazed bridge link
Flush glazing
The concrete structure is made up of a double skin wall, the outer carries most of the structural load and is able to withstand wind loading. The internal face is supported by the outer leaf and is able to be sculpted to form the internal environments desired. The void between the two skins is able to become larger if needed to allow for ventilation ducts and hidden services, such as cable management. The glazed bridge link is self supporting, a 150mm thick three layer laminated panel is able to span between the concrete volumes. 63
Environmental Design
Site Climate Precipitation
Wind Speed
Due to the very low denisty urban context surrounding the site, good daylight where desirable throughout the building is possible. The building's design is orientated in order to take advantage of the southern sunlight and prevailing wind from the west. The outdoor performance area is located to the south of the site, adjacent to the cafe, which opens up with glazing to allow lots of natural light in.
Daily Temperature
Climate Averages
Cloud Cover
64
Due to the extremely high embodied thermal mass of the concrete structure, the internal environments of the building will be relatively stable.
Orientation
Sunlight
Apertures
The building is orientated to receive optimal daylight into the key spaces such as the outdoor performance space and cafe.
The roof of the primary theatre opens up to the sky to let in large amounts of natural diffuse light. The randomised fenestration allows specific levels of light desirable to each space.
65
Ventilation Strategy
Louvre ventilation diagram
Mechanical ventilation is utilised in the primary theatre space to regulate the temperature and provide fresh air as cross ventilation is not possible. Cold air is supplied from the plant room and distributed through the audience via the timber seating which houses an air duct.
Cool air supplied through timber seating
66
Hot air is then able to exit the space via the open-able louvre system, this action is encouraged by the westerly cross wind.
Natural Ventilation
Thermal boundary
The westerly cross wind and the large internal volumes enable efficient cross ventilation to cool the blocks during summer.
Under daily operation each block will be thermally independent from each other. This will help to prevent unnecessary heat loss through the glazed links.
There is also a back up mixed-mode heating and cooling system to provide heating in the winter months and additional cooling in excessive heat.
Prior to a performance the aluminium doors can slide into the concrete wall build up to create free flowing circulation. Acoustically and thermally insulated sliding door Mechanical ventilation system
67
68
Reflection Post-Crit Reflection Further Development
69
70
Post-Crit Reflection The project received commendation in the final critique, and was awarded the Oculus Prize. The presentation, in particular the physical models, were praised for conveying the architectural intent of the project. It was described as 'an ambitious scheme - well executed'.
Further Development I believe the project's aims were successfully realised and that the architectural proposal was a truthful and meaningful response to the unique history of the site. I would aim to continue to try and push the concept further, in particular the design of the outside performance space.
71