ALEXANDRA CARAUSU masters of architecture academic portfolio
ACADEMIC PORTFOLIO AND OTHER ACADEMIC PROJECTS - VOLUME 1 ALEXANDRA CARAUSU 150508913
Zanzibar futures - a study on the architectural environment of Zanzibar - linked research dissertation project
School design in Mozambique, Kenya architectural competition - organised as part of the Article 25 society
Concrete Utopia. A digital cemetery in Elephant and Castle, London - stage 6 thesis project
THIS PORTFOLIO CONTAINS SELECTED PROJECTS AND WORK DONE WHILE STUDYING TOWARDS A PART 2 QUALIFICATION AT NEWCASTLE UNIVERSITY. IT INCLUDES BOTH ACADEMIC UNIVERSITY PROJECTS AND EXTRACURRICULAR ARCHITECTURAL PROJECTS.
ACADEMIC AIMS AND ACHIEVEMENTS REFLECTIONS ON PERSONAL ACADEMIC GROWTH DURING THE MARCH COURSE ACADEMIC PORTFOLIO SUPPORTING ESSAY
The city has been erased in order for it to become a tool of forgetting. It has become a hard, sharp space, and it’s soft component, the human one has slowly been fading in favour of industrial or commercial structures. It feels like we are a confused mass, looking aimlessly for mentors, which we choose without good reason and more often than not from a wrong context. Architects seem deeply marked by the feeling of loss, even though maybe unsure of what they lost, and so WKH\ ÀOO WKH FLWLHV ZLWK ERUURZHG IRUHLJQ REMHFWV HTXDOO\ DV FRQIXVHG 7KLV LV ZK\ WKURXJKRXW P\ SURSRVDOV , KDYH VWULYHG WR gain a good understanding and familiarity with the place. It was also always at the back of my mind that in order to create VXFFHVVIXO DUFKLWHFWXUHV WKH KXPDQ H[SHULHQFH DQG LQÁXHQFH DV ZHOO DV DQ LQWHJUDWLRQ DQG VHQVLELOLW\ WR QDWXUH KDV WR EH present. &RPLQJ LQWR P\ 0DUFK GHJUHH DW 1HZFDVWOH 8QLYHUVLW\ DIWHU FRPSOHWLQJ P\ 3DUW DW 6KHHOG 8QLYHUVLW\ DQG KDYLQJ KDG years of practice experience, I had a pretty well formed idea about the kind of architect I wanted to become. The architecture I wanted to end up making was something along the lines of a socially and environmentally sustainable architecture, human orientated and honest and of its time. I have always wanted to do something that would contribute to a better world, save lives, and so, humanitarian architecture and international development have been interests I wanted to explore and gain a better understanding of. I have taken every opportunity to explore these themes during my MArch academic experience. Firstly, I had the opportunity WR EH SDUW RI D OLQNHG UHVHDUFK SURMHFW WKDW IRFXVHG RQ LQWHUQDWLRQDO GHYHORSPHQW SDUWLFXODUO\ LQ WKH GHYHORSPHQW RI =DQ]LEDU LQ (DVW $IULFD 7KLV ZDV WKH ÀUVW SURMHFW ZKHUH , ZDV DEOH WR WUDYHO WR $IULFD DQG KDYH KDQGV RQ FRQWULEXWLRQ LQ ERWK GHVLJQ DQG ÀHOG ZRUN %HLQJ DEOH WR GR WKLV WRJHWKHU ZLWK IHOORZ UHVHDUFKHUV ZKR KDG DOUHDG\ KDG JRRG H[SHULHQFH LQ WKLV NLQG RI ZRUN DOORZHG PH WR OHDUQ DQG XQGHUVWDQG KRZ WR DSSURDFK VXFK D SURMHFW LGHQWLI\LQJ NH\ LVVXHV DQG QHHGV RI WKH FRPPXQLWLHV ZH ZHUH ZRUNLQJ ZLWK ZKLOH DW WKH VDPH WLPH EHLQJ UHVSHFWIXO RI WKH GLHUHQW FXOWXUHV DQG EHLQJ PLQGIXO WKDW RXU H[WHUQDO ZHVWHUQ LQÁXHQFHV KDG WR EH FRQVLGHUDWH DQG ZHOO LQIRUPHG E\ D JRRG XQGHUVWDQGLQJ RI WKH SODFH , KDYH DOZD\V EHHQ LQWHUHVWHG LQ GHVLJQLQJ VFKRROV DQG LQ HGXFDWLRQ SURMHFWV DQG WKLV OLQNHG UHVHDUFK SURMHFW DOORZHG PH WR EH SDUW RI ERWK D OLYH EXLOG VFKRRO ZRUNVKRS SURMHFW DQG D VFKRRO GHVLJQ SURMHFW 7KH OLYH EXLOG VFKRRO SURMHFW LQYROYHG D VPDOO LQWHUYHQWLRQ in a local school for which we involved the local children in a mosaicking workshop, exploring ideas of participation and FRPPXQLW\ LQYROYHPHQW )RU WKH RWKHU VFKRRO GHVLJQ SURMHFW LQ %XEXEX ZH KDG WKH RSSRUWXQLW\ WR UHVSRQG WR D ORFDO EULHI IRU DQ 1*2 SURMHFW FRPELQLQJ RXW NQRZOHGJH RI GHVLJQ ZLWK FRVW DQG VLWH FRQVWUDLQWV 2YHUDOO WKH OLQNHG UHVHDUFK SURMHFW KDV KHOSHG PH WDNH WKH ÀUVW VWHSV WRZDUGV XQGHUVWDQGLQJ DQG FUHDWLQJ DUFKLWHFWXUH RXWVLGH WKH ZHVWHUQ ZRUOG , KDYH DOVR H[SORUHG WKHVH LQWHUHVWV WKURXJK IRXQGLQJ DQG UXQQLQJ WKH DUFKLWHFWXUDO FKDULW\ VRFLHW\ $UWLFOH , KDYH DOZD\V had an interest in their work and having the opportunity, I created a student chapter for it within the school. Together with other members passionate about international development and humanitarian architecture, we organised a series of lectures that looked at these themes and at sustainable ways of producing architecture. We also entered a competition as D JURXS DQG SURSRVHG D GHVLJQ IRU D VFKRRO LQ 0RPEDVD .HQ\D 7KLV H[SHULHQFH KDV PDGH PH PRUH FRQÀGHQW QRW RQO\ LQ P\ GHVLJQ VNLOOV WHFKQLFDO NQRZOHGJH DQG DELOLW\ WR WDNH GHFLVLRQV HFLHQWO\ EXW LW KDV DOVR JDYH PH FRQÀGHQFH WKDW , FDQ coordinate and lead a team of people by organising them according to their strengths and trusting in their own abilities. 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* for full projects and essays see original submissions
My knowledge of practice issues was greatly enhanced by the practice and management module in stage 6. I have really HQMR\HG FRPSOHWLQJ WKH DVVLJQPHQWV IRU WKLV PRGXOH DQG WKLV KDV JLYHQ PH FRQÀGHQFH WKDW , ZRXOG HQMR\ PDQDJLQJ UHDO SURMHFWV DQG PD\EH UXQQLQJ D SUDFWLFH ZLWK WLPH $OWKRXJK WKHVH LVVXHV KDYH DOZD\V EHHQ DW WKH EDFN RI P\ PLQG ZKHQ designing, the assignments and course were a good opportunity to demonstrate this knowledge and demonstrate my understanding of them in order to meet the associated criteria. 7KH PDLQ DLP , KDG UHODWHG WR WKH WKHVLV SURMHFW ZDV WR SURGXFH D SURMHFW WKDW ZDV DV FRQFHSWXDOO\ FRPSOH[ DV SRVVLEOH ZKLOH exploring themes that I had always been interested in but had never had a real chance to look into. I had the chance to work with theoretically complex ideas of futurology, technology evolution, utopian spaces and the predicted evolution of cities LQ WKH IXWXUH 7KLV PHDQW 7KDW WKH SURMHFW QHHGHG WR EH EDFNHG E\ UHVHDUFK LQWR WKHVH FRQFHSWV DQG WKH YDULHW\ RU UHDGLQJV I had to go through I feel that, in retrospect, have really enriched my knowledge and understanding of architectural and DUFKLWHFWXUDO UHODWHG WKHRULHV , KDG WR DOORZ P\VHOI WR GHYHORS FHUWDLQ WKHRULHV WKDW , DP QRW DEOH WR FRQÀUP EXW WKDW , FDQ only assume to be good for the purpose of supporting a future architecture. The need to explore more complex conceptual themes and to focus on academic research also became apparent following the contract meetings. I have tried throughout the degree to engage with work that was not in my comfort zone in order to make sure that I was learning as much as SRVVLEOH IURP WKH HQWLUH H[SHULHQFH 7KH SURMHFWV , KDYH RSWHG IRU KDYH DOZD\V EHHQ WKH RQHV , IHOW ZRXOG FKDOOHQJH PH WKH most as well as the ones I felt were most in line with my interests. ,Q P\ ÀUVW WK \HDU SURMHFW , KDG WKH RSSRUWXQLW\ WR H[SHULPHQW ZLWK DQG DSSO\ D GLHUHQW DSSURDFK WR FUHDWLQJ DUFKLWHFWXUH that combined the way of working of a successful practice, and the experimental use of technology. Although I was not completely comfortable with this way of working, the experimental approach allowed me to break away from my default SRVLWLRQ RI DSSURDFKLQJ D SURMHFW VWUDLJKW DZD\ 7KURXJKRXW P\ SURMHFWV , KDYH WULHG WR FRPELQH D YHU\ WHFKQLFDO DQG detailed approach with a continuous research based exploration of conceptual architectural ideas. I have always been interested in the nature of monumental architecture and in memorable and timeless structures. In my attempt to create such structures, the architecture and architectural writings of Louis Kahn have been my main reference point. I have found good monumentality references and examples in brutalist architecture, exploring how raw emotions can be induced by raw construction. I have found it both very comfortable working with brutalist concepts, and also at the same time very uncomfortable. This came as a result of me being born and brought up in a post communist place, where brutalist architecture is very familiar and accessible, but where it is also not particularly appreciated. $Q DUHD WKDW , KDYH JURZQ LQ SDUWLFXODUO\ KDV EHHQ WKDW I DUFKLWHFWXUDO UHSUHVHQWDWLRQ ,W KDV EHHQ D VXEMHFW WKDW KDV EHHQ EURXJKW LQWR TXHVWLRQ DW WKH EHJLQQLQJ RI WKH 0$UFK FRXUVH DQG WKDW , KDYH FRQWLQXRXVO\ VWULYHG WR GHYHORS DQG LPSURYH My intuitive belief is that the future of architecture will be in the form of a return to ornament as a key architectural driver. I have found that the notion of ornament is one that most architects dislike, and although it is still used, it has taken the form and term of detail. I have tried throughout my work to create ornament through detailing, and often referenced Carlo 6FDUSD·V ZRUN ZKHQ ORRNLQJ IRU DQ LQÁXHQFH 0RYLQJ RQ IURP WKH 0$UFK GHJUHH , ZLOO VHHN WR JDLQ PRUH H[SHULHQFH RI SUDFWLFH DQG RI KRZ WR PDQDJH SURMHFWV , KDYH DOZD\V had a preference for working on public buildings, particularly on schools, rather than working on residential or commercial SURMHFWV $IWHU , TXDOLI\ DV DQ DUFKLWHFW DQG IHHO FRPIRUWDEOH GHVLJQLQJ DQG UXQQLQJ SURMHFWV ZLWKRXW JXLGDQFH DQG KDYH WKH FRQÀGHQFH QHHGHG WR QDYLJDWH SURIHVVLRQDO OHJDO DQG ÀQDQFLDO LVVXHV UHODWHG WR DUFKLWHFWXUDO SURMHFWV , ZRXOG VHHN WR SXUVXH my ideal of becoming a humanitarian architect, working for NGOs and charities that operate in underdeveloped countries. Until then I will continue to seek and apply for competitions related to designing for underprivileged communities in order to continue learning what the issues are and how to approach them. I want my contribution to the world as an architect to DPRXQW WR D EHWWHU ZRUOG DQG PDNH D GLHUHQFH ZKHUH LW ZRXOG EH PRVW QHHGHG
ZANZIBAR FUTURES THE ARCHITECTURES OF ZANZIBAR STUDY JOURNAL LINKED RESEARCH DISSERTATION TUTOR PRUE CHILLES =DQ]LEDU ZLWK D SRSXODWLRQ RI MXVW XQGHU D PLOOLRQ SURYLGHV D PLFURFRVP RI WKH PRVW FULWLFDO LQWHUQDWLRQDO GHYHORSPHQW FKDOOHQJHV )RU =DQ]LEDU )XWXUHV -RXUQDO ZH KDYH DGGUHVVHG WKH JHR SROLWLFV RI WKLV SRVW FRORQLDO ,VODQG WKH GHYHORSLQJ FRXQWU\ dilemmas and the pressing problems of rapid growth and scarcity. Zanzibar has the ambition of being the most sustainable LVODQG LQ $IULFD 7KH ,VODQG RI =DQ]LEDU RU 8QJXMD LV UHGROHQW RI VSLFHV DQG WUDGH D SODFH ZLWK SURWHFWHG KDUERXUV DQG D FRPSOH[ FRORQLDO PXOWL FXOWXUDO KLVWRU\ )RU \HDUV WUDGHUV KDYH SOLHG WKHLU WUDGH YR\DJLQJ EHWZHHQ $UDELD ,QGLD DQG $IULFD Arabs settled at what became Zanzibar City, a convenient point from which to trade with East African coastal towns. There WKH\ EXLOW WKH ÀUVW PRVTXH LQ WKH 6RXWKHUQ KHPLVSKHUH 7KH 3RUWXJXHVH (PSLUH GXULQJ WKH WK FHQWXU\ ´$JH RI ([SORUDWLRQµ ZDV WKH ÀUVW (XURSHDQ SRZHU WR JDLQ FRQWURO RI =DQ]LEDU 1HDUO\ \HDUV ODWHU LQ =DQ]LEDU IHOO XQGHU WKH FRQWURO RI WKH Sultanate of Oman, who developed the trade and established a ruling Arab elite. Plantations were created to grow spices. The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later, the bloody Zanzibar Revolution, in which several thousand Arabs and Indians were killed and thousands more expelled and expropriated, led to the Republic of Zanzibar and Pemba. That April, the republic was subsumed into Tanzania, of which =DQ]LEDU UHPDLQV D VHPL DXWRQRPRXV UHJLRQ 7KLV MRXUQDO UHSUHVHQWV WKH ZRUN FDUULHG RXW E\ P\VHOI WRJHWKHU ZLWK RWKHU 0$UFK VWXGHQWV RQ D \HDU ORQJ RG\VVH\ DQ H[SORUDWLRQ RI FXOWXUDO VRFLDO DQG GHYHORSPHQW LVVXHV RQ WKH ,VODQG 7KH UHVXOW LV D FRPELQDWLRQ RI UHVHDUFK LQTXLU\ GHVLJQ WKLQNLQJ DQG EXLOGLQJ 7KH MRXUQH\ VWDUWHG WKH ÀHOGZRUN LQ )HEUXDU\ ZKLFK IRUPHG D VWURQJ IRXQGDWLRQ IRU WKH VXEVHTXHQW research. Working together with the Ministry of Urban and Rural Planning in Zanzibar and the NGO Sustainable East Africa, we were briefed and informed on current practice and thinking on the future for the Island. 7KH IRXU NH\ HVVD\V LQ WKH MRXUQDO DUH D GLYLVLRQ RI ODERXU DV ZH DOO ZRUNHG FORVHO\ WRJHWKHU RQ PXFK RI WKH LQYHVWLJDWLRQ and research work. We support other ethnographic, historical and design studies carried out, and illustrated. The essays also KLJKOLJKW GLHUHQW DFDGHPLF DQG DUFKLWHFWXUDO PRGHV RI SURGXFWLRQ DQG PHWKRGV XVHG LQ UHVHDUFK 0\ HVVD\ RQ WKH W\SRORJLHV of Architecture in Zanzibar is an architectural polemic imagining how the buildings in Zanzibar relate to each other spatially, PDWHULDOO\ DQG VW\OLVWLFDOO\ LQ WHUPV RI WKHLU GLHUHQW FXOWXUH ,W ORRNV DW KRZ WHQVLRQV EHWZHHQ RSSRVLQJ DUFKLWHFWXUDO VW\OHV DQG FXOWXUHV IRU D YHU\ XQLTXH DQG KDUPRQLRXV SODFH 7KH RWKHU HVVD\V DUH RQ WKH HGXFDWLRQ V\VWHP LQ =DQ]LEDU RQ KRZ WKH PDLQ market of the island is organised and works and on the cultural value of trees. )LQDOO\ , ZRUNHG RQ GHYHORSLQJ D ZHEVLWH IRU DOO WKH ZRUN FDUULHG RXW LQ =DQ]LEDU RYHU \HDUV LQ ERWK WKH 8QLYHUVLWLHV RI 6KHHOG DQG 1HZFDVWOH ,W EULQJV WRJHWKHU D VHULHV RI SURMHFWV DQG VWXGLHV ZH ZRXOG OLNH WR VKDUH ZLWK RWKHU GLVFLSOLQHV DQG DQ\RQH interested in the Island of Zanzibar. It was a complex and rigorous task to make sense of and promote the work. 7KH VWUXFWXUH RI WKH OLQNHG UHVHDUFK SURMHFW DOORZHG IRU D FROODERUDWLYH DOWHUQDWLYH WR D GLVVHUWDWLRQ WKDW UHVXOWHG LQ D PXFK PRUH extensive and researched piece of work. I gained experience by working directly with the other students and with out linked research tutor, prof. Prue Chiles. This has fostered greater awareness of research and its importance in architecture. 7KH PRVW REYLRXV FULWHULD WKDW ZDV IXOÀOOHG E\ WKH OLQNHG UHVHDUFK SURMHFW KDV WR GR ZLWK PRGHV RI DUFKLWHFWXUDO LQYHVWLJDWLRQ producing written work, understanding of the wide planning issues of large developing communities and situating the SURIHVVLRQ ZLWKLQ D JURZLQJ HFRQRPLFDO ODQGVFDSH %HFDXVH ZH LQWHJUDWHG GHVLJQ HOHPHQWV ZLWKLQ WKH UHVHDUFK ZRUN WKH 3URMHFW DOVR HQG XS PHHWLQJ PRVW RI WKH GHVLJQ PDVWHUSODQQLQJ DQG WHFKQLFDO FULWHULD $V LW ZDV FRQGXFWHG LQ D JURXS DQG working with and under the supervision of our Professor, Prue Chiles, the learning outcomes for all these elements were greatly valuable and end up shaping my approach to architecture. As we were able to work with the planning authority in Zanzibar, it gave us great insight of the legal and professional implications of working in that space. This, together with working with NGOs gave us an insight on the organisations that work in Zanzibar and in similar places. We had to become mindful and aware of WKH FOLPDWH DQG FXOWXUDO LPSOLFDWLRQV RI WKH ,VODQG DQG KRZ WKLV ZRXOG LQÁXHQFH RXU ZRUN LQ D VXVWDLQDEOH ZD\ )LQDOO\ ZRUNLQJ in a developing country made us really conscious of the cost implications of all our interventions and helped us set out goals
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FIELDWORK THE ARCHITECTURES OF ZANZIBAR STUDY JOURNAL Fieldwork was the most essential component of this research. It simultaneously provided the start point to all the essays featured in this document as well as a much of the evidence that supports them. The broad range of experiences gained from WKLV ZRUN DOORZHG XV DOO WR IRUP FULWLFDO ZHOO LQIRUPHG SHUVSHFWLYHV RQ WKH LVODQG $ORQJ ZLWK 7KHVLV VWXGHQWV WKH ÀHOGZRUN FRQVLVWHG RI D ZHHN ORQJ YLVLW WR 8QJXMD LQ -DQXDU\ DQG )HEUXDU\ DQG D VHFRQGDU\ YLVLW E\ VRPH SDUWLFLSDQWV LQ 'HFHPEHU :KLOH LQ =DQ]LEDU ZH FROODWHG ÀUVW KDQG LQIRUPDWLRQ RQ VRFLDO HFRQRPLFDO DQG SROLWLFDO LVVXHV IDFLQJ WKH LVODQG 2XU excursion included meetings with a number of persons of interest who are already conducting research on the island, as well as impromptu meetings with Zanzibari residents, traders and other locals. 'XULQJ WKH ÀUVW YLVLW ZH FRYHUHG D ODUJH QXPEHU RI WKH YDULRXV VHWWOHPHQWV DFURVV WKH LVODQG LQFOXGLQJ =DQ]LEDU 7RZQ 1XQJZL 0NRNRWRQL &KZDND 0DWHPZH DQG %XEXEX :H DOVR YLVLWHG &KXPEH We had the opportunity to work with the head of the governmental planning department in Zanzibar, who taught us about WKH ZLGHU LVVXHV WKDW WKH\ IDFH WRRN XV RQ WULSV WR SRLQW RXW SRWHQWLDO SURMHFWV WKDW WKH\ DUH ORRNLQJ DW JDYH XV D ZLGHU understanding of the development of the island and also encouraged us to contribute with ideas and skills. As he pointed out they have few resources to keep up with the fast paced needs of the developing island.
day 9 nungwi
day 9 mkokotoni
day 7-11 matemwe
day 6 mangapwani
day 6 bububu
days 1-6, 15-19 stone town
day 5 chwaka
days 18 chumbe island
day 5 Jozani National Park
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CREATIVE EDUCATION FOUNDATION A SCHEMATIC FOR A NEW CLASSROOM IN A PRIMARY SCHOOL BUBUBU, ZANZIBAR )ROORZLQJ DQ LQLWLDO PHHWLQJ RQ )HEUXDU\ ZLWK WKH GLUHFWRU RI WKH &UHDWLYH (GXFWLRQ )RXQGDWLRQ ZH ZHUH DVNHG WR undertake a feasibility study examining the opportunities for the future expansion of the school. The principles of the overarching site layout has been to deliver, as far as is practicable and possible, the aspirations for a development which is integrated within the wider Zanzibari Community. (YHU\WKLQJ FRQWDLQHG ZLWKLQ WKLV GRFXPHQW LV VXEMHFW WR IXUWKHU GHYHORSPHQW DQG VKRXOG QRW EH XVHG DV FRQVWUXFWLRQ LQIRUPDWLRQ $OO LQIRUPDWLRQ LV LQGLFDWLYH DQG VXEMHFW WR GHWDLOHG GHVLJQ GHYHORSPHQW IURP D IXOO VLWH VXUYH\ DQG YHULÀFDWLRQ We used the Steiner Waldorf Education as the main design principle for the design. Steiner’s division of child development LQWR WKUHH PDMRU VWDJHV LV UHÁHFWHG LQ WKH VFKRROV· DSSURDFK WR HDUO\ FKLOGKRRG HGXFDWLRQ ZKLFK IRFXVHV RQ SUDFWLFDO KDQGV RQ DFWLYLWLHV DQG FUHDWLYH SOD\ 7KH WKUHH PDMRU VWDJHV DUH DV IROORZV Elementary Education Focuses on developing artistic expression and social capacities. Secondary Education Focuses on developing critical reasoning and empathic understanding. The over arching goal is to develop free, morally UHVSRQVLEOH DQG LQWHJUDWHG LQGLYLGXDOV HTXLSSHG ZLWK D KLJK GHJUHH RI VRFLDO FRPSHWHQFH Qualitative Assessments 7KHVH DUH LQWHJUDWHG LQWR WKH GDLO\ OLIH RI WKH FODVVURRP ZLWK TXDQWLWDWLYH WHVWLQJ SOD\LQJ D PLQLPDO UROH LQ SULPDU\ HGXFDWLRQ DQG VWDQGDUGL]HG WHVWLQJ XVXDOO\ OLPLWHG WR WKDW UHTXLUHG IRU FROOHJH HQWU\ ,QGLYLGXDO WHDFKHUV DQG VFKRROV KDYH D JUHDW GHDO of autonomy in determining lump content, teaching methodology and governance. From our meeting with the director of the &UHDWLYH (GXFDWLRQ )RXQGDWLRQ DV ZHOO DV IXUWKHU UHDGLQJ LQWR WKH VXEMHFW PDWWHU ZH KDYH LQWHUSUHWHG WKLV SKLORVRSK\ WR LQFOXGH the following architectural themes; Blurring division of inside/outside; 1DWXUDO DQG RUJDQLF SOD\ ZKLFK LV UHÁHFWHG DQG HQFRXUDJHG E\ WKH DUFKLWHFWXUH 7KH XVH RI VXVWDLQDEOH DQG ORFDO PDWHULDOV 7KH XVH RI VXVWDLQDEOH FRQVWUXFWLRQ WHFKQLTXHV ZKLFK UHTXLUH OLPLWHG IXWXUH PDLQWHQDQFH The adoption of permaculture principles within architectural design; 7KH XVH RI LQQRYDWLYH VXVWDLQDEOH WHFKQRORJLHV Structural Concept /HRQDUGR GD 9LQFL ZDV DQ DUWLVW LQYHQWRU DQG HQJLQHHU LQ WKH WK FHQWXU\ +LV YLVLRQ DQG FDOLEUH RI PLQG DOORZHG KLP WR FRPSUHKHQG WKH WZLQ ZRUOGV RI VFLHQFH DQG DUW ,W LV IRU WKLV UHDVRQ WKDW ZH IHHO WKH EULGJH KH GHYHORSHG LQ WK &HQWXU\ LV suitable for a Waldorf Steiner Inspired School. +H LQYHQWHG WKH VHOI VXSSRUWLQJ EULGJH VRPHWLPH EHWZHHQ WR EH XVHG DV DQ HPHUJHQF\ EULGJH IRU WURRSV LQ WLPHV RI ZDU 7KLV XQLTXH GHVLJQ LV KHOG WRJHWKHU E\ LW·V RZQ ZHLJKW ZLWKRXW UHTXLULQJ DQ\ WLHV RU FRQQHFWLRQV :KHQ D GRZQZDUG IRUFH is applied to the structure the braced members are forced to interlock and tighten together through the structural concepts of shear and bending. 7KH EULGJH HOHJDQWO\ GLVSOD\V KRZ D VWUXFWXUH FDQ ZRUN ZLWK JUDYLW\ WR SURGXFH D ULJLG DUFK %\ OHDYLQJ WKH VWUXFWXUH H[SRVHG the design is intended to educate as well as protect it’s inhabitants.
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JOINERY UNITS 7KH ORFNDEOH MRLQHU\ XQLWV DUH XVHG WR VWRUH ERRNV DQG RWKHU E N G WK valuable resources within the library whilst also providing informal seating arrangements for the children. Further to WKH MRLQHU\ XQLWV LQGLYLGXDO WLPEHU ER[HV IRUP PRYHDEOH steps whilst also providing further informal seating. This approach to the design allows the space to be used for a variety of activities DQG SRWHQWLDOO\ FUHDWH DQ H[WUD FODVVURRP LI UHTXLUHG
FOUNDATIONS 3UH FDVW FRQFUHWH SLOHV ZLWK D PXVKURRP SURÀOHG FDS OLIW WKH QHZ EXLOGLQJV DQG ERDUGZDONV R WKH JURXQG 7KLV DOORZV DLU to circulate beneath the buildings cooling the inhabitants as well as providing some protection for the timber structure against the native insects.
RAISED BOARDWALKS A proposed boardwalk system would connect the existing school to the new building and to any classrooms that would EH EXLOW VXEVHTXHQWO\ 7KH UDLVHG ZDONZD\ ZLOO DOORZ FKLOGUHQ to safely navigate the existing terrain which has uneven footings as well as being overrun with ant colonies.
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WORKSHOP + CHARRETTES COLLABORATIVE EFFORTS BETWEEN ALL FIELD TRIP PARTICIPANTS, KILIMAJUU SCHOOL, AND THE CREATIVE EDUCATION FOUNDATION Kilimajuu School Baraza Workshop 7KH .LOLPDMX :RUNVKRS LQYROYHG ZRUNLQJ ZLWK WKH VWXGHQWV DQG WHDFKHUV RI .LOLPDMX 6FKRRO LQ 0DWHPZH WR GHVLJQ DQG EXLOW a series of barazas in the centre of the school grounds underneath existing trees. The designs were created by mosaicking smashing tiles onto the barazas with the children being fully involved under the instruction of all the Newcastle University students and the school’s teachers. All materials were locally sourced from villages and markets in close proximity to the school. We were helped by local builders who showed us how to construct the benches out of concrete blocks. The workshop allowed us to time to understand in LQWHUDFW ZLWK ORFDO FKLOGUHQ DQG H[SHULHQFH KRZ WKH VFKRRO RSHUDWHG ,W ZDV YHU\ HQMR\DEOH H[SHULHQFH DQG KHOSHG XV WR FUHDWH connections with local people. Organizing and running the workshop was a two day process; :H PHW ZLWK WKH KHDGPDVWHU RI WKH VFKRRO DQG GLVFXVVHG ZKDW GHVLJQ KH ZRXOG SUHIHU +H RSWHG IRU D VHPL FLUFXODU EHQFK DSSUR[LPDWHO\ PP KLJK :H FROOHFWHG %ORFNV 6DQG DQG &HPHQW IURP D ORFDO EXLOGLQJ \DUG DQG WLOH R FXWV IURP D EXLOGLQJ PHUFKDQW LQ 6WRQH 7RZQ These were brought to sight by truck. $ )XQGL WUDGHVPDQ ZDV HPSOR\HG WR FRQVWUXFW D WZR EORFN KLJK ZDOO 7KH FKLOGUHQ ZHUH WKHP VSOLW LQWR JURXS RI DSSUR[LPDWHO\ DQG DOORFDWHG D EORFN ZKLFK ZH GUHZ WKH OHWWHUV RI WKH DOSKDEHW onto as a guide. %XEXEX 6FKRRO &KDUUHWWH The team organised a day long charrette back at Newcastle to ascertain the principles and constraints and opportunities for the VFKRRO GHVLJQ DW WKH &UHDWLYH HGXFDWLRQ )RXQGDWLRQ 3ULPDU\ VFKRRO DW %XEXEX 7KH FKDUUHWWH DOVR JDYH XV WKH ÀUVW RSSRUWXQLW\ to present all our current research.
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AN ARCHITECTURE OF TENSION A REFLECTION ON THE DIFFERENT ARCHITECTURAL STYLES OF ZANZIBAR AND HOW THEY CREATE A HARMONIOUS URBAN LANDSCAPE 7KH XQLTXH FKDUDFWHU RI =DQ]LEDU WKDW JLYHV ERWK YLVLWRUV DQG LQKDELWDQWV WKH IHHO RI DQ HQFORVHG H[RWLF SDUDGLVH LV FUHDWHG E\ a combination of warm climate, stunning nature, rich history and architectural styles that are so varied but, coexist in apparent KDUPRQ\ :KLWH $UDE SDODFHV VLW QH[W WR ,QGLDQ KRXVHV ZLWK ODF\ EDOFRQLHV %ULWLVK FRORQLDO EHDFK UHVLGHQFHV RYHUORRN 6ZDKLOL YLOODJHV FRQVHUYDWLYH FOHDQ PRVTXHV FRH[LVW ZLWK RVWHQWDWLRXVO\ HPEHOOLVKHG KRWHOV FRPPXQLVW EORFNV DUH LQWHUWZLQHG ZLWK capitalist glass architecture. Architectures that are often in contradiction with each other exist in a delightful harmony. The argument is that this current state has resulted from a constant political and cultural tension taking place on an island that has also had its own distinct character, but also has been a global place. This is most evident in the capital, Zanzibar Town, where the abundance of styles is most evident and even the spatial divisions point to political tensions throughout history. 7KH OHDGLQJ UHVHDUFK TXHVWLRQ IRU WKLV VWXG\ DVNV KRZ VR PDQ\ DSSDUHQWO\ FRQWUDGLFWRU\ VW\OHV DQG SROLWLFDO LQWHUHVWV LQ architecture converged to create a visually harmonious place and what are the main tensions that have led to this? 7R IUDPH WKH LVVXHV DQG WHQVLRQV LGHQWLÀHG LQ WKH ÀHOGZRUN DQG UHVHDUFK WKH VWXG\ GLVWLQJXLVKHV EHWZHHQ WKUHH SHULRGV RI DUFKLWHFWXUH LQ WKH KLVWRU\ RI =DQ]LEDU 7KH FRORQLDO SHULRG VWDUWLQJ ZLWK WKH 3RUWXJXHVH &RORQLDO XS WR WKH UHYROXWLRQ RI WKH UHYROXWLRQDU\ SHULRG DURXQG WKH \HDU DQG WKH FXUUHQW WLPHV With the aim of creating an overall view of the architectures of Zanzibar, a taxonomy of architectural typologies on the island ZDV DWWHPSWHG DQG SXW WRJHWKHU $OWKRXJK WKH W\SRORJLHV FDQ EH H[SDQGHG WR D PXFK JUHDWHU QXPEHU VW\OHV ZHUH LGHQWLÀHG DQG IRU PRVW D EXLOGLQJ RI SDUWLFXODU VLJQLÀFDQFH ZDV VHOHFWHG DQG SUHVHQWHG LQ DQ HOHYDWLRQDO IRUP DLPLQJ WR GHSLFW WKH overall typology in as much of a condensed form as possible. Using these typology studies, the styles were compared in their political and historical contexts, trying to identify the tensions that created the overall current place of Zanzibar .
ARCHITECTURAL TYPOLOGY STUDY A TAXONOMY OF ARCHITECTURAL STYLES IN ZANZIBAR This architectural typology study aims to provide a collection of the main types of buildings found in Zanzibar and create a broad picture of the environment. It looks at individual buildings for each style, showing elevational pictures to show the RYHUDOO VW\OH DV HFLHQWO\ DV SRVVLEOH 7KH FULWLFDO GHVFULSWLRQV DLP WR VKRZ ZKDW RXU XQGHUVWDQGLQJ RI WKH EXLOGLQJ VW\OH DQG WKH LQGLYLGXDO EXLOGLQJ KLVWRU\ LV DV ZH KDYH FROOHFWHG IURP WKH ÀHOG VWXG\ WULS
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MWANA’KWEREKWE MARKET STUDY A COLLECTION OF INTERVIEWS WITH THE TRADERS OF MWANA’KWEREKWE MARKETPLACE The purpose of this study was to gain a better understanding of the way people use Mwana’kwerekwe market and to have a chance to look at the type of produce sold here. Talking to the sellers and business owners gave an insight into the day to day life within the market and gives a broad social understanding that can inform any future proposal for the development of the market. To conduct these interviews we asked a local translator to accompany us and make sure that we could talk to anyone, QRW MXVW WR (QJOLVK VSHDNLQJ VHOOHUV +DYLQJ VRPHRQH WKDW ZDV ORFDO WR =DQ]LEDU ZLWK XV HQFRXUDJHG SHRSOH WR EH KRQHVW ZLWK XV DQG JLYH XV WUXVWZRUWK\ DQVZHUV :H DVNHG HYHU\ VHOOHU WKH VDPH TXHVWLRQV 6RPH ZDQWHG WR UHPDLQ DQRQ\PRXV DQG VRPH didn’t want their picture taken. The women sellers were shy about having their picture taken but weren’t reluctant to speak to XV 7KH W\SH RI TXHVWLRQV JHW PRUH VHULRXV WKURXJK WKH HQG LQ RUGHU WR EXLOG WUXVW DQG HQFRXUDJH SHRSOH WR JLYH WKHLU RSLQLRQ once a certain rapport is established. We aimed to talk to a variety of sellers from all over the market and with a wide range of produce. 3ULRU WR JRLQJ WR WKH PDUNHW IRU WKH LQWHUYLHZ D VHW RI TXHVWLRQV ZDV FRPSRVHG G 1. What is your name? :KDW GR \RX VHOO" :KHUH GR \RX JHW \RXU SURGXFH IURP" 4. Where do you live? +RZ ORQJ KDYH \RX EHHQ ZRUNLQJ LQ 0ZDQD·NZHUHNZH PDUNHW" +RZ ORQJ GRHV LW WDNH IRU \RX WR JHW WR ZRUN" :KDW PRGH RI WUDQVSRUW GR \RX XVH WR JHW WR ZRUN" :KDW WLPH GR \RX RSHQ FORVH" :KDW GR \RX OLNH DERXW WKH PDUNHW" :KDW ZRXOG \RX OLNH WR EH LPSURYHG LQ WKH PDUNHW" 11. What taxes do you pay a year? :KDW SURÀW GR \RX PDNH"
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KENCADA SCHOOL IN MOMBASA LEARNING THROUGH PLAYING COMPETITION RAN AS PART OF ARTICLE 25 $V SUHVLGHQW DQG IRXQGHU RI WKH $UWLFOH 1HZFDVWOH 6WXGHQW &KDSWHU 6RFLHW\ , RUJDQLVHG D QXPEHU RI HYHQWV IRU WKH PHPEHUV The aim of the society is to raise awareness and educate students on issues of sustainable architecture and international GHYHORSPHQW 7KURXJK GRLQJ WKLV ZH DOVR UDLVHG PRQH\ WR VXSSRUW WKH $UWLFOH FKDULW\ 2QH RI WKH HYHQWV , UDQ ZDV D DQ architectural competition for a school design in Mombasa. The main participants were 6 stage 6 students and undergraduate students also were invited to participate and observe. The proposal for the KenCada International Academy came together as part of a design charrette organised by Masters of $UFKLWHFWXUH VWXGHQWV DW 1HZFDVWOH 8QLYHUVLW\ WKURXJK WKH VWXGHQW UDQ VRFLHW\ $UWLFOH 1HZFDVWOH 6WXGHQW &KDSWHU 7KH VRFLHW\ RSHUDWHV DV SDUW RI WKH ZLGHU FKDULW\ $UWLFOH ZKRVH ZRUN IRFXVHV RQ LQWHUQDWLRQDO GHYHORSPHQW DQG SURGXFWLRQ RI sustainable architecture. The process of designing the school was both a learning opportunity for us, as well as, a chance to apply all the skills we have been accumulating during our architectural education and practice. The design principles follow the Steiner Waldorf school philosophy, integrating active learning with play and architecture that teaches through the design. The learning spaces spill out into the outdoor play areas of the courtyard with the younger and older children separated spatially by the library building set in the middle of the plan. The library becomes the focal point of the cluster of buildings being the only one with extra levels and a higher roof. The internal space has movable elements that WRJHWKHU IRUP D ÁH[LEOH VSDFH %RRN VKHOYHV DFW DV VHDWLQJ DUHDV DQG DV FOLPELQJ IUDPHV WKXV WKH OHDUQLQJ DVSHFWV EHFRPH intertwined with elements of spatial play. The structure and sustainable elements include rain water collection and living walls which are visible and tactile so the children can start to appreciate the importance of working with the environment, both using and respecting nature and natural processes. A growing garden is also included within the design and connects with the eating area. This way children can learn from an early age the importance of a good nutrition and how their food grows. Spatially, the front block is assigned to the teacher spaces so visitors and students would have to pass through these more formal and controlled spaces before entering the courtyard and the spaces designated for play and learning. The two age groups are separated in two blocks to the left and right of the entrance and the covered dining area rounds up the cluster of spaces at the back of the courtyard. The workshops and maker spaces are located at the back of the courtyard also, this VHSDUDWLRQ WKHQ OHDYHV WKH IRUPDO WHDFKLQJ DUHDV DQG OLEUDU\ DV D TXLHWHU VSDFH 7KH SRRO DQG VSRUWV SLWFKHV DUH OHIW IRU WKH EDFN RI WKH VLWH DQG WKHVH FDQ EH ÁH[LEOH 7KHVH DUH PDLQO\ DFFHVVHG WKURXJK WKH changing rooms to create a more formal separation between sporting activities and learning spaces. Privacy for site against the surrounding houses is created by a row of trees set against the boundary wall. These trees also create a welcoming environment on the inside of the site. The main access is provided at the front of the site and delivery access for the kitchen is made through a side gate at the back of the building cluster to avoid disrupting classes. 7KH VWUXFWXUDO WLPEHU IUDPH LV OLIWHG R WKH JURXQG WR SUHYHQW ÁRRGLQJ E\ FRQFUHWH SLOODUV ZKLFK DOVR SUHYHQW WHUPLWH GDPDJH The exterior walls of the classrooms are concrete block structure providing support for the whole building as well as thermal mass. Rain water would be collected in troughs behind the classrooms and would be shaded by trees. This system combined ZLWK WKH WKHUPDO PDVV ZDOOV FUHDWHV D FRROLQJ HHFW LQVLGH WKH FODVVURRPV 7KH OLYLQJ ZDOOV DUH WULDQJXODU IUDPHV FRQVWUXFWHG RXW of bamboo and act as a shading devise for classroom circulation creating visual and sound separation between the classrooms and the internal play courtyards. (YHQ WKRXJK LW ZDV D VKRUW SURMHFW DQG QRW QHFHVVDULO\ SDUW RI WKH FXUULFXOXP WKH .HQFDGD VFKRRO GHVLJQ FRYHUHG PRVW RI WKH $5% FULWHULD ,W UHTXLUHG UHVHDUFK DQG LQVLJKW LQWR WKH FRPPXQLW\ DQG FXOWXUH DQG DVVHVVPHQW RI KRZ WKH EXLOGLQJ ZRXOG LQÁXHQFH WKLV It had to be a comprehensive building design including an outline structure proposal, detail proposal and a sustainable DSSURDFK WR GHVLJQ $V LW ZDV D FRPSHWLWLRQ IRU D UHDO EXLOGLQJ LW SURYLGHG LQVLJKW LQWR KRZ UHDO SURMHFWV ZRXOG EH DSSURDFKHG and I tried to run the charrette as a design team predicting how we would end up building the school, this allowed us to use our knowledge of the profession, of estimating cost and looking at potential regulations. The children and their education were DW WKH KHDUW RI WKH GHVLJQ VR LW ZDV LQWHQGHG DV D VRFLDOO\ VXVWDLQDEOH SURMHFW 6DIHW\ DQG HQYLURQPHQWDO FRPIRUW ZHUH DOVR NH\ elements of the design in order to create the best learning environment. Finally our approach was to create a design that is FXOWXUDOO\ DSSURSULDWH DQG DOVR DSSURSULDWH IRU WKH FOLPDWH DQG LWV SXUSRVH $OO WKHVH IDFWRUV FRQWULEXWHG WR D SURMHFW WKDW PHHWV PRVW RI WKH UHTXLUHG FULWHULD DV LQGLFDWHG
Contents
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C
Storage
A
B
Kitchen
Cafeteria
Maker Space
Cafeteria Seating Space
Male Changing Room
Female Changing Room
Male Toilets
Female Toilets
Maker Space Learning Gardens
Primary
Primary
Computer Lab Access to mezzanine study space above
Store
Primary
Primary
Library
Primary
Baby Baby
Sunken gathering area
Kindergarden Kindergarden
Playground
Kindergarden
Primary
SITE PLAN
6WDර Room
Reception
C'
Guards
A'
Male Toilets Prayer Room
Female Toilets
GROUND FLOOR PLAN
B'
SECTION A-A'
SECTION B-B' ORGANIGRAM
SECTION C-C'
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SPATIAL DIVISION OF THE LIBRARY
INTERIOR VIEW OF THE PLAYGROUND
INTERIOR VIEW OF THE LIBRARY
THE RHYTHMANALYSIS OF CONCRETE UTOPIAS A DIGITAL CEMETERY IN A TRANSHUMANIST FUTURE ELEPHANT AND CASTLE, LONDON, UNITED KINGDOM STAGE 6 THESIS, TUTOR NATHANIEL COLEMAN The proposal is for a digital cemetery in a highly dense urban landscape set in a transhumanist future where the limitations of our current human state have been surpassed by technological advancements. It replaces a place of DFFHOHUDWHG FRQVXPSWLRQ DQG WUDF ZLWK RQH GHGLFDWHG WR FRQWHPSODWLRQ VSLULWXDO UHÁHFWLRQ PRQXPHQWDOLW\ DQG QDWXUH 0HPRU\ LV XVHG DV D GHÀQLQJ GULYHU IRU WKH SURMHFW WKH SURSRVHG EXLOGLQJ EHLQJ D VWRUDJH SODFH IRU ERWK individual live memory and collective memory. The thesis argument is against standardisation of cities, something that global capitalism seems to have brought with it. Nowadays, most Western cities are becoming more and more alike having the same shiny high street façades DQG EORFN\ KLJK HQG DSDUWPHQW EXLOGLQJV ,W LV D IXWXUH 6FL )L VFHQDULR RI ZKDW DQ DOWHUQDWLYH WR WKLV XUEDQ IDEULF FDQ EH )XWXURORJ\ LV XVHG DV D WRRO DQG VFHQDULR WR JURXQG WKH SURMHFW LQ 7KH WRROV RI 7UDQVKXPDQLVP DQG SUHGLFWLQJ an evolution of the current human condition provide a story where over consumption becomes a thing of the past. ([WUDFW TXRWH IURP EULHI “If the 20th and 21st century can be understood as a long period of unmaking of cities, even despite their apparent resurgence, or dominance in terms of population concentrations, the aim of this studio is the production of projects for the re-urbanisation of city centres, in particular those that might even be considered successful examples of regeneration but that in achieving this have so sanitised the city that it is no longer city-like.” )URP LQWHQVLYH DQG WKRURXJK UHVHDUFK DQG FRQYHUVDWLRQV RQ WKH VXEMHFW RI XWRSLD WKH FRQFOXVLRQ DUULYHG DW ZDV WKDW utopia is a good place that doesn’t exist for people, in their current state. This is where the motivation for creating a place that is not for people stemmed from. The place is for people that have passed, or for people that have reached D SRW KXPDQ VWDWH LQ 7UDQVKXPDQLVW WHUPV 7UDQVIHUULQJ FRQVFLRXVQHVV LQWR D GLJLWDO IRUP DOORZV IRU OLPLWDWLRQV WKDW SUHYHQW XWRSLD IURP KDSSHQLQJ WR EHFRPH D WKLQJ RI WKH SDVW +HDYHQ FDQ WKXV EH DFKLHYHG LQ WKH GLJLWDO UHDOP 0HPRU\ DQG KXPDQ H[SHULHQFH EHFRPH PRUH LPSRUWDQW WKDQ WKH QHHG WR ÀOO VKRUW OLYHV ZLWK PDWHULDO SRVVHVVLRQV The proposal is for a place that honourers death in a future state. It is a digital cemetery and a housing space for a digital cemetery where the consciousness of those who have passed is housed. Mainly a place for the dead, where people are visitors, the architectural style is that of a urban scale mausoleum. Monumentality and timelessness are key elements of the architecture. Seeking an alternative to modernist architecture, classical forms and proportions are explored. The three themes that are implemented within the design are that of future high tech architecture, proportions related to the human body and scale, and a return to nature. A new masterplan has been developed for the area, that deals with the initial anxieties of the place. The elements of over consumption and standardisation are removed or considered ruins. The extremely busy roundabout is sunken underground to leave space for pedestrian areas and urban forests. Various sketch buildings are scattered through WKH VLWH WKDW UHODWH WR WKH DUFKLWHFWXUDO WKHPHV RI WKH SURMHFW 7KH EXLOGLQJ SURSRVDO JURXQGV WKH UHVW RI WKH masterplan creating a cohesive urban realm. There are a few architectural representations used, as there has been a representational experimental part to the WKHVLV LQ RUGHU IRU PH WR JURZ LQ WKLV DUHD 7KH ÀQDO PRGH RI UHSUHVHQWDWLRQ UHIHUHQFHV JUDSKLF QRYHO VW\OHV WR VKRZFDVH WKH IXWXULVW DQG 6FL À QDWXUH RI WKH SURMHFW 2WKHU UHSUHVHQWDWLRQ PRGHV XVHG UHODWH WR H[SUHVVLQJ IHHOLQJV DQG PHPRULHV DQG ÀQDOO\ WR PRUH FRQYHQWLRQDO DUFKLWHFWXUDO GUDZLQJV VXFK DV GHWDLOV SODQV DQG GLDJUDPV 7KHUH KDYH EHHQ PDQ\ KHDY\ SKLORVRSKLFDO GLVFXVVLRQV UHODWHG WR WKH WKHRU\ RI WKH SURMHFW :KLOH P\ SRVLWLRQ ZDV WR fully research and understand the futurology principles that stand at the base of the proposal, I do not at any point DUP WKDW WKHVH EHOLHIV DUH HLWKHU JRRG RU EDG QRU WKDW WKH\ DUH WUXH , RQO\ DVVXPH WKDW WKH SULQFLSOHV DUH JRRG and that they form a future that is good or better, in order to use these principles and scenarios as facilitators of the architecture. $W WKH EHJLQQLQJ RI WKH WKHVLV , UHFRJQLVHG WKDW IRU WKH SUHYLRXV SURMHFWV , KDG PRVWO\ PHW DOO RI WKH UHTXLUHG $5% criteria. The areas I felt I was lacking in were the complex theoretical concepts and the modes of representation. 7KHVH DUH WKH DVSHFWV RI WKH SURMHFW , ZRUNHG RQ DQG GHYHORSHG WKH PRVW 7KH SURMHFW DOVR ORRNV DW LVVXHV UHODWHG WR masterplanning, landscaping, architectural research, structural issues, services, issues to do with the profession and WKH IXWXUH RI WKH SURIHVVLRQ VRFLDO LPSOLFDWLRQV DQG XVHU UHTXLUHPHQWV ,W LV D ZHOO URXQGHG SURMHFW WKDW H[SORUHV D UDQJH RI DUFKLWHFWXUDO WKHPHV ZKLOH IRFXVLQJ RQ D FRQFHSWXDO DSSURDFK 7KHUHIRUH LW VDWLVÀHV PRVW RI WKH UHTXLUHG Contents
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MEMORY BOARDS RESEARCHING UTOPIA THROUGH THE MEDIUM OF MEMORY CREATING AN ARCHITECTURAL MANIFESTO - FRAGMENTED THOUGHTS ,Q SUHSDUDWLRQ IRU FUHDWLQJ DQ DUFKLWHFWXUDO PDQLIHVWR PHDQW WR GULYH WKH SURMHFW DQG SURYLGH LW ZLWK guiding themes, I performed a personal memory exercise. This explored my memory searching for themes and images that have inspired me throughout my work. The memories were categorised according to emotional memories and rational memories, a categorisation that, although is vague, ZDV H[WUHPHO\ GLFXOW WR SHUIRUP XVLQJ ULJRURXV UXOHV 7KH UDWLRQDO PHPRULHV ZHUH WKRVH WKDW FRXOG EH LPPHGLDWHO\ MXVWLÀHG DQG FRQQHFWHG WR JRDOV ZLWKLQ P\ ZRUN 0HPRULHV WKDW ZHUH QRW HDVLO\ LOOXVWUDWHG KDYH MXVW EHHQ UHSUHVHQWHG E\ LPDJHV WKDW DUH FORVHV WR ZKDW QHHGHG WR EH VKRZQ $IWHU arranging the images on the two memory boards, connections were traced trying to identify a way of thinking and trying to establish commonalities between the dispersed and random images. This H[HUFLVH RSHQHG WKH ZD\ IRU WKH RYHUDOO WKHPH RI PHPRU\ WR EH EURXJKW LQWR WKH SURMHFW DQG WKXV LW is intended to be used as a tool for identifying utopia in a very personal manner.
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PIATRA NEAMT, ROMANIA, COMMUNIST BLOCK PIATRA NEAMT, ROMANIA, CHURCH DETAIL PIATRA NEAMT, ROMANIA, TOWN CENTRE PIATRA NEAMT, ROMANIA, OLD TOWN CENTRE WATER DAM, ROMANIA BERND AND HILLA BECHER BERND AND HILLA BECHER - CYLINDRICAL GAS TANKS LAUREN KING UNTITLED (2013) BY MEL KENDRICK ANTONY GORMLEY, SCULPTURES FROM DOMAINS, BODIES IN SPACE AND APART AT STUDIO, 2003 ZAHA HADID NEW YORK, MANHATTAN A NEW CALLIGRAPHY OF PLAN. DAVID NASH MULTI-CUT COLUMN (1999) BERND AND HILLA BECHER - WATER TOWERS GENERAL PLAN OF RIVERSIDE, ILLINOIS BERND AND HILLA BECHER - STONEWORKS SANDRO BOTTICELLI LA PRIMAVERA, 1482 WASSILY KANDINSKY, “UPWARD”, 1929, OIL ON CARDBOARD SPACE COLONY ILLUSTRATION BY RICK GUIDICE, COMMISSIONED BY NASA ALICE IN WONDERLAND SALVADOR DALI DANIEL BURNHAM PLAN COURTESY DAVID RUMSEY MAP COLLECTION 1673 LONDON MAP BY WENCESLAUS HOLLAR URBANIST,SEPT-OCT2013 FINAL SOFT SCULPTURES BY KRISTINE MANDSBERG BRANCUSI A VERY HACKNEY CENTRIC VIEW OF LONDON BY CHAZ HUTTON PAUL RUMSEY LIBRARY HEAD NAUM GABO BRUTALISM, FAMILY STYLE ON ART AND SPACE IMI KNOEBEL RAUM MATH & ART VAN GOGH PIE CHARTS IN CORRELATION TO COLOR DISTRIBUTION OF FAMOUS PAINTINGS PAUL KLEE’S HOME COLOR WHEELS ELLEN HECK COLOUR ANALYSIS CHARTS BY EMILY NOYES VANDERPOEL (1902) SHADES OF BLUE MAQUETTES BY HARLEQUINPAN
1. GENETIC INHERITANCE OF COLOUR 2. COLOUR ANALYSIS CHARTS BY EMILY NOYES VANDERPOEL (1902) 3. PIET VAN STUIVENBERG (1901-1988) 4. CONSTANTIN BRANCUSI 5. ANISH KAPOOR, STUDIO 6. JUNI LUDOWICI’S ROUND HOUSE BEING TRANSPORTED DOWN THE RIVER THAMES, 1958 7. CONSTANTIN BRANCUSI OAK BASE. 1920 - GUGGENHEIM MUSEUM 8. BEGINING OF THE WORLD (SCULPTURE) CONSTANTIN BRANCUSI 9. COLOR WHEELS ELLEN HECK 10. OLAFUR ELIASSON 11. SKETCHES OF SPACE - MICHAEL BEUTLER BY MUDAM LUXEMBOURG 12. MAX BILL, CONSTRUCTION FROM TWO RINGS, 1965 13. FABRICATED STRUCTURE & FORM – WORKS BY AUSTRALIAN SCULPTOR MORGAN SHIMELD 14. “MAP OF EVERY CITY”ON A STICKY NOTE 15. DIANNE ROMAINE INSTALLATION WITH BLACK STRING 16. “A MAP OF EVERY CITY” LARGER SCALE VERSION FOR PRINT BY CHAZ HUTTON 17. NORMAN ACKROYD MIDSUMMER SUNRISE SOUND OF MULL 18. HENRY MOORE. COMPOSITION, 1932 19. FLORIAN BAUDREXEL, SIET, 2012 20. NORMAN ACKROYD THRISC HALL REMEMBERED BLACK DEXTERS 21. AN UNDERGROUND FOREST, IN SEARCH OF SILVER VENUE 22. MOON PHASES 23. MIRO FIGURINE (SMALL FIGURE) 1956 STONEWARE 24. THE MILKY WAY GALAXY EVERY DOT IS A SUN. VIA THE TWO MICRON ALL SKY SURVEY USING IN PART, THE VERY LARGE TELESCOPE 25. CONSTANTIN BRANCUSI,L’OISEAU DANS L’ESPACE 1923 26. ROMANIAN REVOLUTION 22 DECEMBER 1989 27. PIATRA NEAMT, ROMANIA, COMMUNIST BLOCKS 28. PIATRA NEAMT, ROMANIA, OLD CINEMA BUILDING
FRAGMENTED THOUGHTS CREATING AN ARCHITECTURAL MANIFESTO 7DNLQJ WKH HOHPHQWV RI WKH PHPRU\ H[SORUDWLRQ VWXG\ WKHPHV ZHUH LGHQWLÀHG WKDW DUH XVHG WR HLWKHU JRYHUQ P\ ZRUN RU DV D UHIHUHQFH IRU DUFKLWHFWXUDO UHVHDUFK ,Q RUGHU WR FUHDWH DQ DUFKLWHFWXUDO PDQLIHVWR ERDUGV ZHUH FUHDWHG ZKHUH GLVWLQFW short essays are woven to illustrate how thoughts coexist, overlap and confuse each other. They are meant as an artistic and UHVHDUFKHG VRUW RI PDQLIHVWR RHULQJ WKHPHV WR XVH DQG UHIHUHQFH WKURXJKRXW WKH SURFHVV RI FUHDWLQJ WKH WKHVLV SURMHFW 7KHUH DUH FRPSRVHG HVVD\V ZLWK DUFKLWHFWXUDO WKHPHV WKDW UHVXOW IURP SHUVRQDO LQWHUHVW DQG H[SHULHQFH 2QH RI WKH WKRXJKW lines is left blank as a symbol for contemplation and headspace, it also allows for new themes to appear and insert themselves into the manifesto. Extract from the essays are shown here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ÀQDOO\ DQ HVVD\ RQ GHVFULSWLYH JHRPHWU\ DQG KRZ LW FDQ EH XVHG DV D WRRO IRU GHVLJQ DQG XQGHUVWDQGLQJ RI SURSRUWLRQV GC1 1 2 3
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There is a consensual hate among architects against the notion of ornament to the extent where the tern has been replaced by WKH WHUP ¶GHWDLO· %XW LQ VSLWH RI WKLV IDVKLRQDEOH UHMHFWLRQ LW LV something we still subconsciously crave.
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Utopian cities must create a sense of freedom for the inhabitants. Controlled environments that are imposed may be accepted but are very unlikely to lead happiness. Through the implementation of participation exercises architecture can be given back to the inhabitants and a greater sense of belonging would occur. The issue with this, as with any democratic system is that it can end up being either really fragmented and GLHUHQW WR WKH SRLQW WKDW DQ\ JLYHQ SHUVRQ LQKDELWLQJ LW FDQ end up hating most of the spaces. And if it would choose wider themes that occur and implement them, the minority of the ‘voters’ would be disappointed and utopia cannot be utopia unless everyone involved is happy.
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A site possesses its own physical and geographical character; at the same time it has layers of memory imprinted on it. I always listen to the whispering voice of a given place. I think of it comprehensively with all its forces – the visible characteristics as well as the invisible memories to do with interaction of a locality and humankind. And I try to integrate these into my building which shall carry that spirit to latter generations. $QGR TXRWHG LQ :LOOLDP - 5 &XUWLV ´%HWZHHQ $UFKLWHFWXUH DQG /DQGVFDSH µ
The planar organisation of a travelling fairground appears UDQGRP ZKHQ ÀUVW H[SORULQJ LW 7KHUH DUH DFWXDOO\ PDQ\ SOD\HUV EHKLQG WKLV IURP SROLWLFV EHWZHHQ IDPLOLHV RZQLQJ GLHUHQW rides to regulations and adaptability to the topographies they LQWHJUDWH WKHPVHOYHV LQ %HFDXVH RI WKHLU FRQVWDQW PRYHPHQW they achieve a utopian harmony that has been working for hundreds of years and that has become part of a collective cultural identity. The short life of a fair within a place creates nostalgia when it is gone and it is then all the more welcome when it returns. Arguably it is not a welcome event for every single inhabitant of the towns they visit, but looking at an overall picture it is a close surviving version of utopia that deserves to be taken into account when looking at how to design successful urban realms.
The discipline of descriptive geometry is so attractive as it can UH HVWDEOLVK D OLQN EHWZHHQ WKH IRUP DQG PDWKHPDWLFV DQG this can result in natural beauty and a return to proportion, geometrical proportion and appropriating space to human VFDOH %HFDXVH KDQG GUDZLQJ KDV EHHQ ZLGHO\ UHSODFHG E\ the use of computers, interest in the study of descriptive geometry has faded among architects but there is something so satisfying about the process of learning and understanding it that it could potentially lead to truly satisfying shapes. Mathematics and algorithms compose the natural universe so LW VHHPV DEVXUG WR QRW XVH WKHVH V\VWHPV WKDW DUH DOUHDG\ LQ SODFH IRU XV ZKHQ ZH GHVLJQ VSDFHV
POTENTIAL SITES AND THEIR ANXIETIES IDENTIFYING SITES WHERE ANXIETY IS CREATED THROUGH THE PROCESS OF GENTRIFICATION
DIVISION STREET, SHEFFIELD, UNITED KINGDOM 'LYLVLRQ VWUHHW LQ 6KHHOG KDV EHHQ D WDUJHW RI JHQWULÀFDWLRQ IRU D IHZ \HDUV DQG WKHUH DUH IXUWKHU SODQV WR GHPROLVK D ODUJH part of building on VLWH WR FRQVWUXFW D UDQJH RI SULYDWH VWXGHQW KDOOV RFH EXLOGLQJV DQG UHWDLO VSDFH 7KH VWUHHW KDV D ORW RI FKDUDFWHU ZLWK D UDQJH RI LQGHSHQGHQW shops, pubs and restaurants. The name of the street is ironic as the division is already visible between the two sides of the streets where new development has come in on one side and the old buildings remain on the other creating a tension between the two. The illustration shows that particular anxiety of a place loosing its character and being split by the new unconsidered developments.
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PIATRA NEAMT, ROMANIA Piatra Neamt is a Romanian mountain town that became a communist town during the communist rule and has struggled to ÀQG LWV DUFKLWHFWXUDO LGHQWLW\ VLQFH WKH IDOO RI WKH UHJLPH 2ULJLQDOO\ WKH DUHD KDG D VSHFLÀF PRXQWDLQ VW\OH ZLWK PRVWO\ EULFN RU PXG EXLOW KRXVHV ZLWK YHU\ VWHHS SLWFKHG URRIV DQG VSHFLÀF RUQDPHQWV 7KH FRPPXQLVW EXLOGLQJV WRRN RYHU WKH WRZQ ZLWKRXW FRQVLGHULQJ WKH SUHYLRXV FKDUDFWHU or architectural needs of the area. Many of the streets became straight grids for brutalist blocks. The architecture that was created after the revolution shows a desperate thirst that the inhabitants had for democracy, looking at American styles for buildings and almost trying to deny the existing fabric of the city. The new buildings don’t make a lot of sense otherwise when looked at in context. This creates a confused mix IRU WKH VPDOO FLW\ ZKHUH JHQWULÀFDWLRQ KDV EHHQ XVHG WR GHQ\ WKH SDVW
CHOSEN SITE: ELEPHANT AND CASTLE
ELEPHANT AND CASTLE, LONDON, UNITED KINGDOM 7KH ZKROH DUH RI (OHSKDQW DQG &DVWOH KDV KDG D FRQIXVHG DUFKLWHFWXUH VLQFH LW ZDV ERPEHG LQ WKH VHFRQG ZRUOG ZDU 'RPLQDWHG E\ PDLQO\ V EXLOGLQJV DQG D IHZ PRGHUQ KLJK ULVH DSDUWPHQWV LW LV GXH IRU PDMRU GHPROLWLRQ DQG UHGHYHORSPHQW 7KH PDLQ IHDWXUH RI WKH VLWH LV WKH ODUJH URXQGDERXW ZKLFK UHSUHVHQWV D PDLQ WUDF QRGH IRU WKH ZKROH FLW\ RI /RQGRQ 7KLV FUHDWHV D YHU\ EXV\ DQG IDVW SDFHG HQYLURQPHQW WKDW FUHDWHV D ORW RI DQ[LHW\ LI H[SHULHQFLQJ WKH FLW\ DV D SHGHVWULDQ IURP D KXPDQ VFDOH 7KH (OHSKDQW DQG FDVWOH VKRSSLQJ FHQWUH LV D V EXLOGLQJ DQG RQH RI WKH ÀUVW RI LWV NLQG LQ (XURSH VWDUWLQJ D WUHQG IRU FDSLWDOLVW FRQVXPSWLRQ LQ WKH DUHD 0RVW RI WKH UHGHYHORSPHQW SODQV LQFOXGH KLJK end commercial dwellings and commercial spaces as well as a new building for the London University of the Arts.
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ELEPHANT AND CASTLE REGENERATION PLAN DEVELOPMENT PLAN BY ALLIES & MORRISON FOR THE NEXT 25 YEARS WITH PLANNING PERMISSION IN PLACE The Allies and Morrison masterplan redevelopment proposal focuses mainly on the areas around the Elephant and Castle roundabout. It proposes the creation of a new town centre that includes a redevelopment of the Elephant and Castle Shopping &HQWUH D QHZ EXLOGLQJ IRU WKH 8QLYHUVLW\ RI $UWV /RQGRQ 8$/ DQG /RQGRQ &ROOHJH RI &RPPXQLFDWLRQ DQG D PDMRU GHYHORSPHQW DQG SURYLVLRQ RI FRPPHUFLDO KRXVLQJ EORFNV 7KH SURSRVDO LV IRFXVHG RQ VKRSSLQJ DQG FRQVXPSWLRQ DQG WKLV LV UHÁHFWHG LQ WKH DUFKLWHFWXUH 7KH SURSRVDO KDV SODQQLQJ SHUPLVVLRQ DQG SDUWV &XUUHQW SODQV LQFOXGH RYHU SULYDWH UHQW DQG VWXGHQW KRPHV HQKDQFHG UHVWDXUDQW DQG OHLVXUH VSDFH DQG D QHZ FXWWLQJ HGJH XQLYHUVLW\ FDPSXV IRU 8QLYHUVLW\ RI WKH $UWV /RQGRQ DQG /RQGRQ College of Communication – complete with exhibition and cultural space.
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TRANSHUMANISM - A TOOL TO ACHIEVE UTOPIA
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THE CLOUD PREPARED FOR HIM. AS IT FALLS ONTO HIM, ITS AUTONOMOUS FUNCTIONS WILL ACTIVATE. IT WILL START PRECIPITATING THROUGH HIS SKIN, START READING HIS BODY. HERE HE COMES. HE’S GOT LIGHTNING FOR NERVES AND FAIRY DUST FOR A BODY...
7UDQVKXPDQLVP LV D ORRVHO\ GHÀQHG PRYHPHQW WKDW has developed gradually over the past two decades. It promotes an interdisciplinary approach to understanding and evaluating the opportunities for enhancing the human condition and the human organism opened up by the advancement of technology. Attention is given to both present technologies, like genetic engineering and information technology, and anticipated future RQHV VXFK DV PROHFXODU QDQRWHFKQRORJ\ DQG DUWLÀFLDO intelligence. The enhancement options being discussed include radical extension of human health-span, eradication of disease, HOLPLQDWLRQ RI XQQHFHVVDU\ VXරHULQJ DQG DXJPHQWDWLRQ of human intellectual, physical, and emotional capacities. Other Transhumanism themes include space colonization and the possibility of creating super-intelligent machines, along with other potential developments that could profoundly alter the human condition. The ambit is not limited to gadgets and medicine, but encompasses also economic, social, institutional designs, cultural development, and psychological skills and techniques. Transhumanists view human nature as a work-inprogress, a half-baked beginning that we can learn to remould in desirable ways. Current humanity need not be the endpoint of evolution. Transhumanists hope that by responsible use of science, technology, and other rational means we shall eventually manage to become post-human, beings with vastly greater capacities than present human beings have. In contrast to many other ethical outlooks, which in SUDFWLFH RIWHQ UHÁHFW D UHDFWLRQDU\ DWWLWXGH WR QHZ technologies, the Transhumanist view is guided by an evolving vision to take a more proactive approach to technology policy. This vision, in broad strokes, is to create the opportunity to live much longer and healthier lives, to enhance our memory and other intellectual faculties, WR UHÀQH RXU HPRWLRQDO H[SHULHQFHV DQG LQFUHDVH RXU subjective sense of well-being, and generally to achieve a greater degree of control over our own lives. One Transhumanist prediction is that of transferring consciousness into digital form. In the project scenario, the option is available that once reaching inevitable and immediate death, people will have the option of transferring themselves into a digital realm where all the limitations of the human body are surpassed. The digital post humans would live collectively in a digital utopia ZKLFK ZRXOG RරHU WKHP XQOLPLWHG IUHHGRPV WKDW DUH otherwise impossible in a physical state. References of this notion have been explored in many popular works such as the graphic novel Transmetropilitan or in the TV show Black Mirror. The proposed project would include a space that houses this digital world and the servers for each individual consciousness, alongside recorded memories that are static and not alive. This collection would represent the digital cemetery, creating a space where death is celebrated in a transitional way and also in a way that is full of optimism.
ELEPHANT AND CASTLE BUILDINGS - ELEVATIONAL STUDY
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100 YEAR BUILDING THEME PREDICTIONS TRYING TO IMAGINE A POST- CAPITALISM ELEPHANT AND CASTLE In order to paint a picture of what the area of Elephant and Castle would be like from an architectural point of view, architectural predictions were made and drawn up in an attempt to illustrate it. The parameters according to which the predictions were made were drawn from analysing the existing buildings in the area in a chronological order. The initial reports from the memory DUFKLWHFWXUDO PDQLIHVWR ZHUH DOVR IDFWRUHG LQ ZKHQ FUHDWLQJ WKHP 7KH ÀUVW SUHGLFWLRQ UHIHUV WR WHFKQRORJLFDO DGYDQFHPHQW DQG DUFKLWHFWXUH WKDW UHÁHFWV WKLV (OHPHQWV LQFOXGH PRYLQJ SDUWV RI WKH EXLOGLQJ IRFXV RQ PHFKDQLFDO DVSHFWV DQG GLJLWDO technology made a part of the building fabric. The second prediction is related to a return to classical proportions and human scale, creating a more familiar relationship between the building and its inhabitants. The whole elevation is drawn using the 9LWUXYLDQ PDQ SURSRUWLRQV 7KH ÀQDO SUHGLFWLRQ ORRNV DW GHDOLQJ ZLWK UXLQV RI D VRFLHW\ IRFXVHG RQ RYHU FRQVXPSWLRQ 7KH XQXVHG EXLOGLQJV ZRXOG EH HLWKHU GLVPDQWOHG RU UHXVHG DQG UH SXUSRVHG 7KH UHODWLRQVKLS ZLWK QDWXUH DQG WKH UH LQWHJUDWLRQ of dense vegetation in the cityscape and in day to day life is created by using these ruins as a base and building large scale greenhouses and green spaces on top of them. 7KH WKUHH HOHYDWLRQDO SUHGLFWLRQV DUH PHDQW DV LQGLFDWLYH VXJJHVWLRQV IRU WKH IXWXUH PDVWHUSODQ DQG QRW DV ÀQDO SURSRVDOV 7KH\ FUHDWH DQ LQLWLDO SLFWXUH RI WKH VLWH \HDUV LQ WKH IXWXUH
TECHNOLOGY PREDICTION
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PROPORTION
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PREDICTION
NATURE PREDICTION
DEVELOPING AN ALTERNATIVE MASTERPLAN 7KH HYROXWLRQ RI WKH PDVWHUSODQ IURP WKH H[LVWLQJ WR WKH $OOLHV DQG 0RUULVRQ SURSRVDO DQG WKHQ WR WKH \HDU WKHVLV SUHGLFWLRQ LV LOOXVWUDWHG WKURXJK VLWH PRGHOV VKRZLQJ WKH RYHUDOO PDVVLQJ DQG WUDF RI WKH VLWH 7KH PDLQ PDMRU LQWHUYHQWLRQ RI the thesis proposal is sinking the large roundabout underground, and replacing it with large open pedestrian and park areas. The proposal evolved from the Allies and Morrison scheme where most of the commercial buildings were assumed ruined or demolished. The ones kept were the UAL building and the houses behind the Metropolitan Tabernacle. This cleared most of the site in preparation for the digital cemetery. The remaining part would become areas of urban forest symbolising the human UHODWLRQVKLS ZLWK QDWXUH DQG QDWXUHV UHODWLRQVKLS ZLWK GHDWK 7KH SUHGLFWLRQV IRU WKH VLWH ZHUH LPSOHPHQWHG LQ LQGLFDWLYH massing throughout the masterplan.
ELEPHANT AND CASTLE PLAN IN 2016 WITH LARGE AREAS IN DEVELOPMENT AND STILL HAVING THE 60'S SHOPPING CENTRE
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PROPOSED MASTERPLA MORRISON WITH A DEVELOPMENT AND A SITE TO REPLACE THE O THE PLAN ALSO INCLU FOR UAL TO REPLACE
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N BY ALLIES AND LARGE RESIDENTIAL ,MAINLY COMMERCIAL OLD SHOPPING CENTRE. UDES A NEW BUILDING THE DEMOLISHED ONE.
PREDICTION MASTERPLAN FOR 2117. THE ENTIRE ROUNDABOUT HAS BEEN SUNKEN UNDERGROUND AND REPLACED WITH PARK AND PEDESTRIAN AREAS. THE COMMERCIAL DEVELOPMENT HAS BEEN ABANDONED, IN RUIN OR DEMOLISHED. NEW BUILDINGS ACCORDING TO THE 3 PREDICTIONS ARE NOW PRESENT.
DEVELOPING THE MASTERPLAN USES DIAGRAMS 1:4000
section through site 1:400
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DEVELOPMENT MODELS DEVELOPING A MONUMENTAL FORM
section through site 1:400
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SITE STRATEGIES DIAGRAMS
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RELATIONSHIP WITH NATURE, MORGUE AND CONTEMPLATION SPACE DIAGRAM THE 4 SPACES OF DEATH
The diagram is meant to illustrate the physical death element of the proposal and the overall feeling that it is meant to emulate. The squares represent the sectional quality of the space and the sectioned parts of a life through death. The two squares to the left represent nature and the element of the urban forest divided between the living realm and the underground one. The routes of the trees in the underground are exposed to an internal contemplation viewing space. Above the viewing space there is a geometric morgue places in a close relationship with the upper part of the urban forest, creating a symbolic relationship between life and death. Light and darkness are essential elements of this experiential illustration to create the aimed feeling of the life and death opposition.
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SINKING THE ROAD RELATIONSHIP BETWEEN THE SUNKEN ROUNDABOUT AND THE TUBE
One of the main issues with the concept of the sunken roundabout was related to dealing with the Northern Line underground that passes through underneath the site. The sunken road diagram is meant to show the relationship between this in a representation that is to scale when it comes to the traffic elements. After conducting research into the depth and location of the tube line, it was established that there was plenty of space to place the roundabout underground as the tube at this point is located at 80m under the street line. The road tunnel would not be deeper than 7m. The generous space would also allow for a large underground bus stop for the area that could link to the underground stations. This would create an overall cohesive traffic strategy and would free the site from the anxiety created by the heavy traffic at a human scale.
THE MOVING PARAMETERS OF THE DIGITAL UTOPIA THE CLOCK MECHANISM BUILDING
In order to create a utopian world for the digital beings that get transfer into, the space need to be volatile, easily changed and open to new interventions. All of the people that get inserted into the world would have freedom to change it and shape it according to their perception and the lack of physical elements within it makes this possible. The world would need stable elements as movable parameters that break the monotony of a prescribed world. Elements such as seasons, time of day, era in history would be controlled by clock like gears that would change in different motions and at different times. The fabric of the consciousness storage would change and move according to the movement of the parameters. This would create an highly technical and fluid element of the building that would not be controlled by human intervention, but by mechanical laws. Therefore the human element is not present at a structural basis allowing for utopia to form.
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MOURNING SUCCESSION DIAGRAM FOR THE SPACE DEALING WITH THE PHYSICAL ASPECT OF DEATH
Part of the project deals with real and physical aspects of death including the temporary storage of a cadaver, the cremation process and the morning process. Therefore, this part of the proposal would be intended for real people and would represent the transitional part of the process. The diagram shows the emotive quality of these spaces. The morgue is represented as modular and is meant to convey a certain heaviness for the space. Above it, the contemplative procession space tat leads to the contemplation space, chapel is meant to contrast the this. Symbolically it includes elements of light and trees showing the cyclic nature of life. The crematorium located underneath the contemplation space is also metaphoric. While the body would remain underground, the fumes and smoke resulting from the cremation process would rise up past the contemplation space above. Technical elements are hinted at here where large tanks of water would be stored above the cremation chambers, the heated water would then be used to generate electricity using thermoelectric generators. Overall the diagram portrays the spaces emotional qualities as well as hint at some of the spatial intentions.
PROGRAMMATIC DIAGRAM
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The program for the building proposal is shown in a sequential way, telling the story not only of the building, but also the whole process that leads to the use of the buildings, and what it would facilitate. Firstly, it identifies two spatial elements. The first (shown on the left) is the element that has to do with the spiritual aspect of death, in this case the preservation of memory and/or of consciousness in a digital storage facility. The other part of the diagram has to do with the physical aspect of death, the part that deals with the body remains and with the mourning process that relatives would go through. In this theory two possibilities are identified, one is in the event of a planned death, in cases of terminally ill patients, they would be able to transfer their consciousness into a digital form and live in a digital world. They would be stored physically in designated servers that together form the digital utopia. In this case, living relatives would be able to contact their loved ones who have passed on and also visit them for short periods of time. Although the individual is dead in clinical terms, they would live on. The second scenario is in the event of unexpected death, the opportunity of the transfer would disappear. To remember the ones who have passed in this way, the building would also have a archive of memories where their memories and experiences would be placed and allow opportunity for access. In the future Transhuman scenario, people would record their memories throughout their lives. It is a phenomenon that is already taking place with people recording their experiences on social media, on digital blogs and so on. The assumption is that in the future this would be increased by the technological advancements and the memories selected for recording. The memorial becomes a place of both emotion and knowledge, where these memories can be accessed and experienced in the same way that they actually occurred.
MONUMENTS STUDY ANCIENT MONUMENTS THE COLOSSEUM, ROME, ITALY An oval amphitheatre in the centre of the city of Rome, built of concrete and sand, it was meant as a symbol of the power of the Roman empire and as a political tool to win over the masses to the ruling class. It was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, reenactments of famous battles. TOMB OF EURYSACES THE BAKER, ROME, ITALY One of the largest and bestpreserved freedman funerary monuments in Rome. Its sculpted frieze is a classic example of the “plebeian style” in Roman sculpture. There are unusual circular openings in the topmost storey, now thought to represent kneading-basins or grain-measuring vessels. THE PANTHEON, ROME, ITALY A former Roman temple, now a church. Pantheon has been studied for both the immensity of its dome and its celestial geometry for over two millennia. During this time it has been the subject of countless imitations and references as the enduring architectural legacy of RQH RI WKH ZRUOG·V PRVW LQÁXHQWLDO epochs.
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ARCHITECTURE OF DEATH STUDY CEMETERY AND CREMATORIUM PRECEDENTS
CAMPOSANTO MONUMENTALE, PISA, ITALY “Campo Santo” can be literally translated DV ´KRO\ ÀHOGµ 7KH EXLOGLQJ ZDV WKH IRXUWK and last one to be raised in the Cathedral Square. Advanced engineering of the time, and by accident for its famous tilt. The outer wall is composed of 43 blind arches. There are two doorways. The one on the right is crowned by a gracious Gothic tabernacle.
BRION CEMETERY/ CARLO SCARPA, ITALY The impressive memorial with multiple features in the Modern style is respectful rather than overbearing. A sloped concrete enclosing wall, two distinct entrances, a small chapel, two covered burial areas, a dense grove of cypresses, a prato (lawn), and a private meditation/viewing pavilion and a KHDYLO\ YHJHWDWHG UHÁHFWLQJ SRRO
THE NEW CREMATORIUM/ JOHAN CELSING ARKITEKTKONTOR, SWEDEN The building is a compact brick structure, The motto of the project was ” A stone in the Forest”. The FRPSDFW ÀJXUH RI WKH SODQ JLYHV WKH staff overview as well as making a limited encroachment in the forest. Walls and ceilings give a subtle but palpable sign of the construction process.
SITE PLAN WITH PROPOSED BUILDINGS 1:750 (1:500 AT A2)
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CREMATORIUM BUILDING
THE DIGITAL CEMETERY BUILDING GROUND FLOOR PLAN AND FRONT ELEVATION
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THE DIGITAL CEMETERY BUILDING FIRST FLOOR PLAN AND AXONOMETRY
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THE ENTRANCE HALL - PRINCIPLE As you come into the entrance hall you are greeted not by people, but by tall stone columns. The verticality of the space immediately makes you look up to the square steel roof-lights. Four orientation holographic map stations greet you to help find your way to the memory room that keeps the person you are looking for.
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THE ENTRANCE HALL - DESIGN The design of the entrance hall intends to create a monumental space that orientates the eye upwards. The material composition is of raw stone polished to different levels. The columns are made or large blocks of polished stone while the walls have a rough river stone plate appearance. This contrasts with the 4 marble boxes that contain technical holograms that guide visitors through the building. The entire ceiling is made of steel squares either containing a roof light or a patterned steel ceiling. This is made to appear similar to the ceilings in the memory archive rooms that guide the exposed services. The square double doors are meant to remind of the square organisation of the rooms and also remind of a circuit board.
THE MEMORY ROOM - PRINCIPLE The rooms where the memories of the dead are stored are spaces of contemplation where these memories can be accessed in an either emotional way, by loved ones who are still alive, and also in a scientific way, as an archive of experiences. The knowledge shared in this way could be incredibly valuable for the law makers, historians, scientists, medicine and many other fields, as break troughs that different people might have achieved would not be lost by them passing away. The human mind is considered a vast server in itself, and storing it would just save the information for coming generations to use and refer to.
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THE MEMORY ROOM - DESIGN The design of the rooms needs to be that of a place of contemplation, a space that moves the visitor and gives a sense of timelessness. The materials used are predominantly stone, referencing old mausoleums and crypts. Stone also has a calming and familiar nature through it’s raw appearance. The archive of memory would be placed on either sides of the rooms and they could either be viewed on a large screen or viewed by immersing ones self in them through a virtual reality headset. Symbolically, in the middle of the room, an adult sized grave stone element is placed to remind visitors of the death element that inhabits the rooms. The exposed services within an otherwise clean and classical design are a reflection of honesty, similarly to how the memories are experienced in an honest way without the distortion of them being recorded in other mediums.
THE DIGITAL CEMETERY DETAIL 1:40 The main construction composition of both buildings (in this case looking at the memory rooms within the digital cemetery maze) focuses on stone construction and integrating services within the overall design of the space This aims to create a harmonious combination of the technical and emotional quality of the rooms. The memory most complete memory rooms include memory archives, symbolic memorial stones and memory viewing stations. Memories can be accessed either by just viewing them on screens or through virtual reality equipment located in the rooms. The memory archives hold up to 140 memory pods and are meant to remind of traditional ash urns, and also of computer servers. The ceilings are designed to guide services through the rooms while keeping them exposed, making most of the ceiling look like the inside of a machine. They have central panels that either have diffuse light luminaires, or rooflights, depending on the location of the rooms. The memory rooms with external walls have small transparent onix panel windows that allow for light to come through. The section shown has details of the standard internal wall, the external wall and the floor details, with the ceiling installation. *Normally, the external walls would have the onix panel windows on them, but for the purpose of demonstrating the external detail and the internal intentions of the room, it was drawn as a combination. 2
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MEMORY ROOM SERVICE CEILING The ceilings in the memory rooms are designed to have all the services in the building exposed in an orderly manner. The aim is to create the impression that the space is similar to the inside of a giant computer. The main services would be a lot of cabling running through the building. Other services are also included such as the air conditioning ducts and fire sprinkler systems. The channels are divided by a grid of I-beams. The middle square of the ceiling is used for a square led panel or, if the rooms are on the top floor, for a rooflight.
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2. DIGITAL CEMETERY BUILDING - EXTERNAL FLOOR 1:20
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URN ROOMS CONTEMPLATION SPACES INSIDE THE CREMATORIUM
THE CONSCIOUSNESS TOWER The focal point of the building is the consciousness tower. It is organised on 7 levels that represent 7 parameters that define the digital world: time of day, seasons, time era, landscape, vegetation cycles, temperature, technologies. Whatever place, the individual consciousness servers would be placed in, their experiences would be different in relation to their surroundings. The 7 parameters are connected by a large clock-like structure that is in permanent motion, and by their movement, the parameters of the world would change. This rotation is also practical, but also symbolical for the visitors, as they should be made aware that the digital heaven is not a static world, but one that is always changing, and one that provides inhabitants with a dynamic experience of life where they would never suffer pain or boredom. The tower would be mainly serviced by machines, but it is also accessible to people through the central core where a staircase would be incorporated.
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The consciousness server tower that houses the digital utopia inhabited by passed post-humans is organised on 7 levels. The 7 levels each represent a different parameter of the world. 6 of them are continuously rotating according to a clock mechanism that works from within the tower and the bottom one is static representing the determined rules of the world. The moving parameters include time of day, era, season, weather natural environment and built environment.
THE CONSCIOUSNESS TOWER ROTATING MODEL AND ELEMENTS The focal point of the building is the consciousness tower. It is organised on 7 levels that represent 7 parameters that define the digital world: time of day, seasons, time era, landscape, vegetation cycles, temperature, technologies. Whatever place, the individual consciousness servers would be placed in, their experiences would be different in relation to their surroundings. The
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PROFESSIONAL PRACTICE REPORT ARCHITECTURE & CONSTRUCTION: PROCESS & MANAGEMENT STAGE 6 THESIS, TUTORS JOHN KAMARA AND PETER CHURCHILL
As part of the Management and Practice module, I was asked to produce a report that points out specific management issues related to the thesis project. I had to treat it as a real project being built and asses how we would approach it as a professional architect. This includes making assumptions on its financial and time implications, of issues that would relate to risk management, the planning process, reaching targets in terms of value, situating it in a real construction context, assessing it in terms of regulations. It outlines the responsibilities to the clients as an architect, assuming that the project was real. The main focus of the report is on the Site constraints and on the masterplanning element of the project as it would be the part that would have to liaise wit the most external bodies, and it would be the most complex part in terms of legal requirements, time and cost constraints and statutory approvals. It would also be the part that would require the most input from other professional (real) disciplines such as traffic specialists. The assignment proved to be a good way to remember and use knowledge I gained not only in the lectures, but also in my two years in architectural practices. It also proved essential in demonstrating the ARB criteria that relates to: - GC4 criteria looking at the planning process (particularly GC4 -3) - GC6 criteria looking at the role of the architect - GC7 criteria looking at methods of investigation and preparing a brief ( particularly GC7 - 3) - GC10 criteria that looks at building regulations and cost constraints - GC11 looking at industries, organisations, regulations and procedures including legal issues, management issues and contractual contributing parties - GA1, points 5 and 6 as it explores the context of the architect and the industry, and it was also a great tool to identify the learning needs for further professional education. 3URIHVVLRQDO SUDFWLFH SURMHFW PDQDJHPHQW LVVXHV The client for the development would be a joint contribution between TCKR Systems and Southwark council. Both clients have different interests in the project where both the buildings and masterplan site are owned by the Southwark council, while TCKR are only involved with the digital cemetery building. Southwark Council3 have agreed to lease the digital cemetery for use and administration by TCKR for a contract stated period of 500 years after completion with possibility of extension. Both clients provide funding. Issues that would arise from having two clients for this type of project would have to do with different requirements from different organisations such as access requirements, cost targets or having to deal with contradictory instructions at design stages. Initial feasibility studies required would include: - An environmental impact assessment due to the large scale of the development, the introduction of new parks and the potential polluting factors created by the presence of the crematorium and the large amounts of machinery required. - An Analysis of the budget relative to client requirements. - Site appraisals, including geotechnical studies, assessment of any contamination, availability of services, uses of adjoining land, transport assessments, environmental impact and so on. The project budget is estimated at approximately £200mil which includes a total site area of 39000 sqm out of which 21000sqm represents the area or road to be turned into underground traffic tunnels, 2500 sqm footprint for the crematorium and morgue buildings and 4700sqm footprint area for the digital cemetery. The cost also covers the large amount of technical equipment required for the digital cemetery. The cost is divided between the two clients, TCKR being charge 50mil for the part of the construction and the entire internal fittings of the Digital Cemetery building, Southwark council providing the rest 150mil covering the crematorium and morgue building, the new road network and the urban forest and park spaces. Due to the large scale of the project the architect’s fee for the design stages would be charged as a percentage fee. Risks and project constraints would be assessed by the architect during stage 1. This would require significant studies into the traffic management of the site, including redirection of bus routes and interference with the existing tube stations. Due to the large scale of the project and the different elements included, the design process would be phased starting with the construction of Zone A, then of zone B, and finally once the other 2 have been completed, the construction of zone C would start. Time constraints are essential for Zones A and B. The detailed design for zone C would start once the other two are completed. The contract type proposed would be a phased JCT contract where the contractor would be appointed using a two-stage tender method so works can begin for the first phases of the project while the architect can complete the design for the final stage. This type of contract is the most suitable considering the strict time restraints related specifically to Zone B which during construction would mean cutting off a main traffic node for London and redirecting the cars through different routes. This type of contract would reduce the risk for the client of time scales to increase. In this scenario, the contractor would be appointed during stage 2 of the design.
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Subcontractors would also be appointed early in the design stages, at stage 3. The three main subcontractors would be as follows: - Subcontractor for the stonework of the two buildings - as the design of the two buildings would mostly be stone the subcontractor specialising in stone construction would be a vital part of the process. - Subcontractor for the road construction. - Subcontractor that would supply and install the large amount of technical equipment and machinery for the digital cemetery. Suggestions for this subcontractor would be made by the client TCKR Systems as they supply most of the technology and requirements for the building. They would work with an appointed M&E engineer. The structural engineer and traffic engineer will also be appointed at stage 3. The project will be designed and drawn using BIM, allowing all the involved design team to collaborate easily and share as quickly and efficiently as possible. A planning application would be submitted for the entire masterplan of the project and not for the separate phased zones. The requirement of the Southwark Council in terms of BREEAM scores is for an overall score of Very Good. Particular consideration needs to be given to the sections concerning energy, pollution, transport and waste. In order to keep track of this requirement, the architects have an in house BREEAM assessor working as part of the design team. As the buildings in the project are both not non-standard buildings, a bespoke assessment criteria is prepared for them. Two of the buildings in close proximity to the site are grade two listed, The metropolitan Tabernacle and the Metro Central Heights residential block. Also, the Michael Faraday memorial located in the middle of the roundabout meant to be dug out, is also grade two listed. Because of this, a local authority conservation officer is consulted in order to ensure that a listed building consent would be awarded. As only the exterior of the memorial is deemed as historical value, the inside being used as an electrical substation, the proposal is to take apart the external stainless steel box, store it on site and the re-construct it on the new platform, in its original location, replacing the interior with up to date equipment. As the UAL building next to zone A of the site would be in operation during the whole construction process, noise considerations and access considerations should be decided upon to assure their activities are disturbed as minimally as possible. Loud works should be limited during their opening hours and access should be provided via the train station or through the passageways under the train lines. The office resources would need to accommodate the requirements of the project. There should be access to the required BIM software and one of the architects in the design team should be appointed as a BIM manager. As mentioned before, an in-house BREEAM assessor would be ideal for the project. The lead project architect should have at least 3 years of experience working on large scale projects. As the project is located in a very densely populated residential area, a number of public consultations would be necessary to engage the local community. For the purpose of the project it is assumed that the architect would act as principal designer and that the main contractor would be the principal contractor according to CDM regulations and they would take on all the duties related to this role. 3URMHFW SKDVLQJ LVVXHV DQG FRQVWUXFWLRQ WLPH FRQVWUDLQWV For both the clients involved in the project, time deadlines and key milestones. The digital cemetery (Zone A) is required to be completed in a short timescale as the technologies for the transfer of consciousness have become more widely used, and the demand for the service is growing. Any delays in the completion of the building would result in financial losses for TCKR Systems. The strict time constraints imposed by Southwark Council are related to the demolition and reconstruction of the roundabout and the connecting streets (Zone C). As it is not a job that can be phased in itself to allow traffic to pass by during works, the construction time has to be limited as much as possible. The risk involved for the client is that unexpected time delays would keep the street blocked for longer, and the strain put on traffic circulation would not be viable. The phasing strategy for the project would be in order as follows: 1. A quantity surveyor would be appointed to keep track of the costs involved and to make sure the clients requirements in terms of times scales are also met. 2. Feasibility studies would be carried out for the site, including commissioning of a traffic survey to determine the best times to start construction and how to manage redirecting traffic. 3. The overall concept design for all the 3 areas would be completed by the architect with the required input from all the appointed consultants, including the main contractor, the subcontractors previously mentioned, the traffic specialist, the structural and mechanical engineers and so on. 4. Planning permission along with other statutory approvals would be obtained, including building regulation approval, approval of conditions (if required), Listed building consent, Scheduled Monument Consent (may be required for the Michael Faraday Memorial) 5. Detailed technical design would start for Zones A and B 6. The construction process would start by setting up a hoarding line around zones A and C, and around the middle part of the roundabout. Clearing of all the ruin remains from zone A to be stored on Zone C during the Zone A construction. A sorting process would take place on Zone C and clearing of the rubble can be done sequentially from here without disrupting
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construction. The cladding and external skeleton of the Michael Faraday memorial would also be de-mounted and stored in Zone C. 7. Once the clearing of the sites has taken place, and the detailed design has been agreed and handed over to the contractor, the construction on the digital cemetery on Zone 1 would start. At this stage, the road would be blocked and excavations would commence for the underground road tunnel. The excess material would be stored in zone C and sequentially removed via the road to the back of the site, Oswin Street. 8. As soon as works on Zone B are finished sufficiently for circulation, traffic is allowed to pass through. Works that would not disrupt traffic would be finalising the underground bus stop and connection to the tube station and also works that would take place on the upper level including landscaping and paving works or the re-assembly of the Michael Faraday Memorial. 9. Working on the crematorium and morgue building in Zone C would start as soon as Zone B would be completed. Final stages for Zone A would still be under way. The planting of the urban forests in zones A and C would represent the final stages of the construction along with internal fittings of the two buildings. As the design and construction of the project will be done is separate stages for different zones, so will the handover process, due to the requirements for traffic and access. The handover of the underground tunnel would be done first, followed by the rest of Zone B. The digital cemetery building on Zone A will be handed over next, and finally, zone C along with the areas of urban forest. Throughout the construction phase of Zone B, bus routes as well as the main traffic would be redirected by agreement with Southwark Council and according to a traffic consultant. Due to the traffic constraints and strict phasing requirements for the project, planning issues may arise where the key milestones would be noted as a condition for the approval of the project. This would increase pressure on the contractor to carry out the works as efficiently as possible, and on the design team to work closely with them and offer as much support and information as possible. 3ODQQLQJ LVVXHV As mentioned before, there are a few very problematic planning issues raised by the proposal including the necessity to block the main traffic node of the roundabout, the issue of dealing with the grade 2 listed building on site and the listed buildings in adjacency, issues to do with the demolition of the existing ruins, managing of waste and construction, issues of community involvement and so on. In order to deal with these issues a series of environmental statements would need to be put together at pre-application stages that should comply with EIA Process and Methodology. These would include: - Water resources and flood risks - as the proposal involves large areas of excavation, efficient managing of flooding for the completed project and for construction stages needs to be put together, particularly for the underground traffic tunnels - Ground conditions and contamination - Noise and vibrations - required due to the proximity to adjacent buildings including the UAL building, residential areas, and the Metropolitan Tabernacle, which would continue to operate during construction. The demolition and construction works which would be the noisiest would include Demolition, Earthworks, Piling, Concreting and Road Paving. However, noise levels for after completion would be significantly lowered as there would be a level buffer from the traffic and the urban forest and parks would also provide a good barrier, creating an overall quiet urban area. - Air quality - particular issues for air quality during construction work would arise from dust resulting from demolition earthworks and construction. Issues with post completion air quality could arise from fumes coming from the crematorium building. It can be argued that these would be easily neutralised by the introduction of the planted areas, resulting in a better overall quality of air. - A comprehensive transport statement - required in order to deal with the many transport issues previously mentioned, including provision for access of transport of materials to and from the site, transport arrangements during construction for the blocked roundabout, and finally, how the road would function post completion, including the new system for the bus routes. - A tree survey - looking at the trees existing on site. - A waste management strategy - An archaeology and listed building study, also looking at significant heritage assets. The proposal needs to take account of the changing of scenery for the two, adjacent listed buildings, and a plan has been put in place for the preservation of the Michael Faraday Memorial that is due to be dismantled and reassembled. The site is not located in a conservation area however part of the site is located within the Elephant & Castle, Kennington Road Archaeological Priority Zone as designated by Southwark Council, which incorporates the Roman and medieval settlement and the historic settlement areas of Bankside, Bermondsey and Rotherhithe, and follows the line of Roman Stane Street. Another issue that could affect the planning process is the requirement for extensive community involvement and consultation. Most of the buildings surrounding the site are highly dense residential units. The residents might be worried about access to the site, about the change of traffic and about the emotional effects that the construction of a digital cemetery, morgue, and crematorium really close to their homes would have. It is also desirable that the community would be involved in a participatory way with the design of the public spaces that would replace the current streets. A greater sense of ownership would be created by allowing the residents to take decisions related to the landscaping element and could result in them using the site more.
BIBLIOGRAPHY - KEY READINGS ZANZIBAR FUTURES THE ARCHITECTURES OF ZANZIBAR STUDY JOURNAL
1. Sheriff, Abdul. The History & Conservation Of Zanzibar Stone Town. 1st ed. London: Dept. of Archives, Museums & Antiquities in association with J. Currey, 1995 2. Wimmelbücker, Ludger. “Architecture And City Planning Projects Of The German Democratic Republic In Zanzibar”. The Journal Of Architecture 17, no. 3 ’Cold War Transfer: architecture and planning from socialist countries in the ‘Third World’’’ (2012 3. (2008)
Sheriff, Abdul. and Jafferji, Javed. ‘’Zanzibar Stone Town, An architectural exploration’’ - The Gallery Publications.
4. (2000)
Spear, Thomas. “Early Swahili History Reconsidered”. The International Journal Of African Historical Studies 33, no. 2
5. Fiebig, Georg, Jan Hulsemann, and Per Krusche. Chumbe Island Coral Park, Zanzibar, Tanzania. Ebook. 1st ed. Publish Online, 1998. http://www.chumbeisland.com/fileadmin/downloads/Lodge_Information/Architectural_design.pdf. 6. Chattopadhyay, Swati, Jeremy White, and Mary P Ryan. City Halls And Civic Materialism: Towards a Global History of Urban Public Space. 1st ed. Routledge, 2014 7. Myers, garth andrew. “Naming and placing the other: power and the urban landscape in Zanzibar”. Tijdschrift Voor Economische En Sociale Geografie 87, no. 3 (1996) 8. Reinwald, Brigite. ‘’Tonight at the Emipre’ Cinema and urbanity is Zanzibar,1920s to 1960s’’ - Afrique& Historie. 1st ed. Paris: Verdier, 2006. 9. Steyn, Gerald. “An Analysis Of An Omani House In Stone Town, Zanzibar”. South African Journal Of Art History 16 (2001). http://repository.up.ac.za/bitstream/handle/2263/15408/Steyn_Analysis%282001%29.pdf?sequence=1&isAllowed=y. 10. Meier, Prita. ‘’Swahili Port Cities - The Architecture of Elsewhere’’ - African Expressive Cultures, Indiana University Press, (2016) 11. Wynne-Jones, S. The Swahili House Revisited. Ebook. 1st ed. Bristol: University of Bristol, 2010. http://www. songomnara.rice.edu/pdf/wynnejones.pdf. 12.
Sheriff, Abdul. “Race and Class in the Politics of Zanzibar.” Africa Spectrum 36, no. 3 (2001)
13. Royer, T. “The Nine Hour Revolution”. Zanzibarhistory.Org, 2000. http://zanzibarhistory.org/Nine%20Hour%20 Revolution.htm. 14. Myers, Garth A. “Colonial And Postcolonial Modernities In Two African Cities”. Canadian Journal Of African Studies / Revue Canadienne Des Études Africaines 37, no. 23 (2003) 15. Kellet, P and J eds Hernandez-Garcia. Researching the Contemporary City: Identity, Environment and Social Inclusion in Developing Urban Areas. 1st ed. Editorial Pontificia Universidad Javeriana, 2009. 16. Donley, L. W. “A Structuring Structure: The Swahili House”. In Domestic Architecture and The Use of Space, 1st ed. Cambridge: Cambridge University Press, 1990. 17.
Denyer, Susan. African Traditional Architecture. 1st ed. New York: Africana Pub. Co., 1978.
18.
Bianca, S. Zanzibar: A Plan for The Historic Stone Town. 1st ed. Geneva: The Aga Khan Trust for Culture, 1996.
* for full bibliographies and essays see original submissions
THE RHYTHMANALYSIS OF CONCRETE UTOPIAS A DIGITAL CEMETERY IN A TRANSHUMANIST FUTURE
1.
Coleman, N. Lefebvre for architects. 1st ed. London, Routledge, 2014
2.
Asimov, I. (1987). The foundation trilogy. 1st ed. Octopus.
3.
Dernie, D. (2009). Stone architecture. 1st ed. London: Laurence King.
4.
Friedman, Y. (1980). Toward a scientific architecture. 1st ed. Cambridge, Mass.: MIT Press.
5.
Venturi, R. (1996). Iconography and electronics upon a generic architecture. 1st ed. Cambridge, Mass.: MIT Press.
6.
Lefebvre, H., Elden, S. and Moore, G. (2015). Rhythmanalysis. 1st ed. London: Bloomsbury Academic.
7.
Soane, J. and Waterfield, G. (1996). Soane and death. 1st ed. London: Dulwich Picture Gallery.
8.
Twombly, R. (2003). Louis Kahn. 1st ed. New York: Norton. particular chapter 1, Monumentality, pages 21 to 32
9.
Wells, H. (2016). A Modern Utopia. 1st ed. Mineola: Dover Publications.
10. Rykwert, J. (1988). The idea of a town : the anthropology of urban form in Rome, Italy and the ancient world. 1st ed. London: MIT Press. 11. Bostrom, N. (2005). Transhumanist Values. Journal of Philosophical Research, 30(9999), pp.3-14. http://www. nickbostrom.com/ethics/values.html 12. Eco, U. (n.d.). Function and sign. 1st ed. Chapter: Semiotics of Architecture, source https://marywoodarchtheory. files.wordpress.com/2013/10/function-and-the-sign-the-semiotics-of-arch_u-eco.pdf 13. ‘Something’s Missing: A Discussion between Ernst Bloch and Theodor W. Adorno on the Contradictions of Utopian Longign’ , source http://staff.washington.edu/schenold/chid390/readings/Bloch+Adorno-Something’s%20Missing.pdf 14.
Zumthor, P., Oberli-Turner, M. and Schelbert, C. (n.d.). Thinking architecture. 1st ed.
15.
Rowe, C. and Koetter, F. (2009). Collage City. 1st ed. Basel [u.a.]: Birkhäuser.
16.
Coleman, N. (2005) Utopias and Architecture. London, Routledge
17.
Pérez-Gómez, A. (1994). Architecture and the crisis of modern science. 1st ed. Cambridge, Mass. [u.a.]: MIT Press.
18.
Loos, A. (n.d.). Ornament and Crime. 1st ed.
19.
Zukin, S. (2010). Naked City: The Death and Life of Authentic Urban Places. 1st ed. Oxford University Press.
20. Ruskin, J. (1912). The seven lamps of architecture ; Lectures on architecture and painting ; The study of architecture. 1st ed. Boston: Estes and Lauriat. 21.
Vitruvius Pollio. and Morgan, M. (n.d.). The ten books on architecture. 1st ed.
22. Burke, E. and Guyer, P. (2015). A philosophical enquiry into the origin of our ideas of the sublime and beautiful. 1st ed. Oxford: Oxford University Press. 23.
Harvey, D. (2008). Spaces of hope. 1st ed. Berkeley [u.a.]: Univ. of California Press.
24.
Brooker, C. (2011). Black Mirror. Tv Series, Netflix, Particularly episode 4, ‘San Junipero’, Series 3(2016)
25. Bollas, C. (2009). The evocative object world. 1st ed. New York: Routledge. particularly chapter . the unconscious’
‘Architecture and
ACADEMIC PORTFOLIO AND OTHER ACADEMIC PROJECTS - VOLUME 2 ALEXANDRA CARAUSU 150508913
Charrette weeks
Rematerialising Rotterdam. Copying MVRDV stage 5 design project
Hybrid Objects. An art storage archive in Rotterdam - stage 5 design project
THIS PORTFOLIO CONTAINS SELECTED PROJECTS AND WORK DONE WHILE STUDYING TOWARDS A PART 2 QUALIFICATION AT NEWCASTLE UNIVERSITY. IT INCLUDES BOTH ACADEMIC UNIVERSITY PROJECTS AND EXTRACURRICULAR ARCHITECTURAL PROJECTS.
CHARRETTE WEEK FRAMING NEWCASTLE - THROUGH THE RABBIT HOLE STAGE 5
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CHARRETTE WEEK PRINT SHIFT REPEAT - screen printing STAGE 6
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REMATERIALISING ROTTERDAM COPYING MVRDV TO CREATE AN INTENSE MASTERPLAN DELFSHAVEN, ROTTERDAM, THE NETHERLANDS STAGE 5 PROJECT; TUTOR MATTHEW OZGA-LAWN 7KH SURMHFW DLPV WR FUHDWH D GHQVH JURXS PDVWHUSODQ LQ WKH 'HOIVKDYHQ DUHD RI 5RWWHUGDP ZLWK LQGLYLGXDO SURJUDPV LQWHUWZLQHG (DFK SURJUDP LV SURSRVHG E\ HDFK PHPEHU RI WKH JURXS 7R FUHDWH WKLV GHQVH SODQ WKH ZD\ RI ZRUNLQJ ZDV FRSLHG IURP WKDW RI 'XWFK DUFKLWHFWXUDO SUDFWLFH 095'9 DQG WKHLU UHVHDUFK FRXQWHUSDUW 7KH :K\ )DFWRU\ $ VHW RI UXOHV ZHUH DJUHHG XSRQ XVLQJ WKH PHGLXP RI WKH JDPH 0LQHFUDIW 6TXDUH EORFNV UHSUHVHQWHG VSDFH WKDW HDFK SOD\HU FODLPHG GXULQJ WKHLU WXUQ The result is a dense mixture of the 5 programs and each player developed their claimed space into a concept building, working LQ FORVH UHODWLRQVKLS ZLWK WKH RWKHU SURSRVDOV The orange fashion factory is a place that would make Rotterdam known for innovative fashion (3D printed fashion) as well DV IRU LQQRYDWLYH DUFKLWHFWXUH 7KH IDFWRU\ ZRXOG SURYLGH D VPDOO LQGXVWU\ IRU WKH 'HOIVKDYHQ DUHD DQG FUHDWH QHZ MREV WKXV DWWUDFWLQJ SHRSOH WR WKH PRVWO\ HPSW\ SDUW RI 5RWWHUGDP Extract quote from brief: “…it makes sense, because this kind of heap of ants in which people do their own thing leads to innovations, to unexpected relationships, but also to clustered activities that encourage depth in research and economic activity. So this intensity is useful and defensible.” Winy Maas 2013 The fashion factory in Rotterdam $IWHU WKH WULS WR 5RWWHUGDP WKH LPSUHVVLRQV ZHUH FOHDU WKDW LW LV D FLW\ IRU DUFKLWHFWV EXW QRW IRU SHRSOH 7KH ZLGH VWUHHWV DQG ODUJH VFDOH EXLOGLQJV PDNH LW VHHP OLNH LW LV DQ DEDQGRQHG FLW\ 7KH QHHG IRU DQ LQWHUYHQWLRQ WKDW ZRXOG DWWUDFW PRUH SHRSOH LQWR WKH FLW\ EHFDPH DSSDUHQW %XW VWLOO 5RWWHUGDP VWLOO JDYH WKH IHHOLQJ RI EHLQJ D ¶FRRO· FLW\ 7KH QDWXUH RI LWV KLVWRU\ KDV DOORZHG LW WR EHFRPH D SOD\JURXQG IRU DUFKLWHFWV DQG LV GHÀ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À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his project focused mainly on working closely within a group to produce an experimental and dense masterplan proposal IRU DQ DUHD RI 5RWWHUGDP %HFDXVH RI WKLV WKH FULWHULD UHODWHG WR PDVWHUSODQQLQJ SODQQLQJ RI FLWLHV DQG RXWOLQH GHVLJQLQJ RI EXLOGLQJV ZDV PHW %HFDXVH ZH ZHUH DGRSWLQJ WKH ZD\ RI ZRUNLQJ RI DQ H[LVWLQJ SUDFWLFH 095'9 WKH SURMHFW DOVR PHW WKH FULWHULD UHODWLQJ WR XQGHUVWDQGLQJ WKH SURIHVVLRQ DQG KRZ DUFKLWHFWV RSHUDWH ZLWKLQ WKH FRQWH[W WKH\ ZRUN LQ $V LW LV D KLJKO\ H[SHULPHQWDO SURMHFW LW DOVR FRYHUV WKH FULWHULD WKDW GHDOV ZLWK WKH PHWKRGV RI LQYHVWLJDWLRQ DQG SUHSDULQJ RI D EULHI 7KH representation method that we used was innovative, bringing computer games into architecture and using them as a driver for WKH VW\OH DQG GHVLJQ RI WKH SURSRVDOV
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A CLOSER LOOK AT DELFSHAVEN
Delfshaven is a borough of Rotterdam on the right bank of river Nieuwe Maas, in South Holland, the Netherlands. It was a separate municipality until 1886. The town of Delfshaven grew around the port of the city of Delft. Delft itself was not located on a major river, so in 1389 a harbour was created about 10 km (6 mi) due south of the city, to be able to receive seafaring vessels and avoid tolls being levied by the neighbouring and competing city of Rotterdam. This settlement was named Delfshaven (“Port of Delft”). Fishing, shipbuilding and the distillery of Jenever were the main sources of income. The Dutch East India Company had important wharfs and warehouses in Delfshaven. 'HOIVKDYHQ HVFDSHG WKH ERPELQJ RI 5RWWHUGDP E\ WKH /XIWZDH RQ 0D\ XQOLNH PRVW RI 5RWWHUGDP /DWHU GXULQJ WKH Second World War, the area around the Groot Visserijplein and other parts of the western city of Rotterdam were destroyed by DOOLHG ERPELQJ RQ 0DUFK +RZHYHU WKLV LV ZKHUH WKH RQH RI RQO\ OHIW H[LVWLQJ ZLQGPLOO RI 5RWWHUGDP LV ORFDWHG Among the other buildings of interest in Delfshaven there is the Euromast Tower, The Maaspodium Theatre, the Lloydstraat Nautical School, and the Achterhaven housing by Sputnik Architecture Urbanism Research. Also on the site there is De Delft: the reconstruction of an 18th century warship and a fairground location.
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CREATING A NEW ISLAND - REBUILDING THE EXISTING
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7KURXJK WKH FRQFHSW RI K\SHU LQWHQVLÀFDWLRQ DQG GHQVLÀFDWLRQ RI WKH VLWH ZH SXVKHG WKH boundaries of the allocated site. The area of Delfshaven had undergone major development through the years incorporating an initial island of land that had grown through accumulation of sediments, and then sculpting it into an appropriate dock. The area has also become a very intense cityscape. Keeping up with traditional Dutch style building philosophy, we proposed to reclaim land and H[WHQG WKH HGJH RI WKH VLWH WR UHZRUN WKH FRQWH[W 7KH RULJLQDO OLQH RI WKH LVODQG ZRXOG EH UHFUHDWHG RHULQJ DQ RSSRUWXQLW\ WR EXLOG ZLWKRXW GLVUXSWLQJ WKH H[LVWLQJ YHU\ PXFK The idea of this proposed ‘clash of island’ also presents us with a platform to set out our LQGLYLGXDO LQWHQVLÀHG SURJUDPPHV ZKLOVW VWLOO W\LQJ LQWR WKH H[LVWLQJ VXUURXQGLQJV
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A CLOSER LOOK AT MVRDV
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The concept of a building inside a glass building is used both in the book mountain project and in the glass farm. THE BOOK MOUNTAIN - SPIJKENISSE
MVRDV use the recurrent theme of pure 3D shapes to create spaces.
JARDIN DES DESCARTES - UNREALISED
MVRDV and The Why Factory often use assemblage as a technique to create their designs.
THE VERTICAL VILLAGE - TAIPEI
External circulation that wraps around the building creating a ULGH HරHFW BRABANT LIBRARY - NETHERLANDS
FROM THE EGO CITY GAME TO MINECRAFT
The Why Factory use games to create algorithms to then create spaces. The EGO city was developed through a game engineered E\ WKHP (DFK FRORXU UHSUHVHQWV D GLHUHQW FKDUDFWHU ZLWK GLHUHQW VSDWLDO QHHGV 7KH\ DUH DOO EDWWOLQJ HDFK RWKHU IRU WKHLU required space using the rules of the game. Similar to this way of working, we created rules for our own battle for space, between the 5 group members. By setting up a relatively small space on the site - the new redeveloped island - we ensured that the end result would be a very dense use of VSDFH ZLWK DUHDV RI GLHUHQW XVHV PXFK OLNH WKH (JR &LW\ Our platform was the Minecraft game due to its simplicity and its ability to add cheats that enable new rules to be created. Thus we could include our own restrictions and parameters to the overall game-play. The game was played a few times until the rules ZHUH ÀUPO\ HVWDEOLVKHG DQG XQGHUVWRRG :H DOO SOD\HG LQ WXUQV RQ RQH FRPSXWHU DQG KDG D OLPLWHG QXPEHU RI EORFNV SHU WXUQ Each player had a pre-chosen character and desired outcome for their programs. The distinction between players is made WKURXJK GLHUHQW FRORUV 7KH RUGHU IRU HDFK SOD\HUV WXUQ ZDV GHWHUPLQHG E\ D UDQGRP RUGHULQJ VRIWZDUH The color I used was orange.
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THE FASHION FACTORY THE ORANGE CUBE
The character chosen to represent the orange cube, fashion factory is Karl Lagerfeld because of his established name in the fashion industry and his famous eccentric persona.
The blue cubes were used by Nedelina Atanasova. The proposed program for this color is ‘The water ([SHULPHQW· D VXVWDLQDEOH IRRG SURGXFWLRQ IDFWRU\ WKDW uses the water on site. The character linked with the blue cubes is Kevin Costner.
The red cubes are used by Laurence Ashley. The proposed program for this color is ‘Weekend City’ - a weekend destination for stag dues and other parties. The character linked with the red cubes is Alan played by =DFK *DOLÀDQDNLV LQ 7KH KDQJRYHU
The yellow cubes are used by Su Ann Lim. The proposed program for this color is ‘Cultural Urban Playground’ - A cultural building that links to the old part of Delfshaven. The character linked with the yellow cubes is Salvador Dali.
The green cubes are used by Richard Spilsbury. The proposed program for this color is ‘Creative Collective’ Space where new businesses can be established and new WHFKQRORJLHV H[SORUHG 7KLV SURJUDP DOVR DEVRUEV DOO WKH residential needs of the other characters. The character linked with the green cubes is Mark Zuckerberg.
MINECRAFT GAME STRATEGY
Before playing the battle for space game in Minecraft, a rough estimate was made of what spaces were needed for the fashion factory and how many square meters each one would requite. The established rules for the Minecraft game are WKDW D 0LQHFUDIW EORFN UHSUHVHQWV D P [ P [ P cube of space. The estimated areas are as follows: 25 Blocks - Design Studio 25 Blocks - Shopping Area 25 Blocks - Sewing/3d Printing Studio 20 Blocks - Show Space / Catwalks 20 Blocks - Warehouses 20 Blocks - Misc Material Handling %ORFNV *DOOHU\ ([KLELWLRQ 20 Blocks - Cafe, Restaurant and Club Spaces 20 Blocks - Fairground Upgrade / Rollercoaster
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EXPERIMENTING WITH BLOCKS 7KH DLP RI WKLV H[HUFLVH LV WR WHVW KRZ PRUH VSDFH FDQ EH RFFXSLHG ZLWK WKH VDPH QXPEHU RI EORFNV DV WKH QDWXUH RI WKH 0LQHFUDIW JDPH GLGQ·W DOORZ PH HQRXJK WLPH WR H[SHULPHQW ZLWKLQ WKH SOD\HG URXQGV 3OD\LQJ DQG WHVWLQJ EHIRUH KHOSHG PH WR GHYHORS VWUDWHJLHV DQG H[SHULHQFH WKH SURFHVV WKH :K\ )DFWRU\ used for the project Porous City, for which they used Lego Blocks.
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EXAMPLES OF THE GAME - PLAY ROUNDS ROUNDS 5 AND 6
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ROUND 6 MODEL USED AS BASE FOR MASTERPLAN As a group we decide to use round 6 Minecraft model to further develop into a masterplan due to the fact that the overall satisfaction for this round was the highest out of all the games played.
MINECRAFT MODEL
SKETCHUP ARCHITECTURAL MODEL
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1. The initial transfer from Minecraft into a sketchup model revealed that our HVWLPDWLRQ RI D EORFN EHLQJ P [ P [ P UHVXOWHG LQ RYHUVL]HG VWUXFWXUH WKDW are a lot higher than the surrounding.
7KH ÀUVW LWHUDWLRQV RI WKH PRGHO UHYHDOHG FODVKHG DW WKH FHQWUH RI WKH VLWH where most of the programs are concentrated. I kept the rollercoaster as an idea at this stage predicting the other buildings will change and that there would be further clashes.
3. The warehouse element of the fashion factory was placed within the blue scheme as it was developed in Minecraft. This raised issues between the need to have them in that location for the orange scheme and the fact that they were blocking the space for the blue scheme
7KH JUHHQ VFKHPH WRRN RQ DOO WKH UHVLGHQWLDO VSDFH WKDW WKH RWKHU FRORUV ZHUH intending to have. The fashion warehouses remain within the blue scheme but I have accepted that they are manipulated by the blue with the condition that the required space is achieved and that a link is provided.
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3. With the initial forms preserved, new elements are introduced following 095'9 VW\OH 7KH LGHD RI D WKLUG EXLOGLQJ LV H[SORUHG WKDW ZRXOG OLQN EDFN WR WKH H[LVWLQJ IDLUJURXQG $ GLVWLQFWLRQ EHWZHHQ WKH IDFWRU\ DQG WKH SDUW\ EXLOGLQJ LV PDGH WKURXJK GLHUHQW IRUPV RQH PRUH IRUPDO DQG RQH PRUH RUJDQLF 7KHVH are still linked by elements of assemblage of pure 3D shapes and the organic web like circulation that mimics woven fabrics. The warehouse element that was placed within the water building was given over through negotiation to that building with the condition of keeping the required space and provide a link back to the factory.
2. After discussions with the cultural playground, the rollercoaster element JRLQJ LQWR WKDW DUHD ZDV RPLWWHG ,QLWLDO IRUP H[SORUDWLRQV RI WKH PDLQ EXLOGLQJ lead to a compact space that would take the role of the factory and studio. A separate building is introduced on the far end of the site connected by the rollercoaster. This new building would house the play/party element of the proposed program.
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INITIAL PROGRAMMATIC ARRANGEMENTS
PROGRAM FASHION FACTORY - PARTY BUILDING AND A ROLLERCOASTER IN-BETWEEN
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DEVELOPMENT STAGES
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DIVISION OF THE EXPECTED VOLUMES ACCORDING TO MINECRAFT BLOCKS
AMOUNT OF BLOCKS REDUCED TO HALF. ANTICIPATED SPACE WAS TOO LARGE
ASSEMBLY THE VOLUMES MANIPULATING THE VOLUMES
ENCASING THE ASSEMBLY INTO A BUBBLE FORMING FLOORS AND CIRCULATION AREAS
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ROLLERCOASTER ELEMENT SPIRALS THE DOME
PHYSICAL EXPLORATION OF THE GAME
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THE FASHION FACTORY SECTION
HYBRID OBJECTS REMATERIALISING THE TOWER OF BABEL IN ROTTERDAM AN ART DEPOSITORY FOR THE BRUEGEL MUSEUM COLLECTIONS MUSEUMPARK, ROTTERDAM, THE NETHERLANDS, STAGE 5 PROJECT, TUTOR JAMES A CRAIG ([SORULQJ D EXLOGLQJ SURSRVDO IURP ERWK D GHLJQ DQG D FRPSUHKHQVLYH SRLQW RI YLHZ LV WKH DLP RI WKLV SURMHFW 6HW ZLWKLQ WKH architectural playground of Rotterdam the proposed art depository creates a critical alternative to the winning MVRDV design ZKLFK EHFRPHV RQH RI WKH JKRVWV RI WKH SURMHFW 8VLQJ %UXHJHO·V ¶/LWWOH 7RZHU RI %DEHO· DV D VHFRQG JKRVW UHVXOWV LQ FUHDWLQJ D VSDFH IRU DUW LQVSLUHG E\ WKH DUW 7KH PDLQ WHFKQLFDO LVVXHV H[SORUHG DUH EULFN FRQVWUXFWLRQ PHWKRGV HQYLURQPHQWDO LVVXHV VXFK DV FUHDWLQJ DQ LGHDO FOLPDWH IRU WKH DUW OLJKWLQJ VWUDWHJLHV DFFHVVLELOLW\ DQG ÀUH LVVXHV $OWKRXJK WKH SURMHFW LV VHW LQ WKH 1HWKHUODQGV WKH JXLGDQFH XVHG FRPSOLHV ZLWK 8. UHJXODWLRQ The scheme proposes an alternative way of interacting with art, bringing it closer to the user and creating a more personal LQWHUDFWLRQ 7KLV LV DFKLHYHG E\ RHULQJ WKH XVHU WKH SRVVLELOLW\ WR PRYH DQG VHOHFW WKH DUW DQG FKDQJH WKH FRQGLWLRQV LQ ZKLFK LW LV H[SHULHQFHG Extract quote from brief: “The aim of this studio is to create an architectural response to the complex space that exists between viewers and objects. This space; a foggy territory where a myriad of meanings can be made, is the zone where projected meanings collide to create a space of betweenness. The result is a hybrid object; constituted from entangled meanings that exist in the space between observer and object. ” 8QUDYHOOHG 7RZHU 2I %DEHO $UW 'HSRVLWRU\ $V D UHVXOW RI LW·V KLVWRU\ 5RWWHUGDP KDV EHFRPH DQ DUFKLWHFWXUDO FLW\ WKDW ZDV IRUFHIXOO\ UHPDGH DQG UHPDWHULDOLVHG ,W VHHPV that throughout the reconstruction most of it’s history has been ignored, modern ways of spatial arrangement taking the place RI WKH WUDGLWLRQDO 'XWFK SRUW FLW\ 0RVW RI WKH DUFKLWHFWXUH KHUH ZKLOH H[FLWLQJ DQG VXFFHVVIXO PDQDJHV WR LQWHQWLRQDOO\ LJQRUH FRQWH[W DQG KLVWRU\ 5RWWHUGDP KDV WKXV EHFRPH D FROOHFWLRQ RI VWUXFWXUHV LQGHSHQGHQW IURP HDFK RWKHU WKDW VRPHKRZ PHUJH WRJHWKHU DQG FUHDWH D XQLTXH FLW\ In the Netherlands historically, due to the humid weather, art has been at the core of everyday life as a means of helping to GHFRUDWH LQWHULRU VSDFHV ,W IHHOV QDWXUDO WKDW UHPDWHULDOLVDWLRQ VKRXOG FRPH IURP WKH ULFKQHVV RI DUW SUHVHQW LQ WKLV VSDFH 7KH K\EULG REMHFWV EULHI RXWOLQHV D UHTXLUHPHQW IRU DQ DOWHUQDWLYH SURSRVDO WR WKH 095'9 DUW GHSRVLWRU\ IRU WKH %RLMPDQ FROOHFWLRQ To reintegrate the building in it’s historical context it is proposed that it should be an architectural interpretation of an artwork KHOG ZLWKLQ WKH FROOHFWLRQ 7KXV WZR ¶JKRVWV· DUH LGHQWLÀHG DQG H[SORUHG 2QH LV WKH H[LVWLQJ 095'9 SURSRVDO H[SORUHG LQ a programmatic and functional way and the other is the object held within the museum that gives historical and artistic JURXQGLQJ WR WKH QHZ EXLOGLQJ 6HW LQ 5RWWHUGDP·V 0XVHXPSDUN WKH QHZ SURSRVDO KDV D ULFKQHVV RI DUFKLWHFWXUDO DQG DUWLVWLF VXUURXQGLQJV 7KH DUWLÀFLDO XUEDQ SDUN ZDV GHVLJQHG E\ 5HP .RROKDDV 20$ ZLWK WKH )UHQFK ODQGVFDSH DUFKLWHFW <YHV %UXQLHU DQG (VLJQHU 3HWUD %ODLVVH ,W OLQNV DOO RI WKH EXLOGLQJV DURXQG 0XVHXPSDUN DQG DFWV DV DQ RXWGRRU JDOOHU\ ZLWK YDULRXV ZRUNV RI DUW SODFHG DURXQG WKH SDUN $ SHUIHFWO\ VWUDLJKW SURPHQDGH WUDQVHFWV WKH SDUN IURP QRUWK WR VRXWK 7KH ROGHU SDUW RI WKH SDUN LQ OLQH ZLWK WKH %RLMPDQ·V 0XVHXP ZDV FUHDWHG LQ E\ DUFKLWHFW :LWWHYHHQ 2QH RI WKH ROGHVW DQG PRVW SUHFLRXV SLHFHV KHOG ZLWKLQ WKH %RLMPDQ FROOHFWLRQ ¶7KH /LWWOH 7RZHU RI %DEHO· E\ 3LHWHU %UXHJHO WKH HOGHU 7KLV SDLQWLQJ UHSUHVHQWV WKH DUWLVWLF JKRVW RI WKH SURMHFW 7KH SDLQWLQJ ZDV GHFRPSRVHG DQG DQDO\VHG DQG WKH GHVLJQ SURFHVV LV LQIRUPHG E\ WKH FRPSRVLWLRQ RI WKH SDLQWLQJ 7KH SDLQWLQJ KDV PDQ\ PHDQLQJV WKDW FDQ EH LQWHUSUHWHG DQG UHPDWHULDOLVHG IRU WKH SXUSRVH RI WKH EULHI 7KHVH LQFOXGH DUWLVWLF PHDQLQJ KLVWRULF DQG UHOLJLRXV PHDQLQJ DQG DUFKLWHFWXUDO PHDQLQJ 7KH PDLQ IRFXV RI WKH SURMHFW LV WR H[SORUH DQG UHVHDUFK DUW LQ UHODWLRQ WR DQG DV DQ LQÁXHQFH WR DUFKLWHFWXUH ,Q WHUPV RI WKH criteria it manages to be a comprehensive architectural design satisfying the requirements for research and understanding of WKH KLVWRU\ DUWV DQG FRQWH[W DQG NQRZOHGJH DQG LQWHJUDWLRQ RI DUW DV D GULYHU IRU WKH SURMHFW $V LW LV D FULWLTXH WR DQ H[LVWLQJ SURMHFW LV DOVR ORRNV DW WKH ZLGHU FRQWH[W RI WKH DUFKLWHFW DQG WKH SURIHVVLRQ DQG WKH LQÁXHQFH WKDW GHVLJQV KDYH RQ WKHLU HQYLURQPHQW 7KH GHYHORSHG EULHI FRPHV IURP UHVHDUFKLQJ DQG DSSURSULDWLQJ DOO WKHVH IDFWRUV 0\ DLP ZDV WR DOVR FUHDWH D FRPSUHKHQVLYH WHFKQLFDO SURMHFW 7KHUHIRUH , GLG D FRPSUHKHQVLYH UHVHDUFK LQWR WKH XVH RI EULFN DQG SDUWLFXODUO\ LQ WKH WHFKQRORJ\ DQG DSSOLFDWLRQ RI &DWDODQ YDXOWLQJ 7KH SURMHFW DOVR PHHWV FULWHULD UHODWLQJ WR VWUXFWXUH GHWDLOLQJ EXLOGLQJ VHUYLFHV DQG HQYLURQPHQWDO IDFWRUV 7KH GHVLJQ ZDV DOVR FUHDWHG WDNLQJ EXLOGLQJ UHJXODWLRQV LQWR FRQVLGHUDWLRQ VXFK DV UHJXODWLRQV UHODWHG WR ÀUH VHFXULW\ DQG DFFHVV DQG DOVR XVHUV QHHGV DQG DVSLUDWLRQV LQWR FRQVLGHUDWLRQ
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museumpark
ART GALLERIES OTHER MUSEUMS
MUSEUMS IN ROTTERDAM
ommoordse veld
park zestienhoven kralingse bos prinsenland rotterdam zoo
museumpark
two hills park
zuiderpark
PARKS IN ROTTERDAM
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MUSEUMPARK SITE OMA
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Museumpark is an urban park in Rotterdam, Netherlands, located between the museum Boijmans van Beuningen, :HVWHUVLQJHO :HVW]HHGLMN DQG WKH FRPSOH[ RI WKH (UDVPXV 0& D PHGLFDO FHQWUH DOLDWHG ZLWK WKH (UDVPXV university. The land on which the park sits on used to be owned by the Hoboken family. Their House of residence was in the building than now houses the Natuurhistorisch museum Rotterdam. The park was laid out in 1927 to the design of the architect Witteveen. Spanning Over 120,000m2 there are several artworks in the park, so it also serves as a sculpture garden.
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MVRDV ART DEPOSITORY PROPOSAL PRECEDENT GHOST A proposal for a new public art depository in Museumpark for the Boijman collection has been made by MVRDV. The proposal was announced as the competition winner and is to house over 125,000 paintings, sculptures and objects, most of which will be DFFHVVLEOH WR WKH SXEOLF &RPSOHWLRQ LV H[SHFWHG IRU The building is proposed for the northern end of the park and has a round shape FRYHUHG LQ PLUURUHG JODVV ZLWK WKH LQWHQWLRQ WR UHÁHFW LW·V VXUURXQGLQJV 7KH 0 (XUR SURSRVDO KDV DUW UHVWRUDWLRQ IDFLOLWLHV H[KLELWLRQ VSDFHV RFHV logistics, bar spaces, restaurant spaces, a sculpture garden and private collectors facilities. For the tower of Babel art depository proposal the program of the MVRDV proposal is used as a precedent. ¶$ SXEOLF URXWH ]LJ]DJV WKURXJK WKH EXLOGLQJ IURP WKH OREE\ RQ WKH JURXQG ÁRRU ZKHUH D FDIp FDQ EH IRXQG XS WR DQ H[KLELWLRQ VSDFH VFXOSWXUH JDUGHQ DQG restaurant on the roof. On the way up the route passes along and through art depots DQG UHVWRUDWLRQ ZRUNVKRSV ,Q GHSRWV YLVLEOH IURP WKH URXWH WKH H[KLELWLRQ FDQ EH changed on a daily basis by simply moving storage racks so each visit to the building FDQ RHU D XQLTXH H[SHULHQFH 2Q WKUHH ÁRRUV WKH URXWH SDVVHV WKURXJK H[KLELWLRQ spaces which will be programmed by museum Boijmans van Beuningen. RI WKH 0 ZLOO EH YLVLEOH RU DFFHVVLEOH WR WKH SXEOLF 7KH EXLOGLQJ ZLOO IHDWXUH VHYHQ GLHUHQW FOLPDWLF FRQGLWLRQV IDFLOLWDWLQJ LGHDO FRQGLWLRQV IRU DUW VWRUDJH RFHV DQG WKH SXEOLF · 095'9 ZHEVLWH
Winy Maas says: “A public art depot is a new phenomenon to the Netherlands, normally these depots are hidden in the periphery of cities. It is a bold initiative which ZLOO UDLVH WKH DWWHQWLRQ RI WKH LQWHUQDWLRQDO PXVHXP FLUFOHV ,W RHUV VSDFH WR PXVHXP %RLMPDQV YDQ %HXQLQJHQ DQG ZLOO KHOS LW WR VWUHQJWKHQ LWV LQWHUQDWLRQDO SURÀOH µ
MUSEUMS AROUND MUSEUMPARK FIGURE GROUND MAP
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1. chabot museum
2. sonneveld house
5. museum boijmans van beuningen
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3. het nieuwe institute
6. natuurhistorisch museum
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4. centre for contemporary art
7. kunstal museum
MUSEUMPARK SITE OMA
TRAM LINE BUS ROUTES LIKELY PEDESTRIAN ROUTE
THE LITTLE TOWER OF BABEL,
c. 1565
PIETER BRUEGEL
The Tower of Babel - Genesis 11:1-9 11 Now the whole world had one language and a common speech. 2 As people moved eastward, they found a plain in Shinar and settled there. 3 They said to each other, “Come, let’s make bricks and bake them thoroughly.” They used brick instead of stone DQG WDU IRU PRUWDU Then they said, “Come, let us build ourselves a city, with a tower that reaches to the heavens, so that we may make a name for ourselves; otherwise we will be scattered over the face of the whole earth.” 5 But the Lord came down to see the city and the tower the people were building. 6 The Lord said, “If as one people speaking the same language they have begun to do this, then nothing they plan to do will be impossible for them. 7 Come, let us go down and confuse their language so they will not understand each other.” 8 So the Lord scattered them from there over all the earth, and they stopped building the city. 9 That is why it was called Babel—because there the Lord confused the language of the whole world. From there the Lord scattered them over the face of the whole earth.
THE PAINTING IS LOCATED IN ROOM 6, 1ST FLOOR OF THE MUSEUM
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THE PAINTING IN THE ITS PREVIOUS OWNER, BEUNINGEN
ROOM OF MR VAN
PIETER BRUEGEL THE ELDER
death
peasants/village life
landscape
months series
Pieter the Elder Bruegel (c. 1525 - September 9, 1569) was a Netherlandish Renaissance painter and printmaker known for his landscapes and peasant scenes (Genre Painting). In this famous painting Bruegel depicts the biblical story of man’s hubris and their desire to build a tower that reached to the heavens. God punished them with a Babelonian confusion of tongues. &RXQWOHVV SHRSOH DUH ÁRFNLQJ DURXQG WKH VWUXFWXUH ZKLFK UHDFKHV to the clouds. Bruegel took inspiration for the architecture of his tower from the Colosseum in Rome. The Tower of Babel is the subject of three oil paintings by Pieter %UXHJHO WKH (OGHU 7KH ÀUVW D PLQLDWXUH SDLQWHG RQ LYRU\ ZDV painted while Bruegel was in Rome and is now lost.
biblical
TOWER OF BABEL TYPOLOGY STUDY FROM OTHER REPRESENTATIONS
TOWER OF BABEL BY LUCAS VAN VALCKENBORCH
MARTEN VAN VALCKENBORCH TOWER OF BABEL, 1600
TOWER OF BABEL, SCHOOL OF MARTEN VAN VALCKENBORCH (CA. 1533-1612)
ABEL GRIMMER, TOWER OF BABEL,1604
HENDRICK VAN CLEVE, CONSTRUCTION OF THE TOWER OF BABEL
LUCAS VAN VALCKENBORCH, THE TOWER OF BABEL, 1595
ART DECO TOWER OF BABEL FROM METROPOLIS,1927
ANONYMOUS MASTER, THE TOWER OF BABEL, C. 1425
TATLIN’S TOWER, VLADIMIR TATLIN, 1920
ART DECO TOWER OF BABEL FROM METROPOLIS,1927
TOWER OF BABEL, RUIGOORD NETHERLANDS 1999
ATHANASIUS KIRCHER, TOWER OF BABEL 1679
FACADE OPENINGS STUDY FLATTENING THE OPENINGS OF BRUEGEL’S ‘LITTLE TOWER OF BABEL’
CONCEPT LOCATION DRAWING BOTH ELEVATIONAL PLANS SHOWN IN RELATIONSHIP WITH THE SITE
RADIAL FACADE OPENINGS STUDY FLATTENING THE OPENINGS OF BRUEGEL’S ‘LITTLE TOWER OF BABEL’ IN A DIRECT CIRCULAR PROJECTION
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CONCEPTUAL INTERPRETIVE MODEL FACADE, OPENINGS AND INTERNAL ORGANISATION
7KURXJK WKLV FRQFHSWXDO PRGHO WKH WRZHU RI EDEHO ZDV LQWHUSUHWHG DQG WKHPHV LGHQWLÀHG DUH VKRZQ LQ D SK\VLFDO IRUP 0RVW RI WKH DUWLVWLF UHSUHVHQWDWLRQV RI WKH ELEOLFDO EXLOGLQJ RQO\ GHSLFW WKH H[WHUQDO IRUP DQG make little if no references to how the internal environment is structured and used. In the genesis quote the only aspects mentioned about the building refer to the very large scale of it, the fact that it was made from EULFNV DQG WKDW LW ZDV WKH UHVXOW RI D FROOHFWLYH HRUW 7KH XVH RI WKH EXLOGLQJ LV QRW VSHFLÀHG DOWKRXJK WKH allusion made is that it is some sort of a giant utopian city all contained within a monolithic structure. The PRGHO H[SORUHV WKH LGHD WKDW WKH LQWHULRU RI WKH EXLOGLQJ LV GHÀQHG E\ OD\HULQJ RI VXEVHTXHQW IDoDGHV WKDW UHSOLFDWH DUFKHV WKURXJKRXW 7KH WKHPH RI WKH DUFK DQG RSHQLQJ LV DSSOLHG WR ERWK WKH OD\HUV RI IDoDGHV and to the plans. The planar plane is inspired by a direct projection of the openings depicted in Bruegel’s SDLQWLQJ DQG WKH IDoDGHV DUH D GLUHFW LQWHUSUHWDWLRQ WKDW RQO\ LJQRUHV WKH YDULDWLRQ LQ WKH SDLQWLQJ
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UNRAVELLING THE TOWER’S FACADE UNRAVELLING THE TOWER’S FACADE
7KH PRGHO H[SORUHV WKH YLVXDO DQG VSDWLDO SRVVLELOLWLHV RI D VWUXFWXUH WKDW XQUDYHOV WKH VSLUDOOLQJ IDFDGH RI a version of the Tower of Babel that mimics the facade of the one in Bruegel’s painting. The unravelling is GRQH RYHU WKH SDUW RI SDUN WKDW LV LQ OLQH ZLWK WKH %RLMPDQ·V PXVHXP FUHDWLQJ D OLQHDU VFXOSWXUDO HHFW 7KLV unravelling also makes reference to the destruction of the building and the creation of the ruin. The result would be a metaphor of the ruin integrated within nature.
INITIAL DESIGN OPTIONS EXPLORED OPTION OF UNRAVELLING THE TOWER
NORTHERN VIEW
SOUTHERN VIEW
VIEW LOOKING TOWARDS THE BOIJMAN’S FROM THE PARK
GROUND FLOOR
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EXTRUDED OPENINGS MASSING OPTION 1
EXTRUDED OPENINGS MASSING OPTION 2
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CIRCULAR DESIGN OPTION EXPLORED
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0DVVLQJ RSWLRQ ZDV LQLWLDOO\ FKRVHQ IRU GHYHORSPHQW 7KH SUHPLVVHV RI WKH GHVLJQ LV WKDW RI XVLQJ WKH ÁDWWHQHG HOHYDWLRQ RI WKH WRZHU RI EDEHO DV D EDVH IRU WKH SODQ RI WKH DUW GHSRVLWRU\ 7KH FLUFXODU RSWLRQ LV GHYHORSHG LQWR WKH JURXQG ÁRRU SODQ DQG HOHPHQWV DUH H[WUXGHG R LW DGGLQJ OHYHOV WRZDUGV WKH FHQWUH 7KH H[WUXVLRQV EHFRPH FKDPEHUV IRU VWRULQJ DUW DQG DV WKH\ EHFRPH VPDOOHU WRZDUGV WKH FHQWUH GLHUHQW W\SHV RI DUW LV VWRUHG within them. A central courtyard is used a public gathering space and point of reference. The overall plan of the building creates PD]H OLNH URXWHV DOORZLQJ WKH YLVLWRU WR JHW ORVW EHWZHHQ WKH DUW VWRUDJH FKDPEHUV 3DUW RI WKH VWRUDJH IDFLOLW\ LV H[WHUQDO ZLWK WKH H[WUXVLRQV EHFRPLQJ SDUW RI WKH ODQGVFDSH DQG RI WKH SDUN The proposed circulation mimics the one suggested in ‘the little tower of babel painting’ spiralling around the edge of the EXLOGLQJ EXW LQ WKLV FDVH LW LV EURXJKW LQVLGH WKH VSDFH UDWKHU WKDQ LW EHLQJ H[WHUQDO Art is stored according to time period and art movement with older pieces on the top levels contemporary pieces on the JURXQG ÁRRU 3LHFHV DUH DOVR VWRUHG DFFRUGLQJ WR YDOXH RQ WKHLU GHVLJQDWHG OHYHO ZLWK WKH PRUH H[SHQVLYH DQG YDOXDEOH RQHV towards the centre and less valuable one towards the periphery. The proposed material is brick masonry as is the material used for the tower of babel in the biblical quorate. A series of glass ZDOOV FRQQHFWV WKH H[WHUQDO SRGV FUHDWLQJ D FRQWUROOHG HQYLURQPHQW IRU WKH DUW ZKLOH RHULQJ WUDQVSDUHQF\ WKURXJK WKH EXLOGLQJ While the option is visually interesting and conceptually sound, it was not pursued any further. The overall resulting shape is too close an interpretation of the tower of babel and I felt it would result in a proposal that could easily be read as a cliché. While WKH RYHUDOO DUUDQJHPHQW RI WKH DUW VWRUDJH FKDPEHUV ZRXOG PDNH IRU D YHU\ LQWHUHVWLQJ H[SHULHQFH DQG WKH ODE\ULQWK VKDSH RHUV D PHWDSKRULFDO SDUDOOHO WR WKH VFDOH RI WKH WRZHU RI EDEHO VRPH RI WKH UHVXOWLQJ VSDFH DUH DZNZDUG GXH WR WKHLU VL]H DV D UHVXOW RI WKH GLUHFW H[WUXVLRQ 0RGLI\LQJ WKHVH ZRXOG KDYH GHIHDWHG WKH SXUSRVH RI WKH H[HUFLVH $IWHU H[SORULQJ WKLV RSWLRQ , KDYH JRQH EDFN WR WKH RULJLQDO WZR PDVVLQJ RSWLRQV DQG FKRVH WR GHYHORS RSWLRQ RQH LQWR WKH ÀQDO proposal.
PROPOSED LOCATION IN MUSEUMPARK SITE RELATIONSHIP WITH THE PARK
The proposal is located in the Eastern central part of the park on a patch of grass and open space that is not thoroughly developed and not often used as a result. %HFDXVH RI WKH OHJHQGDU\ VFDOH DQG LFRQLF LPDJH RI WKH 7RZHU RI %DEHO LW LV UHSUHVHQWHG RQ ÁDW ODQGVFDSH LQ PRVW H[LVWLQJ DUWZRUNV WKDW GHSLFW LW 7KXV WKH ORFDWLRQ LV LGHDO DQG LQ OLQH ZLWK WKH WKHPH RI WKH JKRVW object. The main landscaped part of the project and the proposed individual pods would create a more interesting outdoor public environment. 7KH LPPHGLDWH SUR[LPLW\ WR WKH ODNH RQ WKH VRXWKHUQ SDUW RI WKH SDUN LV DQRWKHU GLUHFW OLQN WR WKH SDLQWLQJ which depicts the tower on the edge of the sea. 7KH VKDSH RI WKH HOHYDWLRQ H[WUXVLRQ ÀWV DOPRVW SHUIHFWO\ ZLWKLQ WKH SORW RI JUDVV DOUHDG\ GHÀQHG E\ WKH H[LVWLQJ SDWK VR LPSDFW RQ WKH OD\RXW DQG RUJDQLVDWLRQ RI WKH SDUN ZRXOG EH PLQLPDO
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SITE STRATEGIES RELATIONSHIP WITH THE PARK
The proposal orientation is mostly dictated by the park layout. The relationship to the sun-path creates a mainly north-west facing IDFDGH ZKLFK ZRXOG UHGXFH JODUH FRPLQJ LQWR WKH H[KLELWLRQ VSDFHV
7KH QHZ EXLOGLQJ LV SODFHV RQ WKH ÁDW JUDVV SDUW RI WKH SDUN WKH part that was introduced initially. The site is currently underused. The proposal only takes up just over a quarter of the green open area. This would introduce high levels of activity while still preserving the open space as a public recreational area.
The new art depository id located in the central to the Museumpark FUHDWLQJ HDV\ FRQQHFWLRQV ZLWK DOO WKH H[LVWLQJ PXVHXPV QRW MXVW the Boijman museum. The space left in-between the buildings helps recreate the space around the tower of babel depicted in Bruegel’s SDLQWLQJ DV D ÁDW RSHQ VSDFH 9HKLFOH DFFHVV LV PDGH IURP WKH 1RUWK Eastern part of the site, as shown here in orange.
Facing the OMA part of Museumpark the new art depository ZRXOG EHQHÀW IURP WKH YLHZ RI WKH GHYHORSHG SDUW RI WKH SDUN 7KH introduction of an outdoor landscaped part of the depository would balance the two sides of the park and the activities that could take place in these two spaces.
INITIAL ITERATION OF EXTRUDED OPENINGS DESIGN ITERATION OF OPTION 1 WITH DOME
2SWLRQ PDVVLQJ RI WKH H[WUXGHG HOHPHQWV RI WKH 7RZHU RI %DEHO IDFDGH ZDV H[SORUHG LQ DQ LQLWLDO LWHUDWLRQ 7KLV YHUVLRQ RI WKH DUW GHSRVLWRU\ UHFUHDWHV WKH ÁDWWHQHG HOHYDWLRQ LQ SODQ DQG KDV D FLUFXODU two storey public gallery on the far end. The levels become smaller with increase of height and end in a GRPHG JODVV URRI PD[LPLVLQJ XVH RI QDWXUDO OLJKW The shape is intended to bring elements of the circular openings study into the proposal. The circular dome was not used and changed to a larger pod shape as this gallery appeared disconnected from the rest of the scheme and was not comprehensive with the evaluational study chosen. The circular gallery had arched openings mimicking that of the Tower of Babel from Bruegel’s painting. Circulation between the levels of the public gallery was made independently from the rest of the building with a separate staircase and lift. While the intention of breaking the rhythm of the pods was achieved, the circular dome was not coherent with the scheme and was not pursued further.
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EXTERNAL VIEW WITH THE DOME GALLERY LOOKING TOWARDS THE BOIJMAN MUSEUM
EXTERNAL VIEW WITH THE DOME GALLERY SEEN FROM THE BOIJMAN MUSEUM’S SIDE OF THE PARK
SECTION THROUGH THE DOME GALLERY
ART DEPOSITORY PROPOSAL EXTERNAL VIEWS AND ELEVATIONS
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PROPOSAL PLANS 1:500
BASEMENT PLAN
GROUND FLOOR PLAN
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FIRST FLOOR PLAN
SECOND FLOOR PLAN
BUILDING PROGRAMMATIC DIAGRAM
PRIVATE COLLECTIONS
SEMI PRIVATE COLLECTIONS
PRIVATE COLLECTIONS SCREENING AREAS
ARCHIVE, LIBRARY, READING
PUBLIC GALLERY
SEMI PRIVATE COLLECTIONS SCREENING AREAS
LECTURE THEATRE
OFFICE/ADMIN
RESTORATION
KITCHEN
CAFE/SHOP
RECEPTION/ENTRANCE
SCULPTURE GALLERY
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ACCESS, FIRE, SECURITY AND PRIVACY DIAGRAMS SURVEILLANCE SECURITY CAMERAS MONITORED FROM TO CONTROL ROOM
DISABLED ACCESS ROUTES
PROPOSED FIRE ESCAPE ROUTES. THE LONGEST SINGLE DIRECTION ESCAPE ROUTE TO A FIRE STAIR IS FROM LEVEL 2 OF THE FURTHEST LEFT PRIVATE POD AND IS A TOTAL OF 18M WHICH COMPLIES WITH BUILDING REGULATIONS DOC B. THE LONGEST MULTI DIRECTIONAL ROUTE IS FROM THE BACK OF THE LARGE LEVEL 1 GALLERY AND IS OF 29 M TO THE GALLERY STAIR AND 32M TO THE MAIN STAIR USING THE ROOF EXIT.
PRIVATE AREAS
PUBLICLY ACCESSIBLE AREAS
SEMI-PRIVATE AREAS
INTERNAL VIEW OF CAFE AND WITH PUBLIC DISPLA
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SHOP AREA ON GROUND FLOOR Y ART STORAGE PODS
TELL THE TALE DETAIL 1:50
1. RED BRICKWORK OUTER AND INNER LEAF INNER LEAF BUILT FIRST 2. 25MM AIR CAVITY, WATERPROOF MEMBRANE, 40MM RIGID INSULATION, 110MM SELF SUPPORTING STEEL FRAME SYSTEM WITH ROCK-WOOL INSULATION - FIXED TO INNER LEAF BRICK WALL, VAPOUR BARRIER 3. 130MM CAVITY FOR SERVICES 4. WEEP HOLE WITH DAMP PROOF COURSE AT 900MM CENTRES 5. LCD SCREENS SHOWING ARTWORK INFORMATION 6. ART STORAGE STEEL SUPPORT FRAME WITH HAND CRANK MECHANISM FOR LOWERING PANELS 7. ADJUSTABLE LIGHT FIXTURE - LIGHT TO BE MANUALLY CONTROLLED FROM INSIDE THE POD AND ALSO FROM CONTROL ROOM 8. ATMOSPHERIC LIGHT FIXTURE UNDER SEATING 9. MANUALLY OPERATED CRANK 10. 75MM POLISHED CONCRETE SCREED WITH EMBEDDED HEATING PIPES, POLYTHENE SHEETING, 70MM IMPACT SOUND INSULATION, 180MM REINFORCED CONCRETE SLAB 11. LOCKER 12. POLYTHENE SHEETING, 70MM IMPACT SOUND INSULATION, 200MM REINFORCED CONCRETE SLAB, POLYTHENE SHEETING, 100 PERIMETER INSULATION 13. PRE-CAST CONCRETE WALKWAY ELEMENT 14. DRAINAGE 15. INSULATED UNDERGROUND SERVICE TUNNEL ACCESSIBLE BY HATCHES 16. STONE PAVERS ON SAND LAYER 17. BRICK VAULT CONSTRUCTED WITH CATALAN VAULT METHOD WITH STEEL REINFORCEMENT WITHIN THE BRICK
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TELL THE TALE DETAILS 1:20
1. RED BRICKWORK OUTER AND INNER LEAF - INNER LEAF BUILT FIRST 2. 25MM AIR CAVITY, WATERPROOF MEMBRANE, 40MM RIGID INSULATION, 110MM SELF SUPPORTING STEEL FRAME SYSTEM WITH ROCK-WOOL INSULATION - FIXED TO INNER LEAF BRICK WALL, VAPOUR BARRIER 3. 130MM CAVITY FOR SERVICES 4. WEEP HOLE WITH DAMP PROOF COURSE AT 900MM CENTRES 7. ADJUSTABLE LIGHT FIXTURE - LIGHT TO BE MANUALLY CONTROLLED FROM INSIDE THE POD AND ALSO FROM CONTROL ROOM 10. 75MM POLISHED CONCRETE SCREED WITH EMBEDDED HEATING PIPES, POLYTHENE SHEETING, 70MM IMPACT SOUND INSULATION, 180MM REINFORCED CONCRETE SLAB 17. BRICK VAULT CONSTRUCTED WITH CATALAN VAULT METHOD WITH STEEL REINFORCEMENT WITHIN THE BRICK 20. BRICK TIES CONNECTING THE EXTERNAL BRICK LAYER TO THE STEEL FRAMING SYSTEM 21. STEEL CONNECTOR SCREW FIXED TO THE INTERNAL BRICK WALL AND THE STEEL FRAMING SYSTEM 25. LEVEL 0 STEEL SUPPORT FRAME FOR LIGHTING FIXTURES AND SECURITY SENSORS AND CAMERAS
1. RED BRICKWORK OUTER AND INNER LEAF INNER LEAF BUILT FIRST 2. 25MM AIR CAVITY, WATERPROOF MEMBRANE, 40MM RIGID INSULATION, 110MM SELF SUPPORTING STEEL FRAME SYSTEM WITH ROCK-WOOL INSULATION - FIXED TO INNER LEAF BRICK WALL, VAPOUR BARRIER 3. 130MM CAVITY FOR SERVICES 4. WEEP HOLE WITH DAMP PROOF COURSE AT 900MM CENTRES 12. 75MM POLISHED CONCRETE SCREED WITH EMBEDDED HEATING PIPES, POLYTHENE SHEETING, 70MM IMPACT SOUND INSULATION, 200MM REINFORCED CONCRETE SLAB, POLYTHENE SHEETING, 100 PERIMETER INSULATION 13. PRE-CAST CONCRETE WALKWAY ELEMENT 14. DRAINAGE 15. INSULATED UNDERGROUND SERVICE TUNNEL ACCESSIBLE BY HATCHES 16. STONE PAVERS ON SAND LAYER 17. BRICK VAULT CONSTRUCTED WITH CATALAN VAULT METHOD WITH STEEL REINFORCEMENT WITHIN THE BRICK 18. PERMEABLE PEBBLED EDGE FOR DRAINAGE PURPOSE 19. RED BRICKWORK BASE 20. BRICK TIES CONNECTING THE EXTERNAL BRICK LAYER TO THE STEEL FRAMING SYSTEM 21. STEEL CONNECTOR SCREW FIXED TO THE INTERNAL BRICK WALL AND THE STEEL FRAMING SYSTEM 22. AIR HANDLING DUCT SYSTEM 23. ACCESS HATCH TO THE UNDERGROUND CHAMBER 24. CABLE TRAY FOR OTHER SERVICES
BRICK VAULT CONSTRUCTION MODEL MODEL AT 1:50 Catalan brick vaulting is being rediscovered as an ecological building technique because it saves large amounts of building materials and thus embodied energy. This also makes it a cheap building method. To demonstrate and test the proposed brick construction method, a test model was made at 1:50 sale using clay bricks at 1:50. The wooden support frame is simulated from thin cardboard. The frame is self supporting and does not it is put together using slide in slots. The form of the arch is a Roman arch. The frame style of construction mimics the Catalan vaulting process. Following the shape of the support frame the bricks should be laid in place from both sides and should meet in the middle. For the arches in the shop area, that are not perfect semi circles, the method of construction is slightly GLHUHQW XVLQJ VWHHO ZLUH IUDPLQJ ZLWKLQ WKH EULFNV DV LQ SUHFHGHQWV E\ (ODGLR 'LHVWH The model demonstrates at a miniature scale that the proposed method of creating brick arches is viable.
CATALAN VAULTING (TIMBREL VAULTING) The vault with a cardboard form-work sits on top of a series of sealed plastic tubes containing cardboard spacers. Each spacer, which consists of a folded stack of cardboard sheets, taped together, supports the corners of typically four palettes. After the vault is completed, WKH WXEHV DUH ÀOOHG ZLWK ZDWHU VDWXUDWLQJ WKH FDUGERDUG causing it to compress under the load of the palettes DQG HHFWLYHO\ WR ORZHU WKH IRUP ZRUN The cardboard form-work is fabricated with 2-d cad cutting and gluing processes and is assembled on site. The system’s rapid fabrication, lightweight transportation, and speed of erection and de-centering dramatically reduce the material and labour-based costs of FRQVWUXFWLRQ $Q LQH[SHQVLYH DQG SRWHQWLDOO\ UHXVDEOH recyclable material, this lightweight cardboard formZRUN H[WHQGV WKH YLDELOLW\ RI WKLQ WLOH YDXOWLQJ WR IUHH form construction.
CATALAN VAULTING PRECEDENTS
OTHER BRICK VAULT TYPES A barrel vault is the simplest form of a vault and resembles a barrel or tunnel cut lengthwise in half. Pitched brick vaulting. The pitched brick vault is initially supported by a single bearing wall at the back. The courses of the vault are then laid at right angles to the courses of the wall. Roman barrel vault in bath of 10.5 metes high this with D V\VWHP RI EULFN ULEV ÀOOHG LQ EHWZHHQ ZLWK KROORZ EULFN voussoirs to reduce the weight of the vault. Parabolic ribbed arches, constructed of brick and mortar.
BRICK VAULTING METHOD BY ELADIO DIESTE The works of Eladio Dieste represent some of the most impressive architecture and engineering in Latin America. His buildings, the majority of which are silos, warehouses or industrial plants,are impressive not only in scale but in the spectacular structure of their brick URRIV VSDQQLQJ WR PHWUHV RU PRUH +H GHYHOoped an innovative construction method for wide-span roof structures. Known as Gaussian vaults, their double curved geometry is based on the catenary resulting in PDLQO\ D[LDO FRPSUHVVLYH IRUFHV The types of brick roof that he used are folded planes, barrel vaults, self supporting vaults, continuous Gaussian vaults, non-continuous Gaussian vaults, ruled surfaces.
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TYPICAL ART STORE POD ARRANGEMENT
5HG EULFNZRUN RXWHU DQG LQQHU OHDI ,QQHU OHDI EXLOW ÀUVW 0P DLU FDYLW\ ZDWHUSURRI PHPEUDQH 0P ULJLG LQVXODWLRQ PP VHOI VXSSRUWLQJ VWHHO IUDPH V\VWHP ZLWK URFNZRRO LQVXODWLRQ À[HG WR LQQHU OHDI EULFN ZDOO YDSRXU EDUULHU 3. 130Mm cavity for services 5. LCD screens showing artwork information 6. Art storage steel support frame with hand crank mechanism for lowering panels 9. Manually operated crank 11. Locker 13. Pre-cast concrete platform walkway 22. Air handling duct system 23. Access hatch to the underground chamber 26. Steel circular stair 27. Viewing bench 28. 900Mm brick parapet wall ,QIRUPDWLRQ SRLQW ZLWK FRPSXWHUV DQG SULQWHUV RHULQJ DFFHVV WR SULQWV DQG LQIRUPDWLRQ DERXW WKH collection stored in the pod 0HWDO JDQJZD\ RHULQJ GLVDEOHG DFFHVV WR WKH XSSHU ÁRRU RI WKH SRG
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INTERNAL VIEW OF LEVEL 1 OF STORAGE POD STORAGE MECHANISM
POD COMPOSITION MODEL MODEL AT 1:50
ART STORAGE POD COMPOSITION
ART STORAGE MECHANISM
ANODISED BRONZE LOUVRED DOOR AND WINDOW SYSTEM
POLISHED CONCRETE FLOOR
METAL GANGWAY SPIRAL METAL STAIR
RAISED PLATFORM
3RG QR H[WHUQDO D[R ZLWK PHWDO JDQJZD\ Louvred door provides security and manual control of natural light. 'LVDEOHG DFFHVV WR WKH ÀUVW ÁRRU LV PDGH YLD WKH PHWDO JDQJZD\
3RG QR &XW WKURXJK D[RQRPHWU\ GHPRQVWUDWLQJ WKH RYHUDOO OD\RXW of the storage pod.
HEAVY DUTY STEEL SUPPORT FRAME HOLDING THE DROPDOWN ART DISPLAY THE FRAME SUPPORTS THE ART DISPLAYS, THE LIGHT FIXTURES AND THE SECURITY CAMERAS
ADJUSTABLE LUMINAIRE ATTACHED TO THE SUPPORT STEEL FRAME ART DISPLAY BOX, SINGLE SIDED WITHIN POD. FIRE COATED STEEL FRAME AND BACK AND 1 HOUR FIRE RATED OPENABLE GLASS SCREEN PROTECTING THE EXHIBITS SPIRAL METAL STAIR ART STORAGE MECHANISM POLISHED CONCRETE FLOOR
VIEWING BENCH
$UW VWRUDJH PHFKDQLVP VWRUHV XS WR GLVSOD\V RI 0 [ 0 7KH displays are single sided in the pods with one viewing bench and double sided in the large gallery where people can walk through them. $UWLÀFLDO OLJKWLQJ LV SURYLGHG LQ WKH IRUP RI VWDJH OXPLQDULHV WKDW DUH manually adjustable to suit the art. GC1 1 2 3
Art storage mechanism individual screen drop down system with hand-operated crank.
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CONSTRUCTION SEQUENCE DEMONSTRATING THE CATALAN VAULTING METHOD
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Temporary cardboard frame installed
Steel framing system with integrated insulation installed. The steel IUDPH V\VWHP LQFOXGHG D PHWDO IUDPH IRU WKH H[WHUQDO OD\HU RI EULFNV
A second layer of insulation is wrapped around the SFS to avoid cold bridges
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Internal brick roof constructed over the formwork in the Catalan brick vaulting
Services installed in the indicated position. These include air handling ducts, electric wiring, data wiring for internet, surveillance WHPSHUDWXUH PRQLWRULQJ ZDWHU SLSHV IRU ÀUH VSULQNOHUV 6XSSRUW cardboard frame is removed using water to saturate it.
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LOUVRE DETAIL AND LIGHTING STUDY The variations in the louvres throughout the building are an interpretation of the variation of arches in Bruegel’s painting. They act as lighting control for each of the storage pods and also provide a level of security for when the depository is FORVHG 0DGH IURP DQRGLVHG EURQ]H WKH ORXYUH FRQWURO PHFKDQLVP LV EXLOW ZLWKLQ each window or door frame and can be opened or closed manually from inside the pods. They can also be operated remotely from the control room to be shut when the art depository closes.
LOUVRE TYPE 1
LOUVRE TYPE 2
LOUVRE TYPE 3
LOUVRE TYPE 4
LOUVRE TYPE 6
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LOUVRE TYPE 7
LOUVRE TYPE 9
LOUVRE TYPE 5
LOUVRE TYPE 8
LOUVRE TYPE 10
NATURAL LIGHTING STUDY - LOUVRE STUDY The anodised steel door and window louvres have an internal mechanised system allowing them to be opened and closed to adjust the natural light coming into the pods. The lighting study demonstrated here shows the variation in light that can be achieved. This has used a selection of 5 of the proposed styles. They can be operated from inside the pods to create optimal lighting for the artwork being viewed. The louvred door are open on a sliding rail as demonstrated in the model.
SECTION THROUGH MAIN GALLERY AND FRONT OF HOUSE 1:250 GC1 1 2 3
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SECTION THROUGH MAIN GALLERY AND ART POD 1:250 GC1 1 2 3
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INTERNAL VIEW OF MA
WITH ART STORAGE MECHANIS
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AIN GALLERY LEVEL 1
SMS AND PROPOSED LIGHTING
BIBLIOGRAPHY - KEY READINGS REMATERIALISING ROTTERDAM COPYING MVRDV TO CREATE AN INTENSE MASTERPLAN
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HYBRID OBJECTS REMATERIALISING THE TOWER OF BABEL IN ROTTERDAM
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