Variations
[Academic Portfolio]
Alex Jusupov BA (Hons) Architecture Academic Year 2015/2016 1
Awknowledgement.
“I would like to mention Zaha Hadid (1955 - 2016), who triggered my interest in architecture, inspired me through hard times and always will be in my heart.�
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Content Page.
The Design Report
p. 7
Variations A - The Primer
p. 10
Variations C - The Incubator
p. 27
Variations D - The Masterplan
p. 42
Variations D - The Show/Store
p. 56
Variations B - The Chamber
p. 132
The Research trip
p. 148
Thinking Through Making
p. 158
Reflecting on Stage 3 interests, learning processes and outcome and interests.
Between Music & Architecture - introducing Variation studio design framework. Developing a theoretical context for the design principles.
Designing musicians’ accomodation with a perfomance hall.
Selecting an object and translating its critical narrative into the conceptual pavilion.
Redeveloping the East Pilgrim Street Area in Newcastle upon Tyne.
Establishing Alison and Peter Smithson Architectural Foundation in Newcastle upon Tyne.
Investigating into Critical Regionalism of Portuguese modern architecture.
Investigating into various materials and technics.
- indicates the new or modified work
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hilst writing this report I felt very nervous. It has been already three years of this exciting journey of my architectural studies with all of its ups and downs, minor disappointments and greater achievements, and realising that it is all suddenly comes to the concusion is indeed a bit upsetting.
Design Year Report. Interpreting Music and Object matter in architectural framework of the project
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When it comes to describe my design progress, this year it was particularly tough for me. The chosen graduation Variations studio was initially an absolutely different level of design thinking to me, especially during the Primer stage of the project, when I was getting lost several times and did not know what I was doing. What was fascinating and complicated was that we began with a project, which lacked any site or a clear program. I had to abandon my old design habits, which were developing thought previous years of design experience where I was more interested in the matter of the form of the building and its function rather than the deep conceptual understanding of its origin. Although, later I realised that the Primer taught me how to concentrate more on projected spatial qualities and materials of the building rather than the final built form. The second phase of the project was the Chamber, which also initially turned out to be even more difficult task as my wellbeing was deeply affected by discouragement with dissertation studies. It was my biggest disappointment of this academic year. Frankly speaking, researching and writing the dissertation was one of the most stressful experiences of my entire degree. I found a great difficulty of concentrating on writing about Brutalist housing future in the UK, because the topic was too wide and controversial covering cultural, social, economic and political issues with real people being affected, which eventually brought down my initial ambitiousness and made me change my opinion about my research. At the same time, I am glad that the final outcome was met with a great enthusiasm and support from many school tutors, who I personally consulted with my dissertation. I even managed to reflect my research into the narrative for the graduation project building. The mode of Variations studio focusing on various scales and levels to details improved my understanding of technology integration into the project from the early conceptual stage. My sensibility towards the building construction and environmental strategies has risen significantly since the end of the stage two. All of the elements of the graduation project were put through the process of continuous structural thinking and occasional discussions with Dr. Steven Dudek, who has been a tremendous support to me inspiring to test the limits of the construction and develop personal structural solutions to various design problems. Even though the project on the early stages was not requiring fully resolved structures of the prototypes, I was very keen on learning and experimenting trying to make the project more practical and appealing in my eyes after failed first attempts. The later stages of the project, which introduced the narrative of the object – the Incubator, Masterplan and Show/Store were very enjoyable and easy to comprehend. Finally, I understood and revaluated the potential of the first stages of the project combined with new design methodology, which was based on the selected object – the architectural cast model. The reason why I chose this studio was because of the very idea of designing a project from unique qualities of the selected object. The graduation project helped me to enhance my model making skills of casting models from plaster, which I have never done before, as well as practice my drawing skills more than digital, which took over my design process from the stage 2. I also realised that the completeness of work is not the most important thing rather than thoughtfulness and quality of the developed idea. In order to conclude, this year taught me an important lesson of how to develop the project based on text and object analysis using a process of abstraction to develop my personal conceptual design framework rather than using conventional means of site analysis or the brief in order to generate the program or shape of the building. I am also glad that I got more familiar with Peter Zumthor’s architecture, which I was strongly opposing before. The suggested by my tutors analysis of his texts helped to reveal the true matter his architectural thinking, which lies beyond the form of the building rather than craftsmanship and attention to details, which form the atmosphere of spaces. I would personally like to thank Kati Blom, David McKenna and Sean Douglas as well as all of the tutors, who happen to know me for all the help and support you gave to me through my studies in Architecture School of Newcastle University.
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Conceptual Framework
Variation A
Object Narrative
Variation B
Variation C
Variation D
The Incubator
The Masterplan & Show/Store
Introduction. Briefly about the Variations studio The Primer
The Chamber
The Variation studio is a design journey of exploratory exercises, which aim to develop a personal set of conceptual principles for the main graduation project. It can be thematically separated in two main parts - Conceptual Framework and Object Narrative.
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he first part focused on theoretical texts on the intersection between music and architecture searching for common themes. Consequently, the conceptual interpretation of these ideas was represented as a series of the design prototypes, exploring various spatial characteristics and details at different scales. The outcome: a small-scale building for musicians served as a testing ground for newly established principles.
he second part introduced the critical narrative of the main project, which is based on the selection and careful analysis of the particular object for collection, and reflection of its qualities in the form of the small pavilion prototype and it’s location within Newcastle. The culmination of this work is the Show/Store building - a special private storage facility with a public display for the chosen object.
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[Conceptual Framework]
The Primer. Between Music & Architecture Developing the theoretical context
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he project has started from analysing texts, written by an architect and musician for any common themes in process, methodology, composition in order to translate them from musical terms into architectural language of models and diagrams. The main researched subject was Peter Zumthor’s book “Atmospheres�. By developing the methodology through the series of different scale prototypes of the perfomance and contemplation spaces for musicians, we set design rules for the following stage of this project. The site and its context were remaining unknown in order to concentrate us on spatial qualities, materiality and hypothetical
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These three primary sentences from researched texts on music and architecture defined the design principle for the conceptual framework of the year-long graduation project.
The Design Principle
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he design principle of Tempering Spaces has to do with the way we can temper the environment of the building alike musical instruments. It is about setting a certain physical and psychological temperature, defining the spaces, their functions and wellbeing of its users by selecting particular materials and light quality, which would be strongly linked together in a structure of the building.
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[The Prototype One]
Conceptual interpretetion in a series of sketches
Tempering spaces
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he idea of the Prototype One model is based on highlighted principle of Tempering Spaces, based on Peter Zumthor’s book “Atmospheres” and K. Stockhausen’s interpretation of the word “stimmung” - tempering the pianos, the search for the right mood in the sense of instrumental tuning, atmosphere and group of people, so the temperature is both physical and psychological. This is essentially a prototype of the space for contemplation and rest.
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The xploded photo of the Prototype One model
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he First Prototype is a simple space composed out of two halves, which are constructed out of different materials. The left part is made out of plaster, pigmented with ink to represent the concrete as a cold and solid material, which is tuning the space for unnatural and austere atmosphere. The right part represents a warm and natural atmosphere formed by thin pieces of wood with an articulated timber framework. Composed together, they aim to signify the difference in perception of a singular space depending on material.
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[The Prototype Two]
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his prototype continues to explore the idea of Tempering Spaces based on Zumthor’s book “Atmospheres” and K. Stockhausen’s interpretation of
“Stimmung”. The plaster cast model is also introducing a one of compositional typologies from Prototype One, showing a sequence of spaces – performance, contemplation and contemplation room, where each is tuned with particular light conditions in response to their functions. The slanted walls of the model give a distinct dynamic character to spaces. The section sketch development for the Prototype 2 model
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The 1:50 Section cast model demonstrating a small perfomance space and rooms for rest & contemplation
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The prototype also explores the impact of various rough textures on atmospheric tuning of different spaces
The casting method for prototyping was chosen due to material honest ability to represent the atmospheres
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[The Prototype Three]
The technical sketches exploring into structural integration of materials
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he Third Prototype focuses on explanation of the researched themes in the construction design. The example model without surface finishes on the right is served as a structural intent for the concept of Tempering the Space in 1:20 scale, demonstrating how two spaces for contemplation and relaxation can be constructed with contrasting structure and materials. The contemplation space is suspended inside of the casted resting space.
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The detail photographs of the Prototype Three showing the junctions between steel and timber
The Prototype Three model fragment of the suspended contemplation space in 1:20 scale
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[The Object]
The Incubator. A prototype for the storage and exbition of the selected object
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he incubator phase of the project is concentrating on a small prototype for a storage and show space for an object related to the themes of the first Primer phase. At first, we needed to choose an object and develop an analogical design prototype and methodology based on its qualitites or making process. For my Incubator I chose a cast model, which is essential tool for representation of my atmosphere-based design concept of Tempering Spaces. Than, we were asked to specifically allocate it within Newcastle city centre, which would either replicate or enhance the quality of the displayed object. Essentially, the Incubator is a testing ground for translating various ideas of the object into a conceptual framework for the next phase of the project. 26
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Architectural cast models done by various students
Casted Architectural Models
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he chosen object for the Incubator is an architectural cast model. What really exciting about it is an ability as to represent the form as a sculpture, but also depict atmospheres with a combination of textures and light, which is closely related to my concept of Tempering Spaces.
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[The Incubator Concept]
[The Process of Casting]
Casting Process
Sculptural quality
Crafting the formwork
Assembling the form
Framing the object
Tempering spaces
Pouring the material
Removing the framework
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he Incubator concept is about taking a cast model and reflecting the process of casting, its unique sculptural and atmospheric qualities into a building form of a small pavilion.
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[The Incubator Site]
[The Incubator Site Diagram] The George Stairs The abandoned walkway
The panorama of the selected Incubator site on an abandoned concrete walkway
The main access
The site photographs in the nearest context
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he Incubator was placed on the top of the abandoned concrete walkway, remaining from the unfinished 1960’s masterplan for East Pilgrim area of Newcastle upon Tyne. It’s materiality and construction have a link to the object quality, while the location and site synthesis have a strong link to the chosen site for the future Show/Store building on of the former Bank of England.
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[The Site Relationship]
[The Comparative Site Analysis]
The top view photograph of Newcastle showing a site for the Incubator (The George Stairs) and the Show/Store (the East Pilgrim St)
The proposed Incubator site
The proposed Show/Store site
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t was crucial to allocate the Incubator in a particular place within Newcastle city centre, which could clearly demostrate the link between the both sites as well as be placed in a such way, which informs the site condition at the end. Both sites are essentially the pieces of larger structures in the past in derelict condition, surrounded by a heavy traffic, dominated by the high-rise development and disconnected from main public paths despite their proximity to the city centre. 32
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[The Structural Concept]
[The Design Development]
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he design process started as a series of handrawn sketches, which covered up different aspects of the design concept starting from how the object will be exhibited to the construction aspects of the pavilion shell.
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he essential idea was to interpret casting process and its sculptural quality, which potentially suggest the structural approach for an upcoming Show/Store project in a form of pavilion for the display of the cast. The concrete walkway, chosen as a site is translated as a base cast.
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[The Structure]
The 1:100 Conceptual Model demostrating the form of the Incubator
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[The Structural Model]
Sculptural side
The interior with suspended object
Methodological side
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he structural model in 1:20 scale is only a fragment of the intended construction,which investigates into the details of the Incubator’s construction and exhibition prototype for the Show/Store building.
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[The Incubator Pavilion on the site]
The view from the George Stairs
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he Incubator pavilion from the bottom of the George Stairs impose itself as a large cast sculpture sitting at the top of the concrete walkway, while concealing its second half.
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The view from abandoned concrete walkway
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hen it is approached from the top, the Incubator reveals its unfinished part in order to inform the visitors about the construction process behind it and showcases the object, highlighted by the hollow in the casted shell.
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[The East Pilgrim Area]
The Masterplan Redeveloping the East Pilgrim Street area
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he Masterpaln phase of the project is concentrating on the design of the actual site for the graduation project - the East Pilgrim Street area. The aim is to not only locate the two buildings on the site, but try to design a missing surrounding context based on a conceptual analogy of a small inner city, where the site should be initially treated as a block with carved out buildings and public spaces rather than a piece of empty land. The second aim is to place and develop a massing strategy the Show/Store building, which will later inform the design process. 42
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Abandoned bus terminal. The view from the corner of the Pilgrim and Worwick St.
The site panorama. The view from the corner of the Pilgrim St.
The sloping car park & the pub. The view from the bottom of Carliol Square St.
The central courtyard of the site. The view from the elevated car park
The sloping car park & remains of the Bank House. The view from the elevated walkway
The former site of the Bank of England. The view from Pilgrim St
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[The Primary Site Analysis]
[The Historic Site Data Analysis]
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he analysis of the historic maps before 1960’s Masterplan of the area suggested the most important historic public routes through the site and other elements, which could be potentially ressurected. The central core of the program was to redefine the existing historic passage Bell’s court (highlighted area on the map), which dissappeared after the demolition of the Bank of England.
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The Casting Process
[The Conceptual Methodology]
Creating a negative cast
Creating hollows in the cast
Carving the cast
Refining the cast
Projected Tectonics
Extrusion of the potentially workable area
Path projection
Organising central space
Justaposition
Masterplan Reflection
Casting the Masterplan
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he approach to the masterplan design is related to the chosen object and suggested by the casting process. The site volume was initially treated as form of the solid cast extruded from the suggested area outline and then manipulated using an analogy of the processes like filling, carving, hollowing and refining. This helped to develop an approach, which treats the site as a form of a small utopian inner city allowing for a better organisation of various functional zones. Outlining the overall redevelopment area & the protected buildings
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Mapping public spaces for various activities
Creating new/preserving old pathways through the site
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Outlining all the buildings on the site as a result
[The Functional Development]
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arallelly with the casting methodology, the masterplan was approached through the series of diagrammatic plans, outlining the functional zoning such as public spaces, retail and leisure and housing developments in accordance with the Newcastle Council planning guideline for the East Pilgrim Area. The series of sketches demonstrate the development of functional clustering across the site.
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[The New Carliol Square proposal]
[The Urban Precedence]
The aerial view on Vabaduse Valjak, Tallinn
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he key public space of the new masterplan is the New Carliol Square - a new outdoor music perfomance and recreational area, situated on the Eastern part of the site plan. It will functionally link the Chamber building with the rest of the site by providing an additional space for musical and other live perfomance events. 50
The original competition model in 1998
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The Amphitheatre part
he main precedence for this was the Freedom Square in Tallinn (Estonia), which is separated into two areas - flat public square for occasional markets, parades and celebrations and the sloping amphitheatre for special events like live music & dance perfomances and movie screenings. The space underneath the square is used as a car parking.
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[Locating the Show/Store on the Masterplan]
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[The Proposed Masterplan]
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[The Final Masterplan in detail]
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[The Project Brief]
The Show/Store. Peter & Alison Smithson Architectural Foundation in Newcastle upon Tyne
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ithin the context of the Show/Store project, we were asked to develop a personal project brief and design a building research facility for the storage and show space based on the selected object of the collection from the Incubator project, which is the casted architectural model. The Show/ Store building was developed in conjunction to the Primer, Incubator and the Masterplan phases of the graduation project, which conceptually informed its design methodology and tectonics.
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Herzog & de Meuron architectural archive in Basel
Architectural Archive
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he developed brief took the selected object narrative of casted architectural model and expanded it into a program for a four-storey (3500 sqm) Peter & Alison Smithson Architectural Foundation in Newcastle upon Tyne, which stores and displays means of architectural representation within the three linked programs - the Smithson’s Gallery, the Research centre and the Northern RIBA Archive. The Smithsons Gallery holds a permanent gallery for cast models as the program centerpoint accompanied with temporary galleries for drawings and architectural artefacts. The Research Centre provides with information about local modern architecture for researchers and students of local universities, while the Northern RIBA Architectural Archive stores the documents and means of architectural representation of the entire region.
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[The Project Program Diagram]
[Why the Smithsons?]
Celebrating the architects
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he building primary function is an archive & research center with various architectural showspaces available for general public. The selected collection is architectural cast models as a permanent exhibition part alongside with selected models and drawings celebrating the work of famous local architects and their contribution into Modern Architecture discourse.
lison and Peter Smithson were one of the most prominent architects from the North of England, who’s work was closely researched for the dissertation. Their theoretical texts and design concepts gave a start for the whole new era in Modern architecture called “New Brutalism”, which attracted my attention with its strong idea of ethics and monumental aesthetics. The Smithsons influenced my research for the tectonics of the Show/Store building, which lies in the idea of “honesty of materials as found” and distinct monumentality in appearance, which essentially link it with selected object for the collection.The proposed title for this building is my personal tribute to their contribution into the course of Modern Architecture.
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[The Concept One]
Material Contrasts
[The Precedence]
Textural Contrasts
Light Contrasts
The Therme Vals, Zumthor
Structural Contrasts
Tempering Spaces
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he first concept for the Show/Store building is an idea of the Temperature of Space informed by Peter Zumthor from his book Atmospheres from the Primer stage of the Project. The concept is about how the light gets into the space and tempers the particular atmosphere in combination with various materials, their textures or a choise for a contrasting structural solution.
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The Swiss Sound Box Pavilion, Zumthor
Tuning Atmospheres
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he design process was informed by the analysis of Peter Zumthor’s architectural precedence, which suggested various approaches to atmospheres of public spaces. In Therme Vals spa complex, Zumthor’s choice for a local stone with rough grey texture and ambient skylight cuts tuned the overall atmosphere of the building to cold and spiritual space in order to contrast hot swimming pools. Although, the Swiss pavilion demostrated a different approach to environment where the feel, texture, color, even smell and sound of wood was given dominant precedence, visually and psycologically tuning the atmosphere for the warm and calm relaxing space to walk around.
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[The Concept Two]
[The Precedence]
The completed Holy Redeemer Church, Menis
The plaster cast architectural model by Michelle Reuter
The cast compositional model for Holy Redeemer Church, Menis
Sculpting the volume
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he second concept is the sculptural quality of the selected object from the Incubator phase - the architectural model cast and its interpretation in tectonics of the building. It is about taking a cast model and reflecting the process of casting and its unique sculptural and atmospheric quality into a building form. The main objective was the search for architectural influence, which would establish the link between that solid sculptural quality of the cast model and monumentality for the Show/Store as an archive & collection.
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The dramatic interior of the Holy Redeemer Church, Menis
Casting the Building
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he Spanish architect Fernando Menis start as a series of concrete casted, plasticine or masonry models to indicate sculptural language of the form and materiality of proposed design, so that the finished building is usually perceived directly from them. His use of line and compositional drama approaches projects not only with reason, but with form and movement and the drama of material and space. The spaces are always atmospheric, filled with natural light and rich on various textures expressively corresponds to the developed concept of Tempering the Space and can no doubt be visually perceived as a large architectural cast.
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[The Concept Three]
[The Precedence]
The timber formwork of MAGMA Arts and Congress by Fernando Menis
The exposed timber formwork part of the Incubator Pavilion in process
Reflecting casting process
The Incubator Pavilion
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he third concept continues to explore the essence of the selected object as a cast, but more into details about the process of casting itself. Essentially, it is about the reflection of the process of casting in the building design, structure and more impotantly - the finishes of the interiors corresponding to the framework of the concept of Tempering the spaces. The elements of timber framework for concrete become translated as various architectural elements.
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he focus was to design a building, which will continue reflecting previously developed conceptual idea of an architectural casting, firstly implemented in the design of the Incubator Pavilion with its deliberately exposed concrete shuttering part demosntrating how the process of its construction impacts on the final design of the Show/Store building.
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[Architectural Archive Research]
The Drawing & Document archive of Museum of Finnish Architecture in Helsinki, Finland
The model archive of The RIBA Archives Collection in Fulham, London
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he Museum of Finnish Architecture in Helsinki provided me with some professional advice on architectural archive organisation over a week prior to the start of the actual design of the buiding during the Easter break. The RIBA Archives Collection also provided me with the detailed information on the model preservation techniques and storage organisation. The outcome of the study trip was eventually reflected in spatial and functional organisation of the buidling, which were either personally observed or suggested by the curators of drawing, document, photo and model archives, leaving less space for a mistake.
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Travel notes on the spatial organisation of architectural archives from trips to London and Helsinki
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[The Form Synthesis]
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he Show/Store building form development process is essentially a synthesis of various ideas taken from all of previous stages of the project. The Masterplan development in a combination with old mapping analysis from 1900’s helped to outline the potential form of the building as three separated segments under the metaphoric translation of the preexisting site pattern. The project brief has also clearly outlined the organisational structure of the Show/Store building around three departments for Show, Study and Store under one programme of establising an Architectural Foundation. Finally, it was important to treat the building volume as a sculptural entity itself reflecting the conceptual framework from the Incubator stage of the project explained earlier.
The Show/Store building form synthesis process based on the Masterplan
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[The Massing Development]
1:500 concept massing study model on the site
Variations in forms
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he previously developed Masterplan suggested the idea of separation of the building as a singular volume in 3 separate sub-parts, interconnected with transparent bridges allowing people to pass through the builsing. The main focus was to experiment with various forms, which would not only empasise the building’s appearance as a cast, but most importantly to successfully fullfill the oulined program from the developed brief to create an archive and research building with a public showcase.
The series of sketches, which demonstate the process of form development
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The form development of the Show/Store building form sketches
The development of 1:500 massing study models, showing various configurations of three clusters.
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[The Sectional Approach]
The section sketch of the Show/Store section
Designing through the section
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he Variations studio brief stresses sectional thinking as a core method in the design process, suggesting its active use during the tutorial sessions and study trips. Among various representational techniques, sections communicate the connection between the inside and the outside of a building and the relationships between the building’s rooms. Previous project presentations relied on detailed plans supplemented with interior drawings suggesting spatial organization, although the disadvantage of this approach was in an inability to represent atmospheres, which is crucial for the conceptual framework of this project. The development of the Show/Store building through the series of handrawn sections
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The perspective sketch of the Show/Store building
The atmospheric conceptual section of the Show/Store building based on the sketch
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[The Floor Plan Development]
The napkin sketch of the Show/Store building internal organistaion
Variations in floor plans
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he outlined brief for the Show/Store building has a quite complex internal program with a great variety of spaces for preservation, conservation, study about local architecture and the means of representation. During the development stage of the project we were encouraged to redraw the floor plans at least four times each, making variations of the same spatial organisation before they could settle on one particular variant. These are series of the Show/Store ground floor sketch plans on different stages of building’s development
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[The Show/Store Atmospheric Cross Section] 86
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[The Construction & Materiality]
The Tectonic Intent
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he primary structure of the Show/Store building is heavily reinforced insitu concrete monolyth with all walls, floors and load-bearing elements like beams, columns and slabs gradually casted in phases during the construction. This choice of was dictated by the conceptual narrative of the building as a cast although the chosen construction method is complex, costly and not practically sustainable. In order to achieve great visual tectonics of the building, the design concept proposed a series of slanted concrete walls, although with a main risk of horisonal shift of a tilted structure by gravitational forces. This issue was adressed by series of vertical circulation cores acting as anchors for the structural floor plates, which are braced with 350mm heavily reinforced conctinuous from the foundation level in-situ concrete walls.
The diagram sections of two clusters showing the floor construction
The Building Structural Diagram
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The Store Department cross section (original scale 1:20)
The Study Department cross section (original scale 1:20)
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The Show Department cross section (original scale 1:20)
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[The Structural Precedence] 1 2 3
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Casting the volume
The Wall to Floor Detail 1:20 1. 350 mm Load-bearing exterior in-situ concrete wall, self-compacting, coloured with pigments 2. 75 mm Thermal rigid insulation 3. Vapour control layer 4. 100 mm Galvanised light steel frame 5. 50 mm gypsum fiberboard (Note: the wall lining varies from space to space) 6. 20 mm Polished screed flooring 7. 250 mm Insitu concrete floor slab 8. 450 mm Insitu concrete underfloor beam 9. Air-conditioning duct 10. Suspended ceiling system
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he selected structural approach to the Show/Store building was suggested by the concrete construction method of Holy Redeemer Church by Fernando Menis. The whole Primary structure of the building is conceived as a casted in-situ monolyth, which is formed by meticulously made complex timber shuttering with slanted wall. This type of construction allows to recreate the sculptural quality of the building as a cast, which conventional prefabricated or framed concrete structures with external cladding are not capable to achieve.
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[The Materiality]
[The Fabrication Process]
Recreating the shuttering of the formwork
Pouring concrete mixture
The timber formwork and casted concrete panel with emphasised texture
Beton brut Imprinting the richness of timber texture on the surface
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he primary surface treatment of the Show/Store building needed to reflect the craft nature of the object and its process of making. The Béton brut, which translates as “raw concrete” from French, is characterised by imposure of unfinished or roughly-finished surfaces after casting, where the final surface often represents the imprints of nicely crafted forms and elements of the timber shuttering.
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hese pictures are representing the process of creating a sample of concrete finish surface of the Show/Store building. The imprinted texture of the formwork should not only visually establish the image of the building as a cast, but also contribute in creation of a certain atmosphere within the interiors under the concept of Tempering Spaces.
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[Material Prototype Section]
Upper level The idea of extending the play of natural daylight through the skylights
Intermediate levels The idea of using a rough texture of concrete to define the sculptural quality of the space
Underground level
The conceptual section sketch
The idea of tuning underground spaces for warm atmosphere using visually light and natural materials
Variations in materials
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he material strategy of the building was dictated by the concept of Tempering Spaces, which is about setting the particular spatial atmosphere by choosing certain materials and light. The prototype section of the gallery space demostrates how each level has a particular internal finish in response to the atmosphere it requires. For example, the drawing gallery, which requires low humidity and no natural daylight, was wrapped with a timber lining treated as a concrete shuttering, tuning this underground and dark space for visually warm and comfortable atmosphere. The 1:20 section prototype of the Smithsons gallery
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[The Show/Store Construction]
[The Precedence]
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Precast concrete rooftop precedence was the Hepworth Wakefield Gallery by David Chipperfield
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The Roof Detail 1:20 1. 100 mm Precast concrete ballast roof panel, self-compacting, coloured with pigments 2. 180 mm EPS thermal rigid insulation 3. Hydrodrain waterproof drainage layer + waterproof layer 4. 170 mm in-situ concrete supporting roof slab 5. 75 mm Rigid thermal insulation 6. Vapour-control layer 7. 450 mm Reinforced in-situ concrete roof support beam 8. Suspended ceiling system 9. Gypsum fibreboard ceiling panel 10. Air-conditioning duct
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The design of heavy load roof structure was taken from Tate St Ives art gallery designed by architects Evans and Shalev
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he sloping concrete rooftop is one of the most prominent features of the Show/Store building, letting the daylight to come into spaces through skylights and achieve a visual image of the building casted as a single sculptural piece. In order to reflect that, the roof design incorporated a ballasted system of external precast panels, which would visually continue the play of exposed concrete facades as well as conceal the insulation and waterproofing system underneath, letting rainwater to be streamed to hidden gutters. As panels are heavy, the roof ’s primary structure is composed out of 450mm deep in-situ reinforeced concrete beams and slab at the top in order to support the load of the system.
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[The Show/Store Construction]
[The Precedence]
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The skylight windows of Kiasma museum designed by Steven Holl
The Skylight Detail 1:20 1. Rooflights 17.5 mm laminated safety glass, 18 mm cavity, 12.3 mm laminated safety glass 2. Skylight window aluminium frame, powder-coated 3. Zinc capping with sealant 4. Dressed with two layers of Hydrogard waterproof drainage layer steel gutter and aluminum flashing 5. In-situ concrete eaves beam 6. 30 mm Rigid insulation to prevent cold bridging of eaves detail 7. 450 mm Reinforced in-situ concrete roof support beam
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8. 350 mm Reinforced in-situ concrete wall 9. 75 mm EPS Thermal rigid insulation 10. Vapour control layer 11. 100 mm glavanised steel light frame 12. 50mm Precast concrete decorative lining panel with Beton brut finish 13. Powder-coated pressed aluminium flashing 14. 180 x 75 mm Steel C-section 15. 170 mm in-situ concrete supporting roof slab 16. Suspended ceiling system with gypsum fibreboard ceiling panel
Lighting on things
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his detail for the Show/Store was developed as a solution for indirect natural lighting of spaces such as drawing research rooms and gallery spaces, demanding strict conservation guildelines and usually depending on artificial solutions. The recently visited Kiasma museum in Helsinki suggested the use of skylight window, which is specifically positioned on the junction between the wall and roof, allowing to illuminate exhibited work without damage. The skylight window fills the space with diffused atmospheric light, which becomes an essential instrument in achieving certain spatial atmosphere under the concept of Tempering Spaces. The gutter surrounds the frame, which is hidden behind elevated concrete parapets, creating a seamless effect between the roof and wall described earlier.
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[The Show/Store Construction]
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[The Precedence]
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9 The constuction process of underground level founations
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Preserving the precious
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The Retaining Wall to Foundation Detail 1:20 1. Independent wall lining system with timber finishes, stylized as a timber shuttering 2. 75 mm Screed with epoxy floor coating 3. 300 mm In-situ reinforced waterproof concrete slab 4. Two layers of waterproof membrane (DPM) 5. 150 mm Coarse sand 6. 250 mm Crushed hardcore
7. Pile cap waterproofing solution 8. 280 mm Poured Concrete Pile with cap at the top 9. Perforated drainage 10. Hydrodrain channel leading to drainage pump 11. 75 mm EPS rigid wall waterproof insulation 12. 65mm Drainage membrane
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13. 14. 15. 16. 17. 18.
350 mm In-situ reinforced waterproof concrete retaining wall Two layers of waterproof membrane (DPM) Geotextile protective filter layer Granular backfill Pavement slabs on the layer of compacted base coarse Pavement drainage channel
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his detail is showing the layers of construction of the Show/Store underground spaces - the drawing gallery, vast archive spaces and building services, which are located 5500mm below the ground level. This requires a series of preventive measures, which can protect spaces from water penetration, draught and heat loss. The proposed solution is a complex system of underground fondations composed out of poured piles with raft insitu reinforced slab casted over and bounding it around the perimeter 350mm deep insitu reinforced concrete retaining walls. The internal drainage canal is connected with the overflow pump, which (ref.#10) removes the excess of water in case of any potential leaks.
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[The Environmental Strateries]
The initial diagrams of the environmental stategy for the buiding
Taking from the concept
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he environmental strategy for the Show/Store building takes the ideas directly from the Show/Store concepts. The use of thermal mass was dictated by monolythic volume of the building as a concrete cast. The concept of Tempering Spaces was directly interpreted into an idea of using a Variable Refrigarant System, which sets the particular climate within particular space, creating a unique environment in each of proposed atmospheres defined by with materials. The rainwater harvesting was suggested by large sloping concrete roofs of the building. The stack ventilation is a result of a series of hollow voids inspired from cast models, thought which the warmed air passes from lowest level to the top.
T
he exposed East facade has employed a Passive Heating strategy with a continuous curtain wall system allowing polished concrete floors of study spaces to absorb the energy throught the day. The facade also incorporates a coil based Passive Ventilation System, which controls hidden louvres in the curtain wall system and lets the fresh air into the space. When temperature drops down the certain point, the coil shrinks closing the louvres and preventing the heat to escape. The Environmental Strategy diagrams of the Show/Store building
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[The Facade Concept]
The West (front) and East (back) facade sketches
The West (front) facade concept sketches
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he concept for facades of the Show/Store building is based on the idea of the sculptural quality and process of architectural cast making. The West facade facing Pilgrim Street has a distinct monumental image of the cast with emhasised concrete ribs with cast in gaps on the surface to partly absorb and reflect the noise coming from Newcastle central motorway.
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T
he East facade of the Show/Store building proposed an extensive glazing system, which faces the New Carliol Square of the proposed Masterplan, giving nice views on the public spaces and providing a passive cooling for building users.
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[The East Facade Concept]
[The Precedence]
The sketch of the timber framework for in-situ concrete casting process The slanted timber fins
The Framework Facade
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he idea for the East facade was inspired from the process of casting - the timber formwork for in-situ concrete walls. The timber shuttering was interpreted as a decorative external layer of continuous glulam curtain wall system with imposed vertical timber stud elements acting like a solar shading while the service gaps between the floors of the building are covered with panels of timber sheating, which conceales a passive ventilation system beneath. Initially, the window itself is a basic form of framework, which holds the glass whitin.
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The play of shadows created by the timber fins
The face of craftmanship
T
he design of the Nexus Health Clinic by Billard Leece Partnership reflects its aim of creating a new focal point by revealing characteristics of unique craftsmanship and intrigue. The facade features a dynamic pattern of angled engineered timber fins that frame the views beyond while providing a distinctive aesthetic. The slanted timber fins create a dynamic play of shadows thought the day, protecting from the extensive sunlight and glare the large windows. The facade is perfectly balancing between its transparency with combined glazing, excellent craftsmanship and functionality.
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[The East Facade Structure]
[The Passive Cooling System]
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he facade has an integrated Passive Cooling System, which is based on louvres controlled by a thermally sensitive coil. When the external temperature hits a certain degree, the coil shrinks and opens louvres letting the fresh air into the building.
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[The Facade Prototype]
The external panel concealing the passive ventilation system
The ventilation gap detail
The prototype model also represents the layers of construction
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[The West Facade Concept]
[The Precedence]
Plaster casting prototype of the acoustic wall from the Primer project
UniversitĂŠ de Grenoble Amphitheatre by Louis Weil
The Acoustic Wall
Sculpted shell
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he idea of the Western facade was suggested by a problem of reducing the noise impact from the Pilgrim Street and central motorway on the Show/Store building as well as the center of the Masterplan. In order to do that, the fronts of facade were freed from any openings and got a series of articulated concrete ribs with rough texture acting like an acoustic barrier or reflector. It scatters the sound across the surface, while some mid-frequence noise can be absorbed by the casted gaps on the edge of each rib. This element was taken from one of the Prototypes of the Primer project.
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T
he structural precedence for this solution was looked from Louis Weil Amphitheatre on campus of Grenoble University. The architect Olivier-Clement Cacoub was deliberately trying to create an image of the sculpture in the appearance of this public building.
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[The West Facade View]
The view on the monumental west facade of the Show/Store from the Pilgrim Street
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[The Top View]
The view on the monumental west facade of the Show/Store archive from the top
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[The East facade view]
The view on the framework east facade of the Show/Store from the top
The view on the framework east facade of the Show/Store from the proposed New Carliol Square
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[The Interior Explorations]
[The Entrance]
The Library reading room space concept sketch
The Journey through the building
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hese series of skecthes will introduce the journey through the public areas of the Show/Store building, which starts from the entry lobby and ends up in the drawing research room.
The main entrance and staircase passage sketches 120
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[The Gallery Void]
The gallery void render showing the glimpse of the gallery spaces
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he gallery void is a tall glass covered space, which was initially a gap between the Show and Study compartments of the building. This space allows to accomodate large drawings and relief casts, which can be mounted on the long slanted wall, allowing for more comfortable overview for the visitors. The space is an interpretation of one of the semi-internal alleys, which preexisted on this site before.
The gallery void sketches taken from the top & bottom of the ramp passage, which was originally proposed for the building
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[The Drawing Gallery]
The rendered detailed section of the lower drawing gallery
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he drawing gallery interior sketch is showcasing the idea of the casting process of the Show/ Store building. The imposed timber lining of this space is a methaphorical translation of timber shuttering as a decorative and crafted element. The series of framework’s wall studs essentially help to frame the view on exhibited drawing pieces as well act as a flexible mounting system for larger pieces.
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T
he decision of placing the drawing gallery at the bottom of the Show building was dictated by the preservation concerns. I learned that the original drawings and photo materials should not have any direct exposure to the daylight with harmful UV-light, be ideally in low humidity and acid-free materials. The timber lining also contributes into required temperature and humidity regulation within the space.
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[The Intermediate Gallery]
The rendered fragment of the intermediate gallery space demonstrating the materiality of Beton brut and projected light quality on casted relief models
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he intermediate gallery space has a special interior with dramatic floor voids at the top, which aim to highlight the exhibited objects, while the most sensible ones are protected from the light in the middle of the room. The concrete precast thin panels with Beton brut imprint from shuttering are forming the lining of the space and enhance it atmospherically with the play of the daylight on its rough texture. 126
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[The Upper Gallery]
The rendered fragment of the intermediate gallery space demonstrating the projected light quality
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he intermediate gallery space has a special interior with dramatic skylights at the top, which aim to highlight exhibited objects. The precast concrete thin panels with smooth polished surface are forming the lining of the space and enhance the light quality when exposed to the daylight. The exbibited cast models are suspended to the ceiling on light metal framework, which should visually disappear under the daylight creating an image of a heavy casts floating in the air.
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[The Drawing Research Room]
The rendered detailed section fragment of the drawing research room
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he drawing research room is a double height space, formed by a small temporary archive space at the bottom with adjacent tall void space for students and researchers to work with the precious architectural documentation on large desks and the archive curators office at the top. This particular composition of space was observed from architectural archive research trips, which essentially allows the curators to directly observe and control the people, who work with documents. The space has a very ambient light quality for the protective measures.
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T
his section fragment of the drawing research room demonstrates the contrast of materiality between the spaces, which was crucial in order to set them for the particular atmosphere for concentration in the office, interaction in the void and preservation in small archive compartment.
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[The Location]
The Chamber. The house for musicians Defining Functions and Atmospheres
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he Chamber project was essentially a continuation of the Primer exercise, which was based on the translation of the ideas between the music and architecture and development of conceptual framework for the graduation project. During this project we were introduced to the site for the first time, which is East Pilgrim Street and provided with a brief, which asked for an temporary accomodation and perfomance space for a group of four students composers. The Chamber design was not meant to a be refined building, rather that being a testing ground for the conceptual ideas for the future proposals based of the design principle of Tempering Spaces from Primer.
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The Worswick Bus station in 1950’s
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The site chosen for the Chamber building
The former Worswick Bus station today
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he site for the Chamber project was chosen to be on the spot of the former Worswick bus terminal, which used to be one of the main bus stations in Newcastle up until 1990’s. The location was dictated by the idea of opening an alternative access point into the site by demolishing the old building and introducing the Chamber with a large passage way to the center of the masterplan, cutting through the long site.
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[The Concept One]
[The Sectional approach]
The diargamatic long section of the Chamber organisation
The concept sketch of the functional cluster
Clustering by function
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he main idea behind this concept is to design a building covering the brief requirements, but in a such way that similar functions or activities can be combined together in a form of a cluster, which then is defined from other with a system of thresholds. The developed approach was used for the larger Show/Store building.
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The Social Cluster
The Living & Perfoming Cluster
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The Music & Recording Cluster
he provided program brief was analysed and the essential functional requirements were combined in 4 clustersections of the building. The Social Cluster contains all the public amenities such as a small bar, public toilets, office, ctothing storage and meeting area for temporary activities.The Living Cluster is formed by a long lounge with library and common room, which is then connected to the private maisonette accomodation for four musicians seating above the Perfoming cluster. The Perfoming Cluster is essentially a perfomance area. The Music & Recording Cluster is composed out of the rehearsal area with recording area above it and the instrumental storage underneath. The rehearsal area repeats the stage organisation of the main perfomance area.
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[The Chamber Prototype Two]
[The Chamber Prototype One]
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he 1:500 program model for the Chamber, showing the idea of the cluster division by concrete partitions, which defined the basic public & private and functional thresholds of the building.
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he 1:100 model of the Social Cluster. The main idea was to test a possibility for flexible design of the floorplans, allowing for potential changes in the future
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[The Building Program]
[The Social Cluster]
Responding to the context
Clustering by the function
Setting thresholds
Orientating for the solar gains
Accessing the building
Creating public spaces
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he Chamber’s main brief requirement was to design an accomodation and perfomance space. The other functions were sorted into three functionally different categories and designed individually. These series of diagrams outlined the basic program of the Chamber building covering the site responce, form and function, accessibility. 138
T
he Chamber’s Social cluster is essentually a space for a general public use. Each level has a particular function, where the lower levelis a bar with restrooms with an access to the perfomance area, the ground level with the foyer and cloakroom for clothing. The first floor level is used for a temporaty bar or other catered events, while the top level is an office space for the building managers, who can observe all of the floors through voids. 139
[The Building on the Site]
[The Living & Perfoming Clusters]
Private
Semi-Private
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he Chamber’s Living & Perfoming Clusters are designed to accomodate the musicians and entertain the public respectively with no connection between them. The Perfoming cluster is a small music hall for 200 people, which is formed by the concrete volume. The living cluster is formed by a long semi-private lounge space with an open plan arrangement and four independent maisonette living units streched alongside it, composed out of SIP panels. The flats are designed with a threshold between the semi-private and private parts of the accomodation. 140
T
he Chamber building shape was deliberately intended to be simple, restrictive for more challenging arrangement and feature the pitched roof, copying it from the existing context of the bus station shelter and the late 19th century church on another side of Worswick street.
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[Light Precedence]
[The Concept Two]
Tempering by the light
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he main idea behind this concept is to continue exploring the narrative Temperature of the Space from the Primer stage of the project, but the main focus is to play with the different light combinations withing the all four clusters of the Chamber. The idea is to tune the clusters separately in relation to their function in order to reinforce the previously explained idea of separation.
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Prince George Airport by Michael Green Architecture
House renovation project by Unit Architects
Chapel of the Holy Cross by Peka Pitkanen
The Nelson-Atkins Museum of Art by Steven Holl
The idea of exposing the largest semiprivate lounge area of the Living Cluster with large south facing glazing with system of louvres.
The idea of letting the light to pass through the private spaces into the public area from above.
The idea of dropping the natural light into the perfomance area from above skylights.
The idea of permitting the light into private spaces through public with remaining visually strong separation.
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[The Experiential Section]
[The Experiential Section]
The Social Cluster
The Living & Perfoming Cluster
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[The Experiential Section]
The Record & Rehearsal Cluster
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[The Case Study One]
The Portugal Study Trip 2015. Form and light matters
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he Portugal trip was organised in order to broaden our architectural knowledge of the Critical Regionalism, which is a relatively new term describing the modern architecture featuring the traditional elements or a design language of the country it is being designed and built. In Portugal, it is the architecture of Alvaro Siza and Souto de Moura, who’s work was widely observed and documented during the trip. Personally, I would like to give an outlook on the particular examples of architecture, which inspired the conceptual development for my graduation project or suggested a certain approach to material and light.
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Casa da Musica overview. Photo by OMA
The sculpted void
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his building was truly one of the most interesting we have visited duting the study trip. What was impressive about is its bold image as a casted monolyth, standing out from surrounding delapidated context by imposed scale, materiality and style, but at the same time corresponding to the urban grid by the way it was placed on the site. It was designed by Rem Koolhaas and his practice OMA as a major flexible perfoming venue in Porto for various types of music from classic to contemporary. 149
[The Case Study Three]
Casa da Musica interior photos taken during the trip
T
he spaces inside of the building have a very distinct sculptural quality, being formed by a very complex concrete framework.
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[The Case Study Two]
Casa das HistĂłrias Paula Rego red concrete exterior finishes
The touch of craft
T
his building is a gallery for Portuguese visual artist who is particularly known for her paintings and prints based on storybooks designed by Eduardo Souto de Moura. The exterior surface formed by a bright red coloured concrete with highlighted imprint of concrete formwork texture with a pair of pyramid-shaped towers reinforce the museum profile, giving it a dramatic sculptural character. The building’s external treatment influenced the Show/Store external finishes. 152
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[The Case Study Three]
[The Case Study Four]
The spotlight on activity
The depth of light
T
he SĂŁo Nicolau Baths & Wash House by a Portuguese architect Paulo ProvidĂŞncia is a very dramatic space for a laundrette. The building is concealed underground with only one skylight, which lit the washroom from above. What I found fascinating is that the daily washing routine in this space becomes a form of perfomance, where the process is being emphasised by the light. This idea was later reflected in drawing research room in the Show/Store building. 154
T
his photo was taken under the football field of Braga stadium designed by a Portuguese architect Eduardo Souto de Moura. What was fascinating about it is this space underground with a strong contast and depth of light coming through the gap between the play field and the tribunes. This quality was partly achieved in the gallery void formed by the gap between the Study and Show cluster of the Show/Store building. 155
[The Workshop One]
Thinking Through Making. Learning about materials and techniques
D
uring Thinking Through Making week, we broaden our structural awareness and learn how to use various materials and techniques to suggest the artistic approach to the conceptual development of the project. Altough we were offered a variety of material explorations, the casting workshops helped me the most to enhance my concrete and plaster mixing techniques, which was later reflected in a series of cast models for the Show/Store building development.
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Temporary liquid. Russ Coleman
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he Concrete casting workshop provided us with some extra knowledge of mould making for concrete casting. We were also taught various techniques and materials involved in concrete casting. The overall idea was to test various mould types and their limits to contain liquid materials. I also found quite useful the provided ratios for various concrete mixes. It will help me to achieve more accurate and detailed casts in the future.
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[The Workshop Two]
The Golden Journey. Matt Rowe
T
he Golden Journey workshop was about the Kintsugi ceramic repair technique, where we were asked to restore the fractured ceramic fragments back together with a mixture of polymer glue with golden powder. During this I personally got inpired for testing an idea of using similar approach, but with different materials with multiple pieces of concrete elements being connected together for architectural casting.
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In conclusion.
Meeting with Zaha Hadid duting RIBA Golden medal ceremony in 2016
“The Variation studio was a very exciting, but also tough design journey. Our great and inspiring tutors David McKenna, Kati Blom and Sean Douglas introduced to me a different design approach based on a mixture of analytical and conceptual methods, which I personally never used before, resulting into a very different level of the project. My biggest regards to them for everything.”
I would like to finish my portfolio with this quote: “When you are overworked and exhausted, there is a sense of kind of delirium and that’s why I think architects do all-nighters and they kind of do those deadlines. For four days I remember doing four nights in one row with no sleep. I mean nobody, unless you are crazy, would do that, but you are totally focused on the project.”
Alex Jusupov van Heiden
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Zaha Hadid
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