ACADEMIC PORTFOLIO NEWCASTLE UNIVERSITY BA ARCHITECTURE STAGE 2 2016-2017
ALESIA BERAHAVAYA STUDENT NUMBER 150223636
ACADEMIC PORTFOLIO NEWCASTLE UNIVERSITY BA ARCHITECTURE STAGE 2 2016-2017
ALESIA BERAHAVAYA STUDENT NUMBER 150223636
CONTENTS
PAGES APOLOGIA SEMESTER 1
1
CHARETTE
3-7
P2.1
A DAY IN THE LIFE OF YOU
9-13
P2.3.1
STUDY TYPE
15-23
P2.3.2
LEITH 2026
25-37
P2.3.3
DWELLING PLUS
39-55
P2.3.4
INHABIT
57-65
APOLOGIA SEMESTER 2
69
P2.4
ENGINEERING EXPERIENCE
71-79
P2.5
EXPLORING EXPERIENCE
81-101
LEARNING JOURNAL
103-105
ARCHITECTURAL TECHNOLOGY
107-125
ENVIRONMENTAL DESIGN
127-128
ABOUT ARCHITECTURE: CITIES, CULTURES AND SPACES
129-131
DISSERTATION STUDIES
133
APOLOGIA SEMESTER 1
“Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep.” Le Corbusier
In the first semester, I have approached the design journey starting from thinking about how I would like my finished outcome to feel, as if it already exists, and then solving the brief by exploring which material, colours and shapes, would complement the intended atmosphere of the building. I have intentionally considered the space more than the structure; my objectives were to go beyond the mere surface appearance and provide a deepened living experience. Through creating a space using features as the starting point instead of fitting certain elements into a predesigned space my final design was far more suited to its purpose. When my tutor said, “try to extend the walls from where you want to locate the door, rather than fit a door in the most appropriate space”, it made me realise that the architect is the one who is in control of the recipients’ emotions, rather than their emotions being derived from a room that was not given any thought, but built in socially accepted shapes, using basic, commonly seen colours. This year’s theme was ‘The Economy’ and all assessments were closely related to how architecture evolves around people, places and time. The first semester involved looking at architecture as a structure with a character, making us analyse the building from its internal experience, rather than structurally or its exterior. My semester group’s topic was coproduction and our main objective was to concentrate on the people who are closely involved thoughout the whole life cycle of the building: from the initial clients, to the architects and contractors, to the people who live there now. Going into a heightened level of detail on the topic gave me an understanding of how each building has its own journey in which architects can play a minor part, as it’s important to predict where the changes might occur and direct them in a practical manner. All the assessments this term have helped me to develop my design work, giving it a new fresh direction. Now I have distanced myself from stereotypical images of a building and come to the realisation that there is no ‘right way’ when it comes to architecture and creativity is left to the discretion of the architect.
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CHARETTE
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CHARETTE
During the Charette week, our group’s project was to design a homeless shelter out of the materials that can easily be found on the street. This was an informative exercise, as not only we have learned how to imaginatively put together basic materials of a limited choice, but also the insulation qualities of them. We had analysed materials’ thermal performances using a thermal imaging camera and how this quality changes once the materials are combined. We have also reflected upon other factors which may influence the temperature inside the shelter, such as shape, color and texture. This enabled us to come up with a design that has a dome shaped roof with reflecting ceiling, waterproof layer over the top and the walls structured using cardboard shaped boxes with water bottles inside them for stability and insulation. The provided a good level of thermal insulation with a strong protection from the rain and wind.
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A DAY IN THE LIFE OF YOU P2.1
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A DAY IN THE LIFE OF YOU
MORNING In this project I have represented how the spaces are used around me at different times of the day through a series of collages and depicted the atmospheric image during the process. In the mornings I always find myself doing multiple things all at once. The focal point of my mornings is the mirror which is located in the corner of the room. The mirror seems like a magnet attracts varies objects that many might find unappropriated to be located in that area. In a hurry, I jungle hair straightness with cups of porridge and coffee, leaving it all lying around until the next time I come back. However, over the period of time the collection of things seem to expand until my house mates ask who has all the missing cutlery. 11
AFTERNOON It’s mid-afternoon. The house gives out an enjoyable feeling of emptiness after an intense morning of people hurrying to their lectures and leaving their cups of coffee behind. Being alone in the house is very different to when the people are around; it’s nice to just take your mind away from the busy schedule and just carelessly stare at the TV screen with a bowl of soup in my hands. The focal point is on the chimney breast, because of the cliché positioning of the furniture around the TV and the lighting in the room. There are half empty bottles on the coffee table, which bring memories from the night before and remind of the multifunctional purpose of this room. The curtains are shut, but I can hear the sound of the rain hitting the window which makes me sad about leaving the house. The leather sofa is unpleasant to sit on as it is very cold, so I use a soft blanket to wrap myself in. 12
EVENING The view from my bed just before I go to sleep is very relaxing. The lighting plays a big role in creating the atmosphere in the room. Fairy lights and candles light up only small parts of the room, leaving the rest blurred. The objects have a very warm comfortable colour. I can smell the vanilla aroma in the air from the candle and slight burning from the electric heater. The warmth in the room and the slight noise of traffic makes my eyes slowly close. I wake up ten minutes later to blow the candles off and it doesn’t take me a lot of effort to be fully asleep.
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STUDY TYPE P2.3.1
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STUDY TYPE
As an introductory project for this semester, we were given an already existing building to study and research on, in relation to our individual year group topics. For the first semester, my group’s theme was coproduction, so we had to look at how different people influence the final design of the building. Stock Orchard Street was an interesting typology case study, as the design incorporated both a studio and the house for the architects. The building was also built by the architects who currently live there and has an intriguing façade which is intended to change over a period of time. This typology case closely related to the year topic of ‘The Economy’ and gave a demonstration of how the building has its own life cycle, often influenced by the people who engage with it. This case study gave a strong start to the first semester and partially influenced my design for the final design for Semester 1 project, as the scheme in Stock Orchard Street involves a unique arrangement of the spaces and a multifunctional quality to them.
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Collage showing Stock Orchard Street building in a wider context
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LEITH 2026 P2.3.2
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LEITH 2026
This was an imaginary team project in preparation for the final design project. It involved a site visit to Leith, where each group was given an allocated site and collected the research and site analyses needed in order to come up with a proposal for how the area might look like in ten years time. My sub-group concentrated on rhythms and social aspects around the area. We have concentrated on gathering information by looking at the movement around the area, interviewing people, analysing how the area has changed over the last few years, and in which ways it is still changing. I have enjoyed this assessment as it gave an opportunity to go out of the stereotypes and be as creative as you want. Working in a group was also a great experience as the project run so effortlessly when everyone was doing what they are best at.
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RESEARCH COLLECTION FRON THE SITE VISIT
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SYMPOSIUM At the end of the project all the groups presented their proposals on the image of Leith in 2026 on a large scale. It was interesting to see how different year groups approached the task, as we all had different sub-topics, so everyone concentrated on different aspects. My group had to relate to coproduction and think of how people would be involved in terms of the design. I personally looked at the business proposal for the area, and how in ten years time Leith can be more economically involved. I proposed a glass extension to the already existing facade adding spaces for small businesses that can bring money into the area such as franchises, local cafes, hotel and car parks. Other people looked at how the area can become either more environmentally friendly or socially active. The final presentation showed how unique and diverse each approach can be.
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SPACIAL ARRANGEMENTS OF GLASS EXTENSION
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INTERNAL VIEWS OF THE PROPOSAL
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BUSINESS PROPOSAL: GLASS BOX EXTENTION ELEVATION
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DWELLING PLUS P2.3.3
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DWELLING PLUS
Dwelling plus was the final design project for this Semester. We were asked to design a structure, which can be inhabited by people of different ages, such as elderly and young professionals. The building also had to include a tolboth, so that the people around the area are attracted engage with it. My design intentions were to propose something that fits well with the rest of existing buildings around the site. I wanted to achieve this by using the materials commonly seen around the area, however add a modern approach to them. I have also intended to design a space which would relate to the needs of people who inhabit the dwellings, like the library and a multifunctional hall. I have mainly focused on how the building will be used by people; I have introduced an adjustable glass structure in the middle of my proposal to allow the visitors to engage and selfdevelop the building. The shape of the structure played a big role in my design. The idea of the front façade curving around towards the back of the building, would capture pedestrian’s attention, making them aware of the existence of the tolbooth. Illuminating a warm light through the pattern created on the external walls by the bookshelves pressed against the glass, will intrigue people to interact with the building.
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DEVELOPMENTAL WORK
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DEBVELOPMENTAL WORK
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DEBVELOPMENTAL WORK
This year have approached the design process by firstly thinking of the shape of the structure as a whole and then arranging the spaces around one or two key elements in the building. The blue foam was a new material for me to experiment with this year and I have found it very useful to work with at the initial stages of the design. It allows a fast and easy technique to laying out an overall picture of the scheme and gives a clear representation of the scale. I have approached the process by calculating the maximum volume for the development and applied these calculation in appropriate scale onto the foam. I have then separated the block into smaller pieces and have studied the ways in which they can be successfully arranged around the area given. After deciding on the placement of the main blocks, I have investigated the additional volumes which could be divided further and rearranged them around the central structure. This method allowed to concentrate on the main concept, however refine the detail in the design easily where needed. The blue foam material allowed to produce a variety of arrangements, which I have then developed though photographing and tracing over with the additional detail. Working in this manner made the design process more enjoyable and creative and I will intent to carry on using it as an initial approach to my design work.
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SITE ANALYSES PLANS
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The shadow diagram informs the initial configurations of the spaces around the site. As we had to include the Tolbooth as part of our proposal, the public outside spaces had to be taken into consideration. Mapping the shadows also allowed me to locate the paths I wanted to pursue in my design, as a tool for navigation, and position the windows in appropriate locations according to their purposes. In my final design, the gardening area for elderly people was also placed on the roof top where there is no blockage of sunlight, so that the plants have a clear access of rays in order to grow.
Analysing the noise levels around the site allowed me to locate the accommodation spaces appropriately. In my design, I had to include the apartments for young professionals and also accommodation spaces for elderly people. Using the diagram, I decided to place the flats for professionals at the front of the site, near to the river, as the views from that part of the site compensated the noise levels. The younger generation also tents to enjoy more of a “town� atmosphere when it comes to living. The elderly apartments were located at the back of the site, adjacent to the green area, with its own access from the back street. This position of accommodation created a sense of enclosure which is often appreciated by elderly people.
Looking at the movement around the area allowed me to explore the ways in which people can be persuaded to interact with a proposed structure. As one of the main objectives was to draw people into the Tolbooth, it was important to investigate which paths are already commonly used around the area and how they can be manipulated for people to be willing to interact with the site. In my design, I have created an angled entrance which guides the visitors to follow the narrow path that leads towards the Tolbooth. The consistent use of angles in my scheme invites people to visit the Tolbooth and then continue their journey to the excising green area located at the back of the site.
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INDIVIDUAL DWELLING PLANS
PLAN READING ROOM/CAFE 1:50
PLAN PROFESSIONAL APPARTMENTS FIRST/SECOND FLOOR 1:50
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ORIGINAL PRESENTATION PLANS
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ELEVATION 1:200
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SECTION
PLAN GROUND FLOOR
PLAN FIRST FLOOR
PLAN SECOND FLOOR
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SECTION
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SITE MODEL WITH THE PROPOSAL 1:100
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SITE MODEL WITH THE PROPOSAL 1:100
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INHABIT P2.3.4
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INHABIT
I have chosen to study the front of my proposed design in more detail, as I wanted to show my objective of creating something unique and diverse for the area. This was intended to attract people’s attention when they walk past and invite them to engage with the activity happening inside the building. Having a book shelve facade would create an interesting shadow pattern, making it clear to pedestrians of the public space on the ground floor of the structure. The arrangement of the books against the glass would project a shadow onto the road during the night, grabbing people’s attention. Yellow illumination from the facade will endeavor a friendly atmosphere of the internal spaces. The shelves, arranged in the shape of the windows, would provide a sense of privacy. When sitting inside, people should feel relaxed and engaged, whilst having a coffee or reading a book.
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STREET ELEVATION
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MODEL OF A DETAIL 1:20
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MODEL OF A DETAIL 1:20
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MODEL OF A DETAIL 1:20
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MODEL OF A DETAIL 1:20
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PERSPECTIVE RENDER OF THE EXTERIOR
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APOLOGIA SEMESTER 2
“The sun never knew how great it was until it hit the side of a building” Louis Kahn
The theme for the second semester design project was based around understanding the relationship between the intended atmospheric image and the tools which can be used in order to recreate it. A transition between the two design projects over the course of the year allowed me to understand the journey of the design process deeper – the first semester focused on the purpose and sensory experience of the space; the second semester was aimed at how this experience can be achieved in real life. The project ‘Exploring Engineering’ involved characterisation of the space and structure with regards to a particular material. I had to explore my design through the use of stone and examine it not only from a structural point of view, but how it can be used in an art environment. This thorough line of investigation made me evaluate how the material can be interpreted through smell, texture, light, taste and erosion over time. Going into so much depth within the topic revealed a variety of emotions that can sometimes be masked at the initial contact with the material. I found this approach thought-provoking as it exposed the link between the surroundings and human sensation, and how the two can influence each other. The project also asked to identify my own brief which gave room for my own creativeness and imagination, while taking into account the clear and specific nature of the concept ideas, portraying a strong atmospheric interpretation of a certain type of stone, justifying each decision made along the way. Therefore, I have based my scheme around the blunt contrast induced by the nature of the site. I have focused on the diversity of emotions developed through exposure and enclosure, dust and clean, and light and shadow. Using slate as a primary and glass as secondary material, this helped me to convey my ideas across easily and precisely. This project demonstrated how important an understanding of materiality is to the design work and culminated in a successful endeavor in evoking atmosphere via the rigidity and monolithic nature of stone.
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ENGINEERING EXPERIENCE P2.4
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ENGINEERING EXPERIENCE
Engineering experience was an introductory group project to the second semester design work which involved recreation of a given scene from a film in a form of installation. The project enabled me to develop a more creative approach to my work and collaborating with an engineer allowed us to rationalise our ideas to come up with an engaging thought-provoking installation. The scene that we had to work with was taken from the film “NORTH BY NORTHWEST� at timings 00:14:43-00:16:19. Our aim was to recreate the emotions experienced during the scene by the main character and the audience in a volumetric form and then produce a self-created film based on this installation. Personally, I found the project challenging and inspirational; working in a group with such diverse members allowed me to widen my perspective regarding the design work and come up with a thoroughly developed outcome. Video link: https://www.dropbox.com/s/xurw7yb8ny88r7m/final. mp4?dl=0
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Development processes
The scene that we were given to interpret in a volumetric installation was the drunk driving scene from the film ‘North by Northwest’. When we first got the project, we discussed how the scene relates to the film as a whole and to the time period at which it was made. Understanding the context helped us to recognise which emotions are dominant throughout the scene, what triggered them and how they can be projected best onto the viewer. After the group discussion, we agreed that our aim would be to recreate the emotions of the main character during the scene as well as the reaction of the viewer whilst watching it. By choosing this approach, we challenged ourselves to mirror a variety of sensations in a single three-dimensional piece. The feelings of the main character diverse to the ones experienced by the viewer; Roger Thornhill feels threatened as well as humorous and relaxed when driving, whilst the viewer observes excitement and tension. Our initial idea was to reproduce the physical awareness as well as mental by creating 1:1 installation where the viewer can participate. Part of our installation was intended to be active so that the participant can experience the feeling of sickness of unwillingly pressured movement that he is unable to stop. The original idea intended to have random objects hanging around the participant to create a state of bewilderment, misunderstanding or chaos. We developed upon these ideas, combining them together to produce 1:10 model. In order to get the viewer involved we decided to introduce a projection inside our installation with a self-created film which shows an abstract representation of the sensations rather than a literal one. In this way, we could enhance the hidden emotions, which can be not obvious from first glance when watching film, and interpret them in a way that can be easily understood by everyone. For example, we filmed a person inside the box, hopelessly trying to get out, to mirror the forced drunk state in the film and the idea of being trapped by the effect of alcohol. In our final installation, the projection of the self-created film was positioned over participant’s head, so that whilst its played, the human shadow becomes part of the film. This creates a constant change between the viewer experiencing the emotions of driver’s journey and being thrown back into the role of observer. The spinning of the chair correlates with imagery and the sounds in the film, so that when the viewer first notices that the lines of the grid become more flexible the chair starts to turn, symbolizing the relaxation caused by alcohol. With every turn, the participant is forced to face the projector, providing a direct spot light on his or her face to increase the concentration level as it has been done in case with Roger Thornhill in the car.
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EXPLORING EXPERIENCE P2.5
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EXPLORING EXPERIENCE
Exploring experience was the second major design project this year. It focused on exploration of a particular material and development of understanding on how this material can be used to portray a certain atmospheric image. For this project we were asked to design a gallery with permanent and temporary exhibition spaces, which can be used during Berwick Film and Media Arts Festival. We were also asked to include a number of workshops and accommodation spaces for the artists to use during their stay. The whole project was based around a certain material, which we had to be incorporated in both structure and exhibits. My group’s material was stone, which meant that I had to thoroughly analyse how the it can be used in terms of design, sculpture and various ways in which it can be experienced. It also involved me exploring how the stone is worked with on a small scale in terms of workshops in the gallery, by researching the ways of transferring it and storing it. I looked at number of precedence to understand how the stone workshops engaged and also how it can be used structurally for my construction base.
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Initial response to the site When I have visited the site for the first time, my main observation was the level of contrast between the exposure and enclosure. I thought this difference would enable me to create an interesting variety of exhibition spaces which would provide diverse links to natural landscape. As the artist who I picked to base the stone gallery around is Richard Long has a strong influence from nature, my secondary point of concentration was the pattern created by the trees behind the site. I wanted to mirror the vertical outline created by the trees onto my design and approach the arrangement of the spaces by organising them into vertical blocks. My main objective was to incorporate the two ideas and produce a concept which would allow to exhibit work as well as produce it. I intended to provide spaces which are private and enclosed, as well as large and free rooms that make sculptures feel significant and focused.
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CONCEPT DRAWING REPRESENTING THE SECTION THROUGH THE SITE
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MATERIAL EXPERIMENTS
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CONCEPT DEVELOPMENT
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Material Strategies
I have chosen to use slate as my primary material and clad it with an overlapping arrangement on the outer walls of the building which would smoothly transfer onto the roof repeating the same pattern. This choice of material was influenced by the natural elements around the site and picturesque texture of the trees located behind the proposed structure. I wanted to present the building as an “extension of the nature� and make it seem like it has been pulled from the hill situated adjacent to the site. I have chosen glass to be the secondary material in my design as combining it with slate would enable to demonstrate the key contrast theme of my project. In a connection with the glass, slate would represent the depth, concentration, enclosure and natural theme; glass, on the other hand, would show light, fragility, purity an plainness of my proposal.
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THIRD FLOOR PLAN 1:100
SECOND FLOOR PLAN 1:100
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NORTHWEST SECTION
-PRIMARY COLUMNS
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STRUCTURAL SECTION
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Material Strategies To support the structure, I proposed to use the steel frame with exposed beams on the inside and reinforced concrete floors slabs overplayed on the top. This arrangement will make the visitors feel the significance of the materiality and stone exhibits. Large glazing would be supported by spider detail at the junctions and silicon joints at the corners. Slate outer wall would also be supported with vertical beams with an insulation induced in between (see the diagram below). The steel structure is strong enough to span my floor designs and having it exposed will picture the building as a white canvas for exhibiting the work. I have calculated all the beams in
-PRIMARY COLUMNS
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INHABITED MODEL 1:100
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SITE MODEL WITH THE PROPOSAL 1:100
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LEARNING JOURNAL TOOLS FOR THE DESIGN
Precise and loose drawing Throughout the design work this year I have experimented with capturing my initial thoughts by using loose drawing techiniques though a viriety of materials such us charchol, colours pastels and pencils. Tools for the design programme gave a broader undertanding on how the work can be presented and developed. Using a primory loose drawing techniques and then refining it in detail allowed my work to reach a greater standert as it reflected atmospere as well as ideas behind my work.
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Model making at different scales Experimenting at making models at different scales demonstrated how different parts of the design can be solved. To understand the shape of the structure as a whole, I have initially worked at 1:200 scale. I have also found using the blue foam material at this scale very easy to work with when developing upon the key elements and concepts in the design. Zooming into the scale informed my designs in terms of arrangement of spaces and junctions between the rooms. Exploring the model at 1:50 and 1:20 scales developed a sensory understanding of being inside and interacting with the model in detail. Working at large scales allowed to project the experience onto reviews during my tutorials and put my ideas sharply across.
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Photography I have developed my skill in photography by experimenting with lighting, positioning and scale in photographs. After attending the tutorial, I have learnt how to manipulate the light to bring out the parts of the model which are important and influence the attention of the viewers with imagery. I have also practiced the ways in which the texture can be revealed in photography, which was useful in the second semester design project. Working with the zoom tool, I was able to communicate the focus points of my design and demonstrate the volume of my models. I have also explored the effects of natural lighting and artificial lighting; I was able to reflect different times of the day by working in dark or light spaces which enabled me to replicate the intended atmosphere of my designs.
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ARCHITECTURAL TECHNOLOGY SEMESTER 1 ASSESSMENT
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SEMESTER 2 ASSESSMENT - ACCESS FOR ALL Part A
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SEMESTER 2 ASSESSMENT - MEANS OF ESCAPE Part B
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ENVIRONMENTAL DESIGN
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ABOUT ARCHITECTURE: CITIES, CULTURES AND SPACES
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DISSERTATION STUDIES Dissertation topic: The influence and result of conscious and unconscious decisions in architecture During this semester, we have analysed biographies of various architects and the distinction between their work and identity. We have approached the examination through choosing to study a particular architect and investigating their past, life style and how the key moments in their life reflected on their designs. I became closely familiar with the work of Antoni Gaudi and for my presentation intended to undertake the act of re-enactment of his design processes as a tool to understand the ideas behind his work. I was mainly interested in the connection between his work and his consciousness and the moments which determined his distinctive designs. After preparing my presentation, I came to realisation that the topic of consciousness and how it correlates with the design work of an architect interests me the most. I would like to explore this question further in my dissertation and concentrate on the theoretical concept of consciousness regarding the role of architect in relation to the spaces he designed. To answer my dissertation topic question, I would like to initially investigate the understanding of the space and the factors which define the atmospheric qualities of the building, making it different from any other volumetric space. This primary research would help me to understand in what way is the architect involved in ration to the space that makes it more than just a three-dimensional matter. I would like to undertake this research by reading sources like “Experimental Sociology of Architecture” by Guy Ankerl and “Architecture and Critical Imagination” by Wayne Attoe. These readings include understandings of how the space would perform without an architect and the factors which influence the space to be more than purely physical where a sensory impression is formed. I wold then like to gain a better understanding on the topic of design process of any creation from a philosophical point of view and depict the moments which relate to one’s consciousness. I intend to read literature on design methods as a basic development procedure and understand how the mind cooperates during the process of creation. This will help me to understand which moments I should pay attention to whilst looking at chosen architect. The book of an interest for this topic will be “The Shape of Things A Philosophy of Design” by Vilem Flusser. My main concentration for the dissertation studies would be to go back to my original choice of architect, Antoni Gaudi, and extend my previous research on his life and career further. I would like to use Gaudi as a reference point to the key ideas on consciousness as I think he is one of not many architects who has a very strong communication of his character through his work. I will be intrigued to explore the reasons which triggered Gaudi to create spiritual spaces which strongly focused on atmosphere and the special experience. My line of study will be to investigate in more depth his past regarding family, studio space, work methods, political and economic situation in country at the time and other key moments in his lifetime which guided Gaudi to approach architecture as a habitable sculpture rather than a function space. I would like to be able to link the information on Antoni Gaudi’s background with the pure ideas about the design and how they have been reinterpreted by him. For this part, I would like to look back at to some of the original texts such as “Gaudí. The Complete buildings” by Rainer Zerbst and “Gaudi His Life His Theories His Work” by Cesar Martinell which I have studied at the beginning of the semester about Gaudi’s biography. As the result of this research I would like to achieve an understanding on the difference between consciousness and unconsciousness. My line of investigation will be to determine the decisions that were shaped intentionally regarding the design and which were formed instinctively mirroring the fundamental beliefs of a person. My argument will be to demonstrate whether the imagination is linked back to the origins or effected by force manner of conscious mind. I would like to approach the topic by gaining a better understanding on consciousness as a pure term and see what is actually meant by phycology of the mind and how it is affected. Having these primary ideas, I can then link it to the inventive part of the mind and see how the two cooperate. These fundamental understandings would enable me to clarify the parts of Gaudi’s work which were done with realisation and the ones done without. For this part, I would like to explore the readings like “Architecture and the Unconscious” by John Shannon Hendrix and the book “Architecture of Psychoanalysis” by Jane Rendell. Finally, I intend to personally visit some of the famous designs of my chosen architect and analyse the structures from a visitor’s perspective. Getting a first-hand experience would enable me to link his thoughts processes with the physical outcome as it is sensed in real life. The visit will enable for me to access a wider range of sources, visiting the museums and getting the feel of the scale of his structures. I would intend to visit his most famous work on the cathedral Sagrada Familia as it demonstrates his geometrical approach to a balanced atmosphere inside the space and has his latest studio where his spend most of his time in his final years. Casa Batllo is another architectural piece I would like to study as it relates to Gaudi’s origins as the son of coppersmith and his desire for natural objects. Finally, Antonio’s Gaudi’s home in Park Guel would enable me to reveal his lifestyle choices. As an outcome for my dissertation I would like to produce an 8000 words piece of writing which would resolve the question on how one’s consciousness is effected and whether conscious or unconscious decisions seem to overpower the concept of a design, referring to architectural works of a famous architect such as Antoni Gaudi. Bibliography: 1. Ankerl G. Experimental Sociology Of Architecture. 1st ed. The Hague: Mouton; 1981. 2. Attoe W. Architecture And Critical Imagination. 1st ed. Ann Arbor, Mich.: University Microfilms International; 1992. 3. Flusser V. Shape Of Things. 1st ed. London: Reaktion Books; 2013. 4. Zerbst R. Gaudi 1852-1926. 1st ed. Köln: Taschen; 1997. 5. Martinell C. Gaudi His Life His Theories His Work. 1st ed. Cambridge, Mass.: MIT Press; 1975. 6. Hendrix J, Holm L. Architecture And The Unconscious. 1st ed. 7. Rendell J. The Architecture Of Psychoanalysis. 1st ed.
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