ALESIA BERAHAVAYA
ACADEMIC PORTFOLIO ARCHITECTURE BA HONOURS STAGE 3
ALESIA BERAHAVAYA STUDENT NUMBER: 150223636 NEWCASTLE UNIVERSITY 2017-2018
ACADEMIC PORTFOLIO ARCHITECTURE BA HONOURS STAGE 3
CONTENTS PAGES ARC 3001
Apologia
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Charrette
4-10
Studio
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PRIMER PROJECT - TEA ROOM Site
18-22
Joinery and Craft
24-30
Tea Room Proposal
32-48
GRADUATION PROJECT - SCHOOL OF VISUAL ARTS STAGING Manifesto Programme
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PROJECT REALISATION AND REFINEMENT INTERNAL OBJECTIVES Study of the craft
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Thinking through Making
78-82
EXTERNAL OBJECTIVES
84-88
Combining Objectives
90-110
Journey though Spaces
112-150
Tectonic Integration Part 1
152-156
Tectonic Integration Part 2
158-164
Appendix
166-170
Bibliography
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ARC 3013
Architectural Technology
Separate Document
ARC 3014
Professional Practice and Management
Separate Document
ARC 3015
Theory into Practice
Separate Document
ARC 3060
Dissertation
Separate Document
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- Refined or new work
APOLOGIA For the past three years, my journey to studying architecture was by initially breaking down the subject to its elementary components and then combining them in appropriate manner in regard to the brief and the site. I became particularly interested in the relationship between the buildings and its inhibitors from the sensory point of view, as concluded that the image of the building has no real power without the consideration of human interaction. So for the past year, I have been looking at how the aesthetics can complement the senses and the ways in which the neighbouring environment of the project can be used to the advantage of the brief. The introductory project of the year “Primer�, gave me the opportunity to study the approach and look for the ways the site can be used to its full potential. Choosing the site with a rich topography allowed me to deepen my site analyses beyond lighting, movement and noise criteria. I have looked at the ways site is used from human perspective and mapped out the sensations which it provides in various locations within its boundaries. After the initial visit, I Intuitively acknowledged the impressive dynamic which should be explored, preserved and enhanced in accordance to the intended experience of design. I have applied these strategies once given the brief for constructing a Japanese Tea Room, where I have searched for a location which would stimulate the feeling of focus and awareness most. Working with the complicity of the site and constantly relating it back to the human experience, revealed to me that the exposure, lighting and shapes are the main components of varying human experience. With this establishment, I have looked into the formation of spaces and how they can be broken away from socially accepted layouts. Once achieving the understanding on how the site can be used as a tool to stimulate different sensations, I have moved onto the larger scale project of constructing the School of Visual Arts. Given the brief, my main priority was to find the ways in which the education, in regard to the chosen craft of painting and drawing, can be delivered to its maximum standard. This required me to research on the subject and undertake personal exploration of the craft to understand the types of environments which would promote different creative activities. I have particularly studied the theory of physical affordances by J.J. Gibson and related the basics of it about how people can be instinctively encouraged to undertake the action, to the field of mental activity. I have analysed each set of spaces and recorded them in relation to my earlier findings in regard to the site: about shape, light and exposure. This theoretical and practical research enabled me to produce a set of instructions to create intentional rooms, which I have continuously related back to throughout all the design stages. Finalising the year, the questions I have asked along the way were:
Does it feel right? Would it feel right? Would it be right? I initially corresponded to my primary thoughts, ideas and intuitions. I have developed these with the research and responses of others. Finally, I have looked at how these concepts can be achieved in real life scenarios, structurally and materialistically ,to match the tectonic integration of the proposal. The answers to these questions have shaped my architectural strategy and language for this year. They correlate naturally with my ways of thinking and I believe to the effective basics to my future upcoming projects.
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CHARRETTE
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CHARRETTE
Parabolic vision devices Charrette was the introduction project of the year, where we had to construct an interactive object which would relate to the theme of ‘parabolic visions’ and modify human senses. Our group looked at the hearing as a focal sense to the project, and constructed a devise which would enhance your hearing on one ear and dull it on the other. The message behind it was to allow people to slow down and concentrate on what is important in the moment, rather then get overwhelmed with the flow of constant information. We have recorded a series of video and audio recordings showing how the device is used.
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STUDIO
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STUDIO
RITUALS AND THE UNCONSCIOUS “Teaism is a cult founded on the adoration of the beautiful among the sordid facts of everyday existence. It inculcates purity and harmony, the mystery of mutual charity, the romanticism of the social order.” O. Kakuzō ,The Book of Tea
Our studio primarily focused on the idea of rituals and the spaces formed around the same repeated activity. Originally, we looked at the ritual of the Japanese Tea Ceremony and the types of spaces which are required to stimulate the concentration during the ritual. We have closely looked at the Japanese culture and developed our own spatial themes with site strategies based around the ideas of Western architecture. I have particularly related my design to the ideas from Japanese architecture, such as: - The use human scale to double scale to emphasise architecture -The sense of journey between the spaces, to highlight the sense of purpose - The design and geometry of spaces specific to their purpose - The factor of ‘unknown’ being present in the design to trigger human curiosity The developed understandings were originally applied to the smaller scale design of a tea room, as a prototype to a larger project. We then carried on with the ideas when designing a craft school for the graduation project, using the same site. The studio has also developed the ideas using practical methods such as model making and joinery, to convey and test the ideas. The topic of the unconsciousness was
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TEA ROOM PRIMER PROJECT
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SITE
Newcastle upon Tyne The given site was located on the bank of River Tyne, in the middle of a busy city, Newcastle upon Tyne. The site offered a lot of opportunities in regard to environmental, structural and theoretical design strategies. The site has its own history, distantly demonstrating the time-line from its defensive past, dated from Roman times, to a nowadays modern society. Such site enabled me to learn from the natural inhabitation around the area and build upon the existing information. My initial response to the site was the notion on the awakening body experience during the cautious journey when moving from the upper to the lower levels of the site. I wanted to capture and explore this unique feature of movement and the change of sensations caused at different levels in my introduction project of designing a Japanese tea room and develop upon this concept further for the graduation project.
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Initial site response The site has a natural formation, modified by people using it as a transaction area over time. It could be read as picturesque, in terms of number of inclined angles present and asymmetrical organisation of spaces. For my introduction tea room ceremony project design, I have concentrated on the areas where the senses relatable to the brief have already been present and positioned my proposal in such location. The space at the front of the site had the pressure of the adjacent wall supporting the upper ground level, which made you feel focused and aware of the weight of it. Cutting into it, would trigger the conceptual factor relatable to our studio of the ‘unknown’, and position the people in a perspective of double scale. Analysing these sensations for a small-scale project allowed me to learn how the site can be used to support the intended experience and the ways in which I can recreate the landscape on a larger scale to correspond the graduation project design scheme.
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CHARCOAL SKETCH SHOWING VERTICAL DRAMA PRESENT ON THE SITE
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SECTIONAL DRAWING OF THE SITE
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JOINERY AND CRAFT
The joinery workshop A joinery workshop which we took at the begging of the project, allowed us to establish our initial thoughts and ideas on the project. As the use of craft is a popular approach in Japanese architecture, it demonstrates how the concept can be functional in a 3 dimensional form. This method also gave us the chance to test our ideas towards the site and develop them though volumetric analysis. Working with timber gave a realistic understanding about how the material can be used in construction though testing its properties on a smaller scale.
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“We are aware of the crucial role of balance in our lives mostly when we lose it, rather than when we unconsciously achieve and maintain it.� Mark L. Johnson, Mind in Architecture
The concept Through the use of timber elements I was trying to produce a joinery which would represent my main concept about the achievement of focus and balance essential to the tea room brief. The idea was to show that the imbalance of the system is achieved with the nail holding the construction in place. However once the nail is disconnected, the balance is reproduced by supporting surface perpendicular to the gravity. This joinery, on a small scale represents the journey I was trying to achieve in the tea room ceremony project, whilst mirroring moments of imbalance captured on the site. My idea was to increase the awareness between the spaces of focus with the use of broken geometry away from the gravity axis.
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Geometrical approach through study of the craft Studying the craft along side the project, I was able to develop the basics for the graduation project later on the year. At this stage I have studied the craft as a supporting instrument for developing my design ideas and as a method to recreate and illustrate the surroundings on the site. With this approach I was able to establish the types of movements and transitions of energy present between spaces on the site, which I would of liked to mirror into my tea room design. Initially I have been thoroughly exploring oil painting and its three dimensional nature, which allowed me to acknowledge the malleable structure of the paint and the complex shapes it creates. Oil paint gave the intuitive idea of approaching the design . I was more interested to explore the spaces in terms of volumes and the 360 degrees spread.
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Characterisation of spaces through painting media After expressing the nature of the site using the media of oil paint, I have established the variation of spaces and the drama present at each moment. This drawing is completed as a sectional overview of the site and mainly explores the body experiences which occur at different parts of the section. I have produced the drawing as an “unconscious� understanding of the site after the initial visit and painted basing it purely on my memory. By locating the people in different places, I have demonstrated the emotional response to the site at this particular moment. I intended to preserve this dynamic of different sensations and reflect it back in my design.
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TEA ROOM PROPOSAL
FOCUS
AWARENESS
BALANCE
Application of established concepts After analysing the sensory experiences present on the site, my strategies were to use and enhance those in accordance to the tea room ceremony brief. I have decided to locate the proposal in the area within the greatest level drop, as this space has a strong sense of focus due to the scale change and man made boundary. I have further developed the concepts established through joinery workshop and oil painting, and integrated them though the use of scale models, to see how they can be recreated into physical inhabitable spaces.
DIAGRAMS FROM SKETCH BOOK
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Exploring the concepts Studying the tea ceremony further, I became familiar with the essential parts of it’s design. The journey and the gate to the tea room are important features of its design; therefore I have looked at the ways in which these can be intensified though the idea of movement and variation in scale. I intended for visitors to sense the imbalance induced by the landscape first, and therefore designed the entrance to the tea room though the inclined greenery on the site. The sensation of magnificence and appreciation of the tea room will be caused once the visitors transit through a double scale wall boundary and be able to experience the tension and awareness caused by the visually balancing structure.
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Developmental methods I have used modelling as a developing tool for the project. This helped me to volumetrically understand the design and study it from different angles. Having a complex site, modelling made it easier to understand how the level changes within the landscape would integrate with the proposed design.
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SITE SECTION DRAWN AT38 1:200
Establishment of the concept This model was designed early on the project to reflect all the ideas developed during the analyses of the site and the brief. I have captured the journey I would like for the visitors to undertake in approach to the tea room and the essential moments which would occur along the way. Having a volumetric representation of my ideas, allowed me to analyse the intended experience more clearly and understand which parts of the design work best with the site. Once having established these strategies, I went onto the refinement of the proposal in terms of the tectonic integration and materiality. I continually referred back to this model as a prototype of my ideas, as found it being the most successful representation of what I was trying to achieve during the project.
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Refinement of the design As the tea room had set design instructions, the circulation and the approach to the ceremony were the key design considerations. I have carefully analysed how the journey to the final destination can be most experienced in terms of body movement, so that the purpose of the tea room is magnified. I intended to use the inclined planes to correspond with my theme of imbalance, with exposed moments throughout the journey to demonstrate the balancing structure. The idea was for the visitors to transit from the landscape onto the structure and reach the point of balance at the end of the journey caused by even surface. This experience was meant to create the focus at the ceremony, after undergoing the sensations of imbalance and tension.
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Clarification of the shape The shape of the structure was derived for the ‘unknown’ and double scale to human scale approach ; it was supported by a large complex shape visually balancing on a single pivot point, to strongly signify the intrigue, focus and awareness of the tea room. The structure represents how each element is reliant on the adjacent one. Steam beams are considered to be of a structural purpose only where the tea room is located, so the rule of thumb of 1/7 applies only on the left side cantilever.
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. Tea room ceremony structure I have looked into which the materials can be used in combination with each other to support the conceptual image. Steel beams arranged together to create a continuous structure would heighten the original idea of balance, as each element relies on the adjacent one for the structure to be maintained around one pivot point. The use of timber cladding around the created shape will bring attention of the visitors to the broken away geometry, making them aware of the journey undertaken. The masonry wall, already existing on the site, would act as the support to the whole structure. The structure would also cut through the horizontal platform to bring the light in and direct people in. The rest of the left over ground will be reinforced and support the structure for rotating, therefore reflecting back to the very early on ideas explored though joinery about enforced imbalance.
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SCHOOL OF VISUAL ARTS GRADUATION PROJECT
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STAGING MANIFESTO
During the first term, we became familiar with Japanese culture and the key elements of its architectural design. Aspects which I found most relatable to my work were the complementary combination of materials, the reasoning behind design processes based on the user’s final experience, geometry triggering curtain senses and the relation of human body to a physical space. We have practiced these fundamental ideas first on a small scale when designing a traditional Japanese tea ceremony room on a busy site near the river bank of Tyne. The brief, being so diverse in comparison to adjacent structures in terms of its style, had to be approached as an environmental filter in order to demonstrate its Eastern culture and maximise its sense of purpose. Objective of the ritual is to focus on the activity of tea making and let go of the emotional distress happening on the outside. Techniques such as altering the scale, generating a journey route and varying the symmetry in the design were used to put the visitors in the context of the wider universe, making them concentrate on the important. I have particularly examined the meaning of balance and how it can be enhanced though the movement between spaces and realised most at the final destination. This line of study allowed me to understand the subdivisions between spaces, in terms of privacy, focus and purpose. For the final year project this analysis will direct how each category can be approached in order to attain specific sensory experience. I have examined oil painting as an alternative ritual to research deeper on the topic and understand the common grounds for any craft activity, recognising human responses generated during the course of progress. For my graduation project, I would like to carry on studying the craft of oil painting and propose an educational institute for this ritual. This choice of craft offers a choice of large variety of spaces within the design of a school: spaces for inspiration, spaces for evaluation, spaces for imagination, spaces for interaction. Having such diversity will allow me to practice the established ideas from the ‘Tea Room’ project and examine the delicate connections between unrelated spaces on a larger scale. The ideas to pursue and develop: 1. Incorporate the intrigue of the exterior, attracting the visitors by the factor of ‘unknown’ 2. Indicate and highlight the movement between spaces with different sense of purpose, privacy and focus levels 3. Coordinate the circulation to speed the intended processes within the building 4. Use architecture to influence visitors’ consciousness as intended by the purpose 5. Use structural and material strategies to support and enhance concepts.
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PROGRAMME
The Brief The brief of the graduation project entitled us to produce an educational institution, where individuals would be able to practice and master one particular craft. I became familiar with the craft of painting and drawing, so I was interested to apply my knowledge and create series of spaces where this craft would be studied successfully. As the project included a large variety of spaces changing in size, level of privacy and purpose, my approach was to first analyse the all essential spaces required for drawing and painting. To successfully accommodate the learning journey, I then sub-grouped the spaces in the brief and explored the way the rooms can be connected between each other.
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INITIAL AREAL ARRANGEMENTS
ORGANISATION Spaces were divided under the categories of making/evaluating/learning. These are the main activities in education of the craft and they require different architectural/physical environments in order to be carried out successfully.
CIRCULATION The movement between the categories must underline the steps on the learning journey. Each space would hold and carry the energy of particular activity and when you undergo the transaction between the spaces you become aware of change of purpose and atmosphere.
PRIVATE/PUBLIC Transaction between the public and private spaces was important in the design as there was a large variety of spaces which serve different functions. For example, studio spaces must be located in more private areas of the building, with appropriate use of material and other architectural features. In terms of arrangement of the site, spaces with higher level of privacy are located in the direction of enclosed area by nature or other structures.
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Application of established architectural ideas The introductory project allowed me to establish tactics in regards of spaces of focus, balance and calmness. I have experimented with varying the geometry, using different materials and scale in order to achieve intended atmosphere. For my graduation project, I intended to extend this approach and apply it to other spaces of concentration, evaluation and movement. I have looked how each room for a particular activity can be described in terms of section, plan, materials etc. (See the table below). I proposed to develop these ideas by studying the craft further and clarifying the instructions to match a specific activity.
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SITE STRATEGIES
Site Analyses To maximise the concept ideas and achieve a successful tectonic integration, the proposal must have been located accordingly to the strengths of the given site. The positioning of the site was on the southern facing slope, therefore being ideally orientated for the use of solar energy. With this location, the integration of either photovoltaic cells, thermal massing or stack effect ventilation would be all effective passive house approaches. Being exposed to the south-west wind and the consistent tunnel wind created by the river, incorporating Bernoulli’s principle and using wind pressures to drive the air through the building, would also be a reasonable natural ventilation tactics. Site’s distinctive quality was the number of views opening up in direction of the river. I intended to experiment with how they could be captured, and, on contrary, be blocked to create the sensations of temptation and focus. The dynamics between exposure and enclosure present on the site is also something I would like to include and develop upon in my graduation project.
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Environmental strategies As the brief for the project was to produce a school of visual arts, carefully thought-through lighting strategies were had to be put into place at the very initial stages of the design. As the project located on a south facing slope, the roof and the walls had to be carefully designed to maximise the access to the northern light and limit the direct southern light. The exposure to a large amount of solar energy can also be used in the design of the build in regard to capturing and regenerating the heat during cold weather. The proposal can involve large exposed heavy surfaces, such as concrete, to act as a thermal storage mass. Natural ventilation should also be included via stack effect or Bernoulli’s principle, as the site allows for both methods to be used.
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Derivative of the shape Basing on the analyses of organisation, grouping and location of rooms in regard to their privacy level, the shape I wanted to incorporate was the one which expands towards the back. This consequential fan shape is also often present in our studio’s study case by Alvar Aalto, where he uses the geometry of the room to either bring attention to one point or dilute it.
Plan of House of Culture by Alvar Aalto, 1955, Helsinki
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PROJECT REALISATION AND REFINEMENT
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INTERNAL OBJECTIVES STUDY OF THE CRAFT
Drawing and painting The choice of the craft was initially based on the way I wanted to capture and represent the site. I was also not very familiar particularly with the oil painting before the project and undertaking the learning process of this craft enabled me to study the basis for designing a craft school for the graduation project later. I have analysed both painting and drawing to understand the which activities take place for these to be mastered. Most importantly, I have explored the types of spaces which would promote and support the learning process and recorded my findings along the way.
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Creative based (unconscious) activities As the sub-theme for this year was the unconsciousness, I have initially studied the craft as an imaginative activity and carried out activities which required creative (right) side of the brain. During the early stages of the project, I was intrigued to use the craft to demonstrate my interpretation of the site. I also was interested to study how it reflects in terms of both, the final outcome and the developing process of the palette. The way I pictured the site from the visit was in terms of a section, as I most strongly felt the change in levels, either natural or enforced, defining the character of the site. During this activity I observed my close surroundings and recorded the physical qualities which encouraged this type of activity. I have also carried out the research on general information published on the topic and interviewed individuals, who work in similar field, to back up my outcomes.
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Analysis of the unconsciousness Going back to the photographs from the site and looking at the dynamics of spaces, allowed the transitions on the site between elements to be seen and showed a connection to my original drawing. I have used this layering on the photographic imagery with paints to demonstrate how my imagination produced the oil painting and captured the essential movements present on the site, which is not as obvious just from just still imagery. When working through the process the essential features of the room were: lighting, access to social interactions and exposure to new forms which would trigger new ideas. As I was working from photographs, the view from the room was not as important. However if i was exploring ideas from the original surroundings, I would require the direct access to the views.
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Logic based (conscious) activities Attending life drawing classes, allowed me to experience the process of learning the skill of drawing. This type of activity related more to practicing the craft, rather than develop and use it to support your own ideas. The activity, where the analyses of the object and capturing of it on the page were held, had to be carried out with strong focus, spatially directed onto the object. I had noted that the direction of natural and artificial light, geometry of the room which allows you focus to be spread evenly within the room and closure from the surroundings, are important in order concentrate directly on the object and really explore the nature of it.
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THINKING THROUGH MAKING
Developing concepts During thinking through making week I was able to experiment with the spatial ideas studied during the process of learning the craft. When I have practiced different creative activities in regard to drawing and painting, I have analysed the surroundings which supported and stimulated the education processes. I have recorded these in terms of physical qualities and was able to show how each observation can be achieved with different materials by modelling each instance separately.
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Research on the ideas I have further studied the published material on the topic and related it back my own topic of the enhancement of mental activity. In particular, I was interested in the theory of physical affordances by J.J. Gibson. In this study he talked about the surroundings and how they instinctively direct (afford) people to carry out an action. I have related this research back to my topic and studied it from the perspective of metal activity. I have recorded my observation in terms of mental affordances and located these on the spectrum of creative to logic based activities: positive mental affordance stands for maximum creative activity, negative mental affordance is maximum logic based learning. I have recorded my observations is terms of the relationship between the mental activity and the physical surroundings which would encourage it. My exploration is recorded in the “Theory of mental affordances in a creative environment� essay, which is submitted as a separate document.
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Spaces of positive mental affordance After undertaking drawing and painting activities in regard to applying the practiced skill and using the craft as a way of representation of ideas, I have noted that I am using a creative side of my brain which stimulates the development of the ideas. After the research I understood its the right side of the brain which is responsible for creative outcomes. Connecting the researched ideas on creativity to the physical spaces, I have concluded that spaces with large exposure to the light, social interactions, broken away geometry and forms, and exposure to the surrounding views stimulate a successful creative environment. This type of the environment allows people to trigger the ideas, expand on them and capture the outcomes.
Spaces of neutral mental affordance Attending life drawing classes and learning the craft by drawing/ painting the object in front, allowed me to understand that these activities require high concentration of attention. The way I portrayed it was as a one-on-one dialogue between the student and the object. The spaces which would accommodate such interactions would be the ones closed off from the surroundings, to focalise the concentration on the interior and the object. The use of lighting has to be directed onto what is painted and the geometry of the room has to be symmetrical and obvious towards the centre, to allow multiple dialogues to happen.
Spaces of negative mental affordance The school would also have to accommodate spaces for theory learning, where the attention has to be directed towards one particular point- such as the speaker. I have studied the plans of lecture theatres by Alvar Aalto and derived that the fan shaped geometry of the rooms is the most successful for such activities. The lighting and exposure can also be used to direct people’s attention towards one point. These strategies can also be used in circulation areas of the building, to allow an easy guidance though the structure.
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EXTERNAL OBJECTIVES
The site response In Primer I have concentrated on the drama and dynamics present on the site and my intentions were to use these facilities as a tool to support my concept. This was suitable for a project of a smaller scale, as it could be located in a part of the site suitable to a particular atmosphere. However, as the site had an intense typography and consisted of many parts with different sensations, locating a project of a larger scale would require an integration strategy of the landscape. Primer project dealt with the sensations of focus caused by the effort caused on approach to the dramatic level drop. For the graduation project I intended to distribute spaces instinctively and effortlessly, so that all parts of the site are connected and people are brought through to the important views and existing landscape.
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Newcastle Castle
Bridge Hotel
High Level Bridge
River Tyne
Proposed route Exciting routes
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Distribution of the spaces In order to achieve an instinctive interaction with the building, I have looked at the natural ways for people to undergo inclined surfaces and hills. From the research on the topic, I became familiar that a meandering route though the site would stimulate the movement and influence people to undertake the created route. The designed path would be located from the upper to the lower levels, to connect two main pedestrian routes already present on the site. I have particularly looked at gravitational and centripetal forces in my design strategy, in order to correspond with a natural body movement of people and encourage them to undertake the journey. I have carried forward my original ideas from Primer and made the journey the key element of the building. This decision was triggered by the early concepts on magnifying the purpose of the rooms by providing a particular journey towards them . This concept also correlated with the study on the craft, where I have discovered that the circulation is an important feature in education.
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Designing around pivoting points Due to the large scale of the project, I have approached the design from a horizontal perspective, as this way it covers and includes all the areas present on the site. I primarily designed the route which would connect the two already existing paths, and provide a natural transition through the site. This way I would direct people into the hidden landscape, inviting them to inhabit the dynamic spaces which are not currently used. The way in which I intended to carry out the transition is to gradually change the industrial geometry of the city into the fluid and natural shapes of the landscape. The structure would be designed around the meandering route, however corresponding to the neighbouring right angle drama induced by the surface boundaries or the adjacent structure. I have designed the route with the help of circles, as they act as the basis for meandering and represent the action of centripetal force best.
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COMBINING OBJECTIVES
CONSCIOUSNESS
INSTINCT
PURPOSE
Main objective Once establishing my aims externally and internally, my finalised idea for the school was to provide a natural transition route from industrial city into the fluid landscape present on the site, whilst affording its students to be educated to their maximum potential.
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Development through modelling I have initially approached the design by deciding on the main meandering circulation route and then located the intentional spaces along the way, in accordance to the instructions established earlier when studying the craft . I have arranged the structure within the levels of the ground to compliment its typography and allow it to become part of the landscape. Construction the model in such manner allowed me to really connect the building with the landscape and study how it would sit exactly within the ground. I found this to be the most successful strategy, as the model most truly corresponds to the complex context. Therefore I based my further development in terms of plans and sections from this prototype model.
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DRAWING OF THE PROPOSAL IN RELATION TO CONTEXT OF THE SITE
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Section modelling I have used similar methods of modelling as to the ones during the Primer stage and experimented with constructing the proposal as a sectional model to study the level changes throughout the site in relation to the structure. Creating physical spaces in relation to the slope of the site allowed me to see how their location is appropriate in respect to the ground and their purpose. I was also able to analyse how the ground can be incorporated as a part of the design and be used to achieve hidden spaces of focus and concentration.
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The concept drawing of the plan This drawing, carried out in charcoal ,represents my ideas about the proposal and the dynamics it would create in relation to the horizontal overview of the site. Earlier on the year I have produced a similar drawing showing my initial vertical response to the site. I have integrated these ideas for a smaller scale tea room design. For graduation project I intended to combine both existing vertical and created horizontal geometry to provide a gradual transaction throughout the site with spaces of different intensity for different activities.
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Perspective Section I have represented how the proposal would be located within the site by drawing the perspective section . This way I have finalised the exact positioning of the rooms and their heights to correlate with the intended experience of the spaces. Once again sectional drawing aloud me demonstrate the stepping down narrative of the project in relation to the given context.
PROPOSAL LOCATED ON THE SITE
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Final model I have designed the model by following the same technique as to the one used for the prototype and constructed the proposal by layering up the landscape with combination of the proposed spaces within it. I concentrated mainly on showing the design of the ground as the project mainly works with the complex levels of the site and I wanted to indicate a clear understanding of how the spaces would work within it. I have further sketched the remaining walls extending above the ground level, to demonstrate how the building would be recognised externally.
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EXTERIOR PERSPECTIVES
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JOURNEY THROUGH SPACES
The journey As the journey and the circulation were the main features of my proposal, I analysed each particular part of the route in relation to the atmosphere, body experience and mental sensation. The journey through the building was designed to correlate with two studied forces: gravitational and centripetal, to guide people to spaces of different activities. The route was proposed as a primary circulation route, and spaces for interactions are integrated within it for educational purposes. The rooms for different craft activities were designed intentionally in respect to the studied environments to compliment mental affordances.
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The entrance The entrance of the building plays an important part to the design. I intended to propose an intrigue of the ‘unknown’ and reflect back the Japanese concepts explored earlier on the year in Primer project. I have studied the ways in which the structure can be approached though model making, and observed how the ground can be used to bring out the initial awareness though the body experience. My final proposal was to locate the entrance floor of the school slightly below the ground, and bring the visitors in though a meandering route starting externally. I also designed the main entrance door to be locked visually away from the street, so the people have to undertake the external journey created within the landscape to explore the ‘unknown’.
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CafĂŠ
Entrance
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Entrance The entrance has been designed using the negative mental affordance instructions, so that the people physically attracted to one point. This way the sense of direction is induced and people are aware from which location to enter the building.
CafĂŠ CafĂŠ was designed within the circulation route towards the lower level of the structure. It is located in the area with the dramatic view towards the castle. Using exposed frame with opening up geometry towards the castle allows the visitors to develop their creative thoughts whist interacting with each other. This space was designed accordingly to positive mental affordance physical qualities.
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MODEL OF THE ENTRANCE SPACES
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PLAN OF THE SCHOOL SHOWN AS A SERIES OF MODELS
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Gallery space
Classrooms Circulation route
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Gallery space The gallery space was located under the ground, adjacent to the level surface. The proposal of the room had the exposed skylight going along its perimeter to bring in the natural lighting onto the paintings. Using opening up geometry in the direction of the light, allowed the paintings to be seen as the exposed views to the room and trigger creative positive affordance of the viewers.
Classrooms The design of the classrooms consisted of straightforward geometry with the light projected onto the tables for the concentration to be maintained towards the centre during the dialogue between the student and the teacher. These were designed as rooms of neutral affordances so the one-on-one dialogues can occur during lessons or seminars.
Circulation route The walls are used as a direction tool towards the next destinations of the building. The enclosing geometry leads people into the next room, whilst the skylight located along the path also stimulates the direction of travel. The circulation routes in the building were designed as spaces of negative mental affordance.
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MODEL OF THE SKYLIGHT ALONG THE CIRCUMFERENCE OF THE GALLERY CEILING
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CIRCULATION AREA WITH INTEGRATED SEATING
Circulation route
Final destination exposure point
Exposure to the landscape
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Circulation route Once again negative affordance methods are used to direct people down the slope of the site. As visitors constantly undergoing the sensation of going down hill, the building is experienced as part of the landscape.
Final destination exposure point The enclosed geometry of the walls, caused by differentiating the thickness of the material, was used to bring visitors attention to the small window. This window opens up the view towards the rooms of high concentration. These spaces are the final destination of the journey, so at that moment the visitors get a chance to relate themselves to the scheme of the building. This exposure also magnifies the purpose of the high intensity rooms and causes the experience of awareness at that point.
Exposure to the landscape This part of the journey also opens up the dramatic views from the site onto the High Level Bridge for the first time and locates the visitors in relation to the wider context. Expansive geometry and large glazing areas are used to allow the moment of positive affordance to occur before entering the studios.
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MODEL OF THE SEATING AREA WITHIN THE CIRCULATION ROUTE
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THE AMPHITHEATRE
Amphitheatre
Circulation route
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Amphitheatre The amphitheatre was designed within the circulation of the building and has a transferable purpose from study area to the lecture hall. The rotatable boards are placed at the entrance to allow the space to become either private or public. The theatre is designed by using the negative affordance principles of enclosing geometry and directing the light, as the concentration on the speaker has to be maintained during the lecture.
Circulation route The route splits in multiple directions at this point of the journey: either to the outside, around to the amphitheatre or downstairs directly to the studios. The geometry of the walls is used to indicate the intended route and the visitors are invited to follow the curving around enclosing wall leading them to undergo the social amphitheatre space. The route is also indicated with the natural lighting and the structural beams supporting the skylight.
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MODEL OF THE AMPHITHEATRE WITHIN THE CIRCULATION ROUTE
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GROUND FLOOR
High concentration spaces
Circulation route
Studio spaces
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High concentration spaces These rooms designed as the final destination to the journey. The focus and awareness are brought to the maximum ones entering these spaces. The rooms are designed in terms of neutral mental affordance as their purpose is to practice the craft by working with the object one-on-one.
Circulation route The geometry of the room and the natural lighting from the gap in the upper floor, allow the visitors to be led to the final destination of the building :hight intensity rooms for life drawing and still life classes.
Studio spaces Studio spaces geometrically expand towards the existing landscape and provide an exposed access to the views from this particular point of the site. The studios also have a great access to natural lighting, which allow the creative activity to be practiced and developed successfully.
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MODEL DEMONSTRATING THE APPROACH TO THE FINAL DESTINATION OF THE JOURNEY
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THE DESIGN OF HIGH INTENSITY ROOMS
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High intensity spaces The final destination of the journey are the rooms where the high concentration activities, such as life drawing and still life drawing classes, are carried out. Having undertaken the journey, the appreciation of the purpose is magnified, allowing the visitors to focus in these spaces immediately. The rooms are momentarily exposed during the journey on one part of the circulation route. This allows the visitors to locate themselves within the scope of the building and appreciate the scale of the rooms in relation to the ground. This correlates to the concept explored in the tea room about causing the sensation of tension and appreciation when observing the final point of the journey from afar.
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Differentiation in the design Both rooms allow the craft to be studied by observing and drawing the object in front. However to vary the experience, one of the rooms works with the study of the colour, in the environment with natural lighting. The other room explores the tonality and drama created by forms. The second room was designed with the incorporation of artificial lighting strategies to allow a greater variation of tones and shadows.
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TECTONIC INTEGRATION PART 1 STUDY CASE
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KUOKKALA CHURCH Architects: OOPEAA Architect in charge: Anssi Lassila Location: Jyväskyla Finland Client: Parish of Jyväskyla Area: 1311.0 m2 Years of construction: 2006 (competition) - 2010 (completion)
Kuokkala church was commissioned for the Parish of Jyväskylä. The architects wanted to design “a church that looked like a church”, although more sculptural and contemporary. The design has an innovative approach to shape, structure and the use of material. The design of Kuokkala consists of one main chapel space, with a potential of it being subdivided into two smaller rooms. The area is bound with a decorative net, attached lightly to the ceiling. The element does not serve any structural purpose, so it has been introduced with the intention to heighten the atmospheric image of the place. The use of a continuous bend timer beams, shows the proprieties of the material in its maximum action. Such arrangement increases the awareness along the horizontal turning point, bringing the focus right to the Priest. This careful application of the material to increase the purpose of the space is something I have focused in my own design approach and studying this precedence allowed me to see an alternative ways to achieve different atmospheric sensations.
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PRECEDENCE
Architectural language I have observed the design of the case study for an interactive point of view to understand how different architectural techniques can be used to influence people’s sensations and reactions. In case of Kuokkala church various subtle elements were incorporated to attract and educate the people of Jyväskylä about religion, influencing their perception on the topic positively. The contrast between the light interior and the dark exterior of the church, seems unnatural. However, it brings out the sense of piece and magnificence beyond the walls of the reality. Such dramatic change in tone, heightens the boundary between light and dark, making the interior seem heavenly and luminous. The distinctive shape of the structure on the outside, influenced by the idea of enlarged natural elements found on the site, triggers the curiosity around the pedestrians; the unknown, tempted to be revealed by out impatient human nature. The landscaping around the building is also worth to be noted: the rapid change from human scale to double scale as you walk along the frontal facade, puts us in a perspective of a larger world, making our troubles feel insignificant and secondary in comparison to the majesty of spaces surrounding us.
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TECTONIC INTEGRATION PART 2
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Seating area in the gallery space
Seating within circulation route
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Door way entrance to the classrooms
Seating area within the concrete floor
. Adaptation of concrete mass As the structure was supposed to be experienced as a carved out arrangement within the landscape, concrete was used to recreate this effect within the building and was perfect due to its malleable nature. As I intended to design spaces specific to their purpose throughout the proposal, concrete allowed me to experiment with the ways surfaces can be inhabited to their best potential. The adjusting thicknesses of the material supported the integration of the furniture, such as seating areas and tables, as well as creating different sensory experiences for the visitors when interacting with the walls and floors of different thicknesses.
Seating area in the gallery space
Door way entrance to the classrooms
Seating area within the concrete floor
Seating within circulation route
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The use of structure and glazing to direct the journey Natural lighting can be used to direct the attention of the visitors and point them towards the intended direction of travel. I have designed the structure of the roof so that the skylights are located above the circulation route or expand towards the next destination on the route. The steel beams which support the glazing sheets, naturally correlate with the shape of the building and lead the visitors though the levels with their geometry.
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Design of ‘high intensity’ rooms The life drawing and still life drawing activities are carried out in two room which were located furtherest away from the ground level to heighten the concept of focus and awareness. Both activities require the access to natural lighting, so therefore structural and materialistic strategies had to be put into place to filter the direct southern light and bring the northern light in. The wall facing north was designed as a curve to reflect the light back into the studios. The concrete would be lighter and more polished at the top of the structure in order to provide a successful reflection. The studio designed mainly for artificial lighting would have darker concrete walls, in order to dramatise the focal spot light effect even more.
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APPENDIX
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Development of the plans I initially approached the project by attempting to locate the spaces around a certain shape using 2 dimensional drawings. However I understood that due to the complex nature of the site, the volumetric approach would more appropriate. My development progressed further by working with models and working on the shapes in relation with the context. Once experimenting with volumes and seeing what works best, I have then captured those observations in plans and sections.
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Bibliography
Books Okakura K. The Book Of Tea. New York: Stone Bridge Press; 2007.
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Pallasmaa J. Mind In Architecture - Neuroscience, Embodiment, And The Future Of Design.
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List of Figures Image Sourced: Charrette group work
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Image Sourced: https://ukiyo-e.org/image/mfa/sc205698
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Images Sourced: ARC3013 Architectural Technology Part 1
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Image Sourced: https://www.urbipedia.org/images/d/d2/Alvar_Aalto.Casa_de_ Cultura.Helsinki.planos2.jpg
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Images Sourced: Case Study group work
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