Aleksandra Murzina-Amodio
RIBA Part II Masters in Architecture Academic Design Portfolio
ALEKSANDRA MURZINA-AMODIO RIBA Part II Graduate
PROFESSIONAL EXPERIENCE
SKILLS
Guy Hollaway Architects (London) Part I Architectural assistant
2015-17
Eneca Construction, Belarus Summer placement as architectural assistant
2013
EDUCATION
Advanced Software Skills:
Rhino 3D Autocad Adobe Photoshop Idesign Sketch Up CGI (Lumion Pro,Vray, Rhino) Office Excellent Model-making Skills: 3D printing, 3D modelling, lazercutting, assembly, handmade models Other software Revit Grassohpper 3D Zbrush 3ds max
2017- 2019
MArch RIBA Part II University of Westminster, UK Merit
2012 - 2015
BA Architectural Studies Newcastle University, UK 2:1 Class Hons
2011 - 2012
Foundation in Architecture INTO Newcastle University, UK Merit
AWARDS
2015
2000 - 2011 Moscow Luceum of Linguistics & Economics Finals: A, B, A, A 2000-2008
JSA School of Arts and Music Violinist Diploma
2012
International Merit Scholarship 2500ÂŁ Scholarship recieved from Newcastle University
2007-10
Russian State competition in digital drawing amongst juniors I Prize
2005 - 08
REFERENCES LANGUAGES
ENGLISH Native or bilingual proficiency Native RUSSIAN speaker With experience of interpreting Russian/English
Tim Goode Partner at Guy Hollaway Architects E- tim@guyhollaway.co.uk Tel: 020 7014 4906
VeloCity in British timber National student design competition III Prize issued by TRADA
Guy Hollaway Principle Partner at Guy Hollaway Architects E- guy@guyhollaway.co.uk Tel: 020 7014 4906
LinkedIn: https://www.linkedin.com/in/aleksandra-murzina-aa117294/ Portfolio: https://issuu.com/alexandramurzina/docs/murzina_march_portfolio_small
Pushkin Russian State Litetature Award I Prize A number of regional violin orchestra competitions I - III Prizes
CONTENTS: Introduction Aleksandra Murzina CV................................... 7 Studio Agenda....................................................................8-9 Development of the Breif Body agent in Italian culture....................................10-11 Architecture, Myth & Surrealism...........................12-13 The Unconcios of Turin .................................14-15 Turin, Italy City Centre.....................................................................16-17 Body Urbanism: Turin on a human scale............18-19 Urban Aspect................................................................20-21 Parco Dora - Site visit.................................................22-23 Mapping & Surrealist Garden ................................24-25
March year I
Vertical Urban Factory, NYC
2.
Studio Agenda......................................................................80-81 Project Introduction ...........................................................82-83 Chelsea context analysis...................................................84-85 Site Location: the highline................................................86-89 Project Typology...................................................................90-91 Object development & effectual construct................92-93
Thesis Project:
The unconscious of Turin1. Research question ...................................................26-27 PHASE I
Cable Car reception & gallery in the city centre
Counterobject.............................................................................94 Superobject + programmatic diagram.......................95-97 Sectional Model + Typical Floor Plan .........................98-99 Structural Report...........................................................100-101 Sectional Drawing & Model Photographs...........102-109
Site Approach.............................................................28-29 Cable car Reception.................................................30-31 Citadel Museum........................................................32 -33 Construction sequence...........................................34-35 Cable car link..............................................................36-37 PHASE II Tower at Parco Dora
Construction sequence.............................................38-39 Event and access diagram..............................................43 Ground floor Plan, access to the building.................44 Design development & language.........................46 -51 Floor Plans, Sections...................................................52-67 BATHOUSE SPA .............................................................68-69 Elevations........................................................................70-75
Object/ counterobject workshop
TV & Film Studios
3.
Introduction...........................................................................110 Primitives and diagrams...........................................112-114 Sectional drawing......................................................115-119
Professional Practice Portfolio
Guy Hollaway Architects
4.
Residential.............................................................................120-123 Hospitality.............................................................................124-127 Residential.............................................................................128-131 Tv Studios.............................................................................132-133
Stakeholders.................................................................76- 77
Interior design............................................................................136
Project Valus, funding, costs.....................................78-79
BIBLIOGRAPHY
..............................................138-140
DESIGN STUDIO 25
BODY ARCHITECTURE RIBA Part II Masters in Architecture University of Westminster
2018_2019
DS25 operates through establishing a conceptual and material idea of the body, we look both forwards and backwards in establishing the new. The work of DS25 aims to make inroads into a new teritory of architectural imagination that is concerned with ideas of body as a trigger for architectural form. The brief for the Semester I was to explore the notion of a ‘body agent’ in design. According to the brief, DS25 will use the designing of bodies to escape the normative and the preconceived. Importantly, body agents should be understood as an idea of the body. Through their flaws and idiosyncrasies, body agents are anything but honest depictions of the body. In the first section of this chapter I will be talkng about historical and theoretical explorations on this topic, in particular, the connection between Body, Myth and Architecture. Through the context of Turin ‘s historical heritage and urban transformation, I will look at the role, relevance and potential agency of the body agent in a Turin’s contemporary cultural landscape. Next, moving onto development of the project breif I will outline what is ‘The Uncincious of Turin’, its urban aspects, history and potential in relation to the concepts highlighted above. Finally, the second section will examine MArch Thesis project n detail: its design, value, construction techniques and how it would impact the city and its people.
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KEY DIFINITIONS: BODY AGENT According to the the brief Body agents are often hybridizations, and can be obscene amalgamations of humans, beasts and tectonics. They evolve with the designs they are drawn in, and communicate ideas stemming from history and theory of design and architecture – ideas which may be edited alongside the development of the body agent they enabled. They are figures which impart a subjective presence into design, allowing for a reciprocal interaction between architecture, architect and context. PROJECT LOCATION When starting the initial research I was immediately directed into body agent research of italian art and architecture due to the studio site location was chosen to be Turin - a mysterious Italian city. This immediately set a framework towards developing a design language for the project.
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1.0 Development of the project brief INITIAL RESEARCH QUESTION: What is the idea of ‘body agent’ in Italian art and architecture tradition?
BODY AS A MYTH OR NARRATIVE TELLER BODY AGENT IN ITALIAN TRADITION Roman and Italian Renaissance eras were chosen as an area of study.
In Greeko - Roman times the images of Gods and mythological creatures were used consistently due to Pegan nature of thier belief systems. In this context, the implementation of Myth and Mythological characters into design was used to blurr the boundary between the real and imagined, or believed. The Italian Renaissance garden, like Renaissance art and architecture, emerged from the rediscovery by Renaissance scholars of classical Roman models. They were inspired by the descriptions of ancient Roman gardens given by writers like Ovid in his Metamorphoses. Its main emphasis was often put on the mysterious and symbolic sides of poetically situated Pegan narratives. Professor Edgar Wind argues, that the minds of thinkers such as Leonardo Da Vinci, Boticelli and Ficino were dominated by concepts derived from the ancient world, blended with Hebrew symbolism, but they were, nevertheless, sincere Christians, only too anxious that the Pagan wisdom should be baptised. While portraits of Madonna might sometimes resemble a venus, statues of Venus, just as often resemble Madonna or a Magdalene.
How can this idea contribute to evolving project brief?
1. According to the the brief Body agents are figures which impart a subjective presence into design, allowing for a reciprocal interaction between architecture, architect and context. They are often hybridizations, and can be obscene amalgamations of humans, beasts and tectonics. In this context and given the project location, I started from looking into ‘body agents’ in italian art and design.
architecturural tradition. * Don Cameron Allen, Mysteriously Meant: The Rediscovery Of Pagan Symbolism And Allegorical Interpretation In The Renaissance (Baltimore: The Johns Hopkins Press), pp. 1-95.
ROMANS Body was used as a design tool to tell mythological narratives and bring people closer to the unconscious or religious/ mythological worlds.
Bomarzo Gardens: Surrealism before Surrealists
LATE RENAISSANCE The Apennine Colossus Created between 1579 and 1589 by Giambologna – pseudonym of the Flemish sculptor Jean De Boulogne – the statue was included in Francesco I de’ Medici’s collection of natural and artificial wonders. The masonry Colossus once had rooms, caves and inner passageways, and even a hydraulic system that connected the head of the giant to the various water sources in his body.
Bomarzzo gardens is a renaissance garden on steriods illustrated this notion in a very clear and ecxgadurated manner. It was seen as a place of peace and tranquility, a refuge from urban life, and a place filled with religious and symbolic meaning. Many of the sculptures in the gardens were typically filled with references to classical heroes and traditions. Vicino was fascinated by Oriental and egypian religious symbolism with regard to animals and plants. He had drawn on the rich array of symbols, traditions and new preoccupations that were universally recognisible by his contemporaries. Almost every turn of the path, every puzzling sculpture and inscription reflects a conflict between good and evil, reality and illusion, life and death in a way that requires an imaginative, intillectual responce of the visitor. This duality of meanings and symbolism was whidely understood and appreciated by Vittorio contemporaries.
1.0 Development of the project brief
Hidden meanings and symbolism, as well as blending reality with the unconcious or mythological is not merely found in Greeco-Roman and Renaissance eras. A modern analogy to this approach can be found in a surrealist practice, where magical beasts and motifs are blent together in order to create a desired effect of a dreamlike state. The definition of what might constitute Surrealist creative practice was left intentionally flexible by its founder, writer AndréBrenton, who defined surrealism as the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of absolute reality, a surreality.
Merging conscious and unconscious The next question was: what is the unconscious of Turin? In order to find an answer I studied paranoiaccritical method of Salvador Dali and tried to use his methodology of collecting the unconscious facts that make Turin special.
‘Dreams of Venus’ pavilion by Salvador Dali
‘Dreams of Venus’ ticket booth by Salvador Dali
PARANOIAC CRITICAL METHOD Rem Koolhaas gives this method the most understandable definition in his “Delirious New York”. Definition: Paranoiac - critical activity is the fabrication of evidence for unprovable speculations and the subsequesnt grafting of this evidence on the world, so that a “false” fact takes its unlawful place among the real facts. These false facts relate to the real world as spies to a given society: the more conventional and unnoted their existence, the better they can devote themselves to that society’s destruction. How is it relevant for architecture? - one might ask. Rem continues: Architecture is the Imposition on the world of structures It never asked for and that existed previously only as clouds of conjectures in the minds of their creators. Architecture is inevItably a form of Paranoid Critical activity of those excursions back to the rest of mankind, ideally in forms as obvious and undeniable as snapshots. Instead of the passive and deliberately uncritical surrender to the subconsious f the early Surrealism, Salvador Dali proposes a secondphase surrealism: the concious exploitation ofthe unconcious through the Paranoid Critical Method. The aspect of paranoia that Dalí was interested in and which helped inspire the method was the ability of the brain to perceive links between things which rationally are not linked. Dalí described the paranoiac-critical method as a “spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena”. André Breton hailed the method, saying that it was an “instrument of primary importance” and that it “has immediately shown itself capable of being applied equally to painting, poetry, the cinema, the construction of typical Surrealist objects, fashion, sculpture, and the history of art.
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Las Pozas ("the Pools") is a surrealistic group of structures created by Edward James, more than 2,000 feet (610 m) above sea level, in a subtropical rainforest in the mountains of Mexico. It includes more than 80 acres (32 ha) of natural waterfalls and pools interlaced with towering surrealist sculptures in concrete
1. Breton, Andre(1934). What is Surrealism? (A lecture given in Brussels on 1 June 1934 at a public meeting) 2. Rem Koolhaas, Delirious New York (New York, New York: Monacelli Press, 1994), pp. 236-256. 3.Don Cameron Allen, Mysteriously Meant: The Rediscovery Of Pagan Symbolism And Allegorical Interpretation In The Renaissance (Baltimore: The Johns Hopkins Press), pp. 1-95.
THE UNCONSCIOUS OF TURIN 1.0 Development of the project brief The Mole, Turin - external view
TUNELS AND CITADEL
FASCINATION BY ANCIENT EGYPT
Body agent
The Mole, Turin. Statue of Moloch in the entrance hallway of the museum. Wadjet
Wadjet or the Eye of Horus
The next step in developing a project breif was to summarise what could comprise ‘The unconscious of Turin’?
Legends about alchemist caves under the city centre, as well as mysteries about once existed monumental fortifications which are now gone sparked my interest for Turin’s ‘alternative history’.
Hidden symbols
Initial stages of the research aimed to identify the remains of the Citadel, dissappeared during the 19th century. According to historical imagery, the fortress had a network of subterranian tunnels underneath it which corresponds with the legends about Turin’s alchemist catacombs in that area. By analysing 16-19th century maps of Turin l identified the only remaining part of the fortress which is now partially underground; located in the Royal gardens next to Piazza Castello. Piazza Castello, the heart of Turin, has witnessed the unfolding of the city, from a Roman encampment in th 1 century BC to the capital of Italy in 1861. The square was transformed radically with the urban projects of the Savoy family, with the transfer of the capital to Turin, the institutions of Savoy power were built around the square. The square’s name derives from a medieval castle (castello), which became the residence of Marie Christine of France in the 1600s. She was also known as the “Madama Royale“, hence the name of the palace - Palazzo Madama. When you look at Turin through the eyes of magic, you discover a secret city. This Turin is literally hidden under the houses, in the tunnels, galleries and caves which run underground, deep beneath what meets the eye, where in the Roman and medieval period mysterious rituals were unwound. To my mind this theme presents a lot of potential as uncovered tourist asset and could be exploited more to promote mysterious charm of Turin for those who might come to visit.
The image on the left is a part of a central fresco in Palazzo Madama in Turin, supposedly featuring a scene from the Bible. However, at a closer examination we can see coded Pegan symbols, such as the eye of Horus or Wadjet and, possibly, representation of the Egyptian goddes Isis or Babylonian Ishtar as she was typically depicted with a torch and a halo. The man depicted on the right fits into description of Horous, who is ‘shining the light of wisdom’ on everyone visitng the Palace. Thus, this, at a first glance Christian themed fresco has a completely different meaning to it. An interesting fact is that Turin is also a home for the world’s oldest Eyptian Museum founded in 1824, it ranks second only to Cairo. Dedicated exclusively to ancient Egyptian culture and art, the museum’s collection has been the subject of interest for some of history’s most important scholars, for instance JeanFrançois Champollion, decipherer of the Rosetta Stone. To such is attributed the fact that Turin is considered to be the city where Egyptology began.
Central fresco in Palazzo Madama, Turin.
Uncovered asset
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Egyptian Sphinx at the Sphinx square, Turin
RA DO ER RIV
RA DO ER RIV
FIRST CAPITAL OF THE UNIFIED ITALY
City marker
Cit ade l1 564 3
9. 11.
2
8. 10. 5. 6.
12.
1.
The citadel construction begun in 1564, which was both a strategic and a symbolic factor, in fact related to the requirements of a centralising state tending towards absolutism. Francesco Pacioto ( 1521 - 91) was responisble for fortyfying the citycapital with the construction of the citadel. , which, with its dominating position on the diagonal of the old city (Roman grid system), left areas open for future expansion parallel axes of the orthogonal urban system of the old roads. (Comoli Mandracci 1983) RIV ER PO
Ro ma nd ecu ma nu s
PO ER RIV
The former Italy used to be a kaleidoscope of fractured kingdoms but in the year 1863, Vittorio Emanuele II from the House of Savoy united them all under his own rule. Turin became the first capital of the united Italy and the Italian nation was born here. However today, most of the visitors percieve Turin as a provincial town and to my mind it would be quite nice to capitalise on this amost unconscious fact. In order to uncover this for those who visit the city it would be a potentially good move to provide Turin with a new city marker similar to that of ‘Lady Libery’ in New York.
4.
1. Piazza Vittorio Veneto 2. Piazza Castello 3. Palazzo Madama 4. Palazzo Caregnano 5. Chiesa di San Carlo Borromeo 6. Palazzo Carignano 7. Villa della Regina 8. Royal Palace of Turin 9. Palazzo Civico 10. Santa Cristina 11. Chiesa di Santa Teresa 12. Museo Nazionale del Risorgimento Italiano
4. Henry A Millon, The Triumph Of The Baroque (New York: Rizzoli, 1999), pp. 32-213.
TOURIST ASSETS INTHE CITY CENTRE
The growing visitor economy capitalises on the city’s wealth of cultural assets centred in the historic district, as well as on a globally recognised museum scene comprising art, design, and film. On the diagram to the right I plotted the most eventful tourist route that would include passing by some of the major Turin’s attractions, as well as taking advantage of the ‘Slow Food’ venues along the way. The city is filled in with the coded symbols which may appear hidden for the visitors who is not used to read them, so the route was also chosen so it passes through the most mysterious landmarks. The journey would start from the Central Station, bypassing the major piazzas and Baroque palaces, Churches, including a stop at Piazzo Statuo, Porta Palazzo Market and the Mole Antuanetto.
1.1 Development of the project brief_ The city of Turin
Porta Market Piazza Statuo
FINISH Cable car reception + fortress gallery
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RIV ER PO
Piazza Castello
- Metro
START
- ‘Slow food’
Porta Nuovo Station
- Other restaurants
City centre activity map
TOURIST ACTIVITIES
TURIN & PIEDMONT HISTORY AND CULTURE In this former capital city one can admire many masterpieces of Baroque architecture, indeed so many that Turin earned a title of the “Capital of the Baroque“.
PIAZZA CASTELLO PIAZZA MADAMA VIA PO
GASTRONOMY
Guided gastromodic tours: food/wine tasting, as well market tours. Apart from tours to Porta Palazzo Market, there is a famous“Eataly” set in the city to showcase the very best of Italian food, and, in particular, the“slow food”producers all under one roof. Inside this enormous shop/market you will find wall to wall gourmet delights and the best food that Piedmont has to offer from truffles to chocolates and much more in-between. Nearly everything sold here is produced by small artisans and is of the highest quality.
PORTA PALAZZO MARKET
MAGIC TURIN
As mentioned previously, Turin is notoriously famous as a ‘mystical city’. Famous magicians, like Nostradamus visited and wrote about legendary alchemic caves and the city itself being on a verge of black and white magic triangles. Turin has a lot of mystical charm and even hosts very popular Turin magic turs.This aspect of the city is definitely a great atourist asset which needs to be unfolded more for the visitors.
SHOPPING
The main shopping arteias ofTurin are via Garibaldi andVia Rom located in the city centre. For the most fashionable shopping in Turin visit Via Roma, and the streets leading off it.
VIA ROMA VIA GARIBALDI
PIAZZA STATUO
EATALY LAGRANGE
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Body Urbanism
TURIN ON A HUMAN SCALE
In the developed project brief a body agent experience specifically involved analysing spatial conditions of Turin. This was my first time travelling to Piedmonte and beforehand I checked a few images online which were beautifully showcasing Turin with the Alps on a background. When visiting the city, however, I found that it is mostly being percieved in a ‘horisontal manner’ and the Alps were never visible. This peculiar urban condition is apparent due to the history of town planning, which involved preservation of original Roman decumanus and the grid system of the central streets. The system of the governing road axes was focused on the complex of the ducal palace. This aimed at creating an extremely long perspective views, or multifocal perspectives. All these factors still determine character of the city centre by providing long views and vistas directed towards a particular square or a monument. This monumental propaganda of the Savoys is a beautiful and often obligatory architectural experience if you are in the city centre. To my view it would be great to elevate and expose the Als and change we experience the city.
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THE ALPS
TURIN URBAN GRID
LONG HORIZONTAL VIEWS + SEPARATION FROM SURROUNDING NATURE
ELEVATE TO EXPOSE THE VIEWS
GRID ARRANGEMENT & LONG VIEWS
The grid-like arrangement of the city centre allows to create long linear visual links. Hence the city is mostly being percieved in a ‘horisontal manner’ - the Alps were never visible. This peculiar urban condition is apparent due to the history of town planning, which involved preservation of original Roman decumanus and the grid system of the central streets. The system of the governing road axes was focused on the complex of the ducal palace. This aimed at creating an extremely long perspective views, or multifocal perspectives. All these factors still determine character of the city centre by providing long views and vistas directed towards a particular square or a monument.
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1.2 Development of the project brief_ Turin Urban Aspect
Turin UrbanVoids Fading industrial heritage The industrialisation of Turin reached its zenith in the early 20th century with the construction of the Fiat Ferriere Piemontesi steel and sheet metal works and the Michelin tyre factory. The factories shut down in the general decline of the industry during the 1980s, leaving a large area of urban dereliction within the city, in addition to many small pockets of disused land. Given my urban aspect was Turin city voids, I decided to concentrate on the former industrial areas around the Spina Centrale regeneration zone. The site is on the bankside of the Dora Ripara, 2 miles to the North of the city centre, called Parco Dora. A former Fiat site, it was cleared and decontaminated in 2008 and now resembles a beautiful steel monument to Turin’s industrial boom of the 20th century. However, the site does not get the desired attention from those visiting the city due to its separation from the city centre. In this context it is also important to mention, that through the new Urban Masterplan the municipality set out a vision for the physical re-configuration of the fragmented industrial city which had developed around the Fiat factories, transforming it into a betterconnected, denser post-industrial metropolis.
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RA DO ER RIV
SPINA 3
SPINA 4
Deindustrialisation
SITE
TIMELINE
1968-69 FIAT reaches 158,000 employees 1973 Oil Crisis sparks FIAT’s slow decline 1980-1996 Turin metropolitan area loses over 100,000 jobs directly related to the automotive industry 2002 Less than 30% of FIAT’s production remains in Turin
CIT YC ENT RE
SPINA 2
CONSEQUENCES AIR & WATER POLUTION
SPINA 1
APPROXIMATELY 2,500 ACRES OF VACANT INDUSTRIAL SITES (1989)
5 million sqm reconverted brownfields (1995-2013) 5 million sqm to reconvert
RIV ER PO
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VACANT INDUSTRIAL URBAN VOIDS
- Metro - Axes of redevelopment
LINGOTTO
- Continuing redevelopment - Dedicated Redevelopment zones
The 4 areas of the SpinaCentrale constitute the most important group of abandoned industrial areas 21
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rgaro
Via Bo
DORA
Existing Vehicle access
RIVER
At the initial stages of understanding the site I produced a spatio-temporal mapping drawing through understanding of how much time visitors spend at each point of the site. The mapping illustrates the amout of time spent in a certain area of Parco Dora, this was dependant on the spectacles on site, focal points and the amout of activity at that point in time.Parco Dora is an open-air street art museum where the dynamic youthful energy of skateborders, house music and street art merge together creating a very vibrant energy, exposing a very different side of Turin.
Not all the factories had an evaporative tower, only those that used water for cooling in the production cycle. There are 4 towers preserved: the old 1940s’ evaporative tower of Michelin tires factory with a base diameter of 21 m and 30 m hight. As well as the cylinderical towers in the Vitali lot, now grafittied over as if they are "Tuba hats".
OUND ARY
The site is split into two by an elevated walkaway running East to West linking the residential complex with a Church. A strong sence of mass, verticality and movement fills the site as it is intersected by numerous cycling/ pedestrian paths wrapping around industrial remains. The site is interesting because it is an outstanding monument to Turin’s industrial past and an active event venue, which does not get a tourist interest it deserves due to its relative remoteness from the city centre - the culture and entertainment headquarters. The ambition here is to bring people out of the city centre where they can engoy alternative outlook on Turin. There is no doubt that industrial heritage sites like Parco Dora deserve more attention from those visiting Turin. By connecting the city centre with the spina 3 regeneration area it would be possible to expand tourist reach within the city as well as provide a sustainable means of alternative transportation.
Steel pillars over 30 m high- they are what remains today of a first industrial warehouse inside which the scrap iron enters carried by trolleys. The wrecks they were then raised up to share of the current walkway e "Poured" into the ovens to be melted and processed into ingots
SITE B
Most of the area was once occupied by a number of factories has been transformed into a park in 2008. The Parco Dora is the second largest green area of the city of Turin, approx 456,000 square meters. The old factories were dismantled and turned into rose gardens or play areas, and this is now a privileged area in Turin for the expression of Street Art. Commercial galleries and residential projects were built all around the Park. A center for the environmental research was built in the former Michelin Plant area across Dora Ripara.
PARCO DORA: ELEMENTS OF THE PAST AND PRESENT
2.0 Project Location: Site 1 - Parco Dora
EL
NN
TU
The old bridge, which is now pedestrian, connects via Livorno with via Orvieto, climbing over the river Dora. Its construction was decided in 1910 by the Municipality for connect the Valdocco township with the new Vittoria village and all the industrial area that was being developed north of the river.
The "jaws" contain the industrial plants of filtering to purify the air before putting it in atmosphere. They are always found on the covers of industrial plants,especially those who have in their workings ad high temperatures and with dust formation. Those on the coverage of the shed have been preserved and still visible.
It was the first intervention achieved in the redevelopment area. Today the Environmental Park accommodates 60 companies active in the sector of green technologies (chemical, building, bio and nanotechnology). It was designed following the bioclimatic principles, as well as considerations of energy consumption, with a structure partially berried underground.
The stripping shed is called so because “stripping” of raw metal ingots took place in this location, or the removal of the ingot from its mold. The steel scrap was first merged in blast furnaces and the liquid metal had been poured into the shapes. Once cooled became solid and could be “stripped” away from the mould.
KEY:
Surrounding context
1
2
3
Site
4
5
Residential
6
Commercial 1. Church of Santo Volto 2. Environmental museum - former Michellin plant 3. Parco Dora Site - former FIAT plant 4. Residential complex under construction 5. Environmental Park 6. Shopping mall
Culture and entertainment
Potential site location
Rive
r Do
ra
Tower ED OS OP PR K LIN AR EC BL CA
SPINA 3
iles 2m
CIT YC ENT RE
Piazza Castello
EXPANSION OF THE TOURIST REACH
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SURREALIST GARDEN MASTERPLAN
Initial spatio - temporal site drawing showing how first-time visitors ‘occupy’ Parco Dora site. The radius of each circle correlates to the amount of time spent at each point of the park depending on spectacles available on site ( views of the retired industrial ‘organs’ covered with graffiti)
EXQUISITE CORPSE An attempt to visualise the site as a sort of exquisited corpse was done as a result of theoretical explorations on the body agent topic. Surrealist game of the exquisite corpse, was one of the means by which surrealists sought to unite the world of dream with the lived world of reality through structured play. Surrealist approach to re-imagine retired industrial ‘organs’ left on site resulted in a ‘mythological creature’ body agent drawing. For instance, a long series of pillars that hold a busy elevated walkway which splits the site into two parts was reimagined as the most flexible and ‘movable’ body part of an emerging mythiological creature - a tail. Existing evaporation towers on site became the wings because a proccess of evaporation involves water travelling up. A former industrial operation office would transform into a ‘heart’. The visitors would engage with creature/ organ -like objects and buildings emerging from the ground around existing paths, then bottom up through the series of gallery spaces, passing vistas of steel pillar ‘ trees’, and rocks of concrete organs.
GARDEN MASTERPLAN The idea to create a surreal experience was realised through Paranoid critical method and associations. Taking the drawings as the base for a sketch-proposal I decided to design a series of structures transforming Parco Dora into a surrealist adventure site. The masterplan would act as a sort of cultural district, as well as event venue with striking sculptures, many carved from the large blocks of marble or cast in concrete. Culmination of the Semestre I was an idea to concentrate on the tower as a focal point of the project, as well as to propose a 2mile long cable car and city centre reception point.
5. A. BRENTON, MANIFESTOS OF SURREALISM, ANN ARBOR: UNIVERSITY OF MICHIGAN PRESS, 1969, P. 14.
Provide the city with a new destination PROJECT POGRAMME CULTURE & ENTERTAINMENT The approach to programme was chosen based on the aim to create a new tourist destination, which would showcase the best of Piedmone as well as provide world - class entertainment with a local flavour. The programme was thought out in line whith the activity map of Turin analysis of what to do, where and when to locate the ultimate all-inclusive, most intersting tour of Turin city centre, culminating at the Tower monument for a day-out activity.
THE TOWER Free access:
80%
Aquarium Elevated gardens - bar/souvenirs Designer Showrooms
20% Citadel history museum
Ticketed access:
Cable car reception
Private Cinema Slow Food experience venue Savoy Art collection
CABLE CAR RECEPTION & ASSOSIATED INFRASTRUCTURE
Bathouse SPA
THE TOWER
FOCAL POINT OF THE PROJECT
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THESIS PROJECT: THE UNCONSCIOUS OF TURIN
SITE 2 ED OS OP PR K LIN AR EC BL CA
iles 2m
RIV ER PO
CIT YC ENT RE
RIV ER PO
SITE 1
Once the first capital of unified Italy, later its industrial heart, Turin’s identity has been changing dramatically, leaving traces on its urban grain. One can view the urban grid of the city centre with its historical architecture becoming exhausted for space to allow new manifestations to arise, meanwhile industrial heritage sites to the North of the city centre mostly present themselves as ‘urban voids’. Fragmented nature of the city presents challenges and arising opportunities, therefore a major urban gesture could transform the way we experience Turin and contribute to its transforming image as an iconic tourist destination. In this context, my research was aimed at exploring how can the idea of the body used historically in Roman and Italian art and architecture contribute to the creation of the new city landmark? By exploring links between architecture, myth and surrealism I was able to introduce the methodology of the ‘unconscious facts‘ about Turin which then formed a basis for the final project. The proposed inhabited monument or Turinian “Statue of Liberty” at Parco Dora, would provide a range of entertainment including Slow Food venues, Cinema, Savoy Art Gallery, Spa, aquarium and more. This, together with a subterranean museum in the city centre and a 2 miles long cable car link connecting both buildings would not only assist in the creation of the new landmark but would also transform the image of Turin by simply re-inventing already known historical narratives. For instance, one of the ideas behind the monument is to mark the importance of Turin in Italian history as it’s first capital. The approach to site was to create a new destination connected to the centre, as well as to merge 2 historical identities - grand and elegant city centre and the industrial heritage site to the North. The city centre site would house a proposed subterranean museum of mysteriously demolished Citadel. This would become the first marker of the project, telling visitors about local myths such as legends of alchemic tunnels, supposedly running underneath once existed Citadel. The museum would also be a part of integrated cable car reception station, where visitors could start a 8 minutes journey to the Tower at Parco Dora. The project acts on many scales as a trigger for rediscovering Turin by those who either live or visit the city. For example, by providing a cable car link it would be possible not only to install a green transportation link but also to expose a magnificent Alps backdrop which is not normally visible within the city. The proposal’s design language is also enriched by body agent research exposing the unconscious fascination by Ancient Egypt and mysticism found in Turin, as well as interpretation of Baroque architecture to create a unique-looking monument that will become personal to the city.
2.0 Project Location: Site 2 - City centre reception point
1706 Map of the Citadel
Aerial view of the existing citadel remains
CITADEL REMAINS After hisotrical explorations I found that there has been a lot of speculation on the reasoning behind the demolition of the Turin’s citadel in the 19th century. It was a monumental structure spanning across the perimentre of the modern city centre. The citadel construction begun in 1564, which was both a strategic and a symbolic factor, in fact related to the requirements of a centralising state tending towards absolutism. Additionally, according to historical imagery, the fortress had a network of subterranian tunnels underneath it which corresponds with the legends about Turin’s alchemist catacombs in that area, and possible could be access points to underground network. Further observations led to identifying the only remaining part of the fortress which is now partially underground; located in the Royal gardens next to Piazza Castello. This descovery was a strating point for plotting a cable car link from the city centre. The site itself would be excavated and transformed into a new gallery museum with official and alternative historical evidence of the construction and purpose of this structure and the tunnels, alongside other artefacts.
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2 min walk from piazza Castello
PHASE I - city centre reception point
CITY CENTRE CABLE CAR RECEPTION POINT The site presents following issues: being a historical remain of the city citadel it is currently in a poor condition and is abandoned. The work with sensitive fabric involves a lot of consideration, first of all, the original brickwork would have to be preserved during excavation and further construction. Secondly, the building itself should impose as less as possible on the site, showcasing original features without overpowering them. The idea for a new intervention was to create an almost seamless structure which integrates into existing fabric. Keeping in with methodology of figuration and body agent, the structure was designed to resemble an artefact emerging from the ground thus sparking an interest to what is located under the soil.
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MUSEUM + CABLE CAR RECEPTION KEY DESIGN CONCIDERATIONS: Through the new Urban Masterplan the municipality set out a vision for the physical re-configuration of the fragmented industrial city which had developed around the Fiat factories, transforming it into a betterconnected, denser post-industrial metropolis. Thus, proposed cable car link would facilitate connectivity within the city, as well as providing a new way of experiencing Turin. As disscussed on the previous page, the site for the new gallery space, as well as a cable car reception point was chosen with great care. It was decided to excavate the abandoned remaining part of the citadel to accommodate a new gallery space and caffe. A 30 meters long cable car landing track would be positioned on top of the roof , accessible via escalator or lifts from the lobby behind main gallery space.
ROOF PLAN
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Design logic diagrams
1. Site
2. Gallery Excavation , preservation of existing brickwork
4. Locating 30 m long cable car landing track
30
m
lo ng l
an di ng
3. Skylight added to maximise daylight and to highlight the existing brickwork
Landing ramps down 10 degrees
Direction of landing
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Construction sequence diagrams Construction sequence PHASE I - city centre reception point + cable car infrastructure
0.1 Existing fortress remains on site
3.1
4.1 4.2
MUSEUM 3.1 Reinforced concrete frame
2.2 Reinforced concrete basement floor slab is cast
1.2. Temporary steel structure erected to support existing brick walls
3.2
3.3
2.1 Bored and Cast-in-Place Pile foundations (Continuous flight auger piling )
1.1 Site excavation and clearance
0.1 Site setting up 1.2 Hoarding
3.2 Lift cores 3.3 Reinforced concrete retaining wall
GIA = 350 sqm
4.3
CABLE CAR TRACK 4.1 Seeded roof structure completed (block and beam concrete slab) 4.2 Ground works to level retaining wall with the roof slope 4.3 Prefabticated lightweight concrete slabs are craned onto the structural columns Total length of the track is 30 m
8m
5.1 After a cable car track installation the next step is to install monocoque steel structure and an escalator leading down to the subterranean gallery space 5.2 Steel structure is clad with CNC’ed marble panels 5. 3 * At this point of the project cylindrical cable towers are being constructed simultaneously in 5 strategic areas of Turin
6.1 Cable installation across the wholetower network
7. Gondolla installation
6.2 Gallery internal works & services installation
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Cable car link A cable car is an extremely sustainable public transport system. It is a very fast and green way of traveling, which is attractive for cyclists, commuters, students, residents, and visitors. The city is growing, and such an ‘air bridge’ contributes to the development of the entire Metropolitan area. Transport by air also relieves the increasing pressure on traffic and the existing transport network on the ground. (Turin is the car-busiest city in Europe with subsequently very high air pollution levels). Cable car is not only efficient but also fun. People are going to see and experience their city in a whole new way.
Cable car journey to the tower at Parco Dora
Platform view
Minimalistic cable car trail is is being suppored by structural columns hidden whithin the figurative elements, one of which also provides vertical circulation from the platform into the building via an escalator.
Interior view of the main gallery space. Elements such as a large skylight and the ramp were introduced around original brickwork feature in order to highlight it architecturally. Cable car trail on the roof was also designed so it ‘revolves’ around retained original brickwork.
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Access is level from the boundary of the site
9 min cable car journey towards Parco Dora Tower reception point
2200 30 m
long
mm Manually controlled power doors (controlled via a push-pad) are installed at the principal entrances to the building.
track
Step-free access to all the gallery facilities and the cable car platform
ACCESS: One of the catalysts for this project was an aspiration to propose a new tourist asset for the city as well as new transportation link. For this reason it is particularly imprtant to refer to Part M of the Approved Documents in order to ensure assesibility for all. The building has a number of access points, all of them wheelchair user friendly. The cable car platform is accessible via an escalator or 2 wheelchair friendly lifts, step-free from an adjascent car park.
*All the entry points in the building are original features which would be kept intact due to historical importance of fortress brick structure. Wheelchair user’s parking spaces Galleries Shop/ cofe bar WC (wheelchair accessible)
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Savoy Family would be invited to become one of the major Tower stakeholders
PARCO DORA SITE - PHASE II
PARCO DORA Tower 4
650 m Potential stakeholders for the infrastucture part of the project FIAT automobiles
Tower 3
LINE DESCRIPTION: Line length: 2.2 km
650 m
Number of stations: 2 Type of aerial transport: monocable detachable gondola (MDG) Capacity per car: 5 persons
Tower 2
Total time of travel between two stations: 9 min Number of Cars: 14 Calculations:
ED OS OP PR
Speed: 6 m/s (21.6 km/h) Hence for 2200 m journey - 10 min
AR EC BL CA
800 m
Tower 1
Citadel PHASE I CITY CENTRE SITE + CABLE CAR INFRASTRUCTURE
3.5 m internal head
1. 18 m at street level 2. 25 m high around tension cables diametre 1.5m
2.1 m internal head hight 2.0 x 1.8 m internal area 4. Tower pedestal 2.5 x 2.5 x 1.5 m
2.5 m
1.1 15 m buffer zone
e between 5 m distanc as gondol
The type of transit chosen is a shuttle type (in continuous movement, but slowing down significantly at the reception points).
CYLINDRICAL TOWER
TOWERS Distance between towers in a flat terrain conditions should be of a minimum 300m; on a slope condition the maxiumu span is 700m.
CITY CENTRE
On an urban scale projects plays a very active role by providing a new green transportation link - 2 mile long cable car. By providing city with a new attraction in itself that will expose magnificent nature backdrop, it would be possible to transform alltogether how Turin is being percieved by its citizens and visitors. The site consideration criterias were based on the desire to merge 2 historical identities of Turin - grand and elegant city centre and its industrial heritage site to the North. This approach was chosen in order to facilitate a creation of the new destination within the city that would expand tourist reach from being solely concentrated in the central. The proposal’s design language is enriched by body agent research and local observations to contribute to opulence of the ‘monument vision’, a Turinian ‘Statue of Unity’, a place that will generate myths and stories itself as more people visit it.
PHASE I I . 1 THE TOWER CONSTRUCTION OF A TOWER AT PARCO DORA UP UNTIL CABLE CAR RECEPTION POINT Due to the complex nature of the project and timeframe, it was crucial to plan the construction site in a way that auses minimal desruption for the existing network of pedestrian and cycling paths. A drop-off point for materials was located at the most convenient place for the lorries to park causing no disruption. In addition to the, vacant piece of land next to the site would be used as an additional material store. Initial stages of the construction work will include demolition works of the existing detached 2-storey reinforced concrete structure. The time taken for demolition work would take approximately four to eight days. To avoid injury from falling materials exclusion zones would be established. The sequence of works is below:
2) Hazardous material (i.e. asbestos) removed under licence or by specialists if necessary 3) Remove all doors, windows frames, linings, internal/external timber mouldings etc ( the building is already abandoned so services cutoff & removal will not be needed) 4) Strip roof and lead flashings 5) Remove structural timbers, joists and trusses 6) Wall demolition 7) Unwanted materials cleared away from the site or sent for crushing for further use in construction.
1) Erect site fencing and protect the site; erect scaffold if required
* Decontamination of the site was carried out in 2007 when majority of the industrial structures were dismantled and converted into a park
2.2
Do
ra R
2.1
ipa
ra
KEY:
KEY: A0.1 Parco Dora site (2.2 miles away from the city centre) Former FIAT site, lies within Spina 3 regeneration area
1.1 Site setting up Due to an extensive number of existing pedestrian and cycling paths the site is set up to allow uninterrupted circulation
Existing paths not to be obstructed during construction
The site served as an industrial area since the end of the 19th century un until 1980s’. Recently the cite was de-contaminated and opened for public.
1.2 Hoarding Hoarding is installed partially occupying sheltered areas to allow for material store and mock - up areas or welfare facilities
Site entry/ Materials drop-off point
Vehicle access
2.1 Demolition works Due to an extensive number of existing pedestrian and cycling paths the site is set up to allow uninterrupted circulation
Basement excavation area
2.2 Basement excavation
CNC Area
Site clearance
Material Store
Existing buildings to be demolished
The iconic structure annually hosts a range of international events from expos to music festivals
Lorry parking
Mock-up area
3.4 3.3
3.3
3.2
3.1
3.1 Basement - secant pilling
4.1 Steel frame sceleton is erected
3.2 Foundations - Continuous flight auger piling 1100mm & 1800 mm diamtre + 800 mm capping
4.3 Concrete spiral ramp - formwork and reinforcement put in place for casting in-situ
3.3 Core cast in-situ
4.4 First floor is cast
4.2 Cores
5.1 Prefabricated steel monocoque sections are craned into place 5.2 Spiral ramp is stripped off formwork and polished
3.4 Ground floor reinforced concrete levelling slab
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METHODS OF CONSTRUCTION
6.1 The structure is erecred up untill cable car point; marble cladding is installed in place 6.2 Internal works 6.3 Cable car tower segments are being craned in place 6.4 Electrics and services to be finished so the city cable car link is set in operation
The tower’s superstructure is a steel skeleton with incorporated bespoke monocoque steel carcass which will then be clad with CNC-ed marble panels. Aesthetics of the project require high standart of craftsmanship and labour, as well as expressive materials such as varieties of natural stone and marble for articulated building skin and interior finishes. Prefabricated CNC’ed marble panels, as well as thin onyx plates (partially used in the interior instead of windows to create the ambience) will be manufactured in Piedmonte. On-site cnc and mock-up areas will be in operation in order to amend sertain things on site if needed. Candoglia marble quarries, located within Piedmont region or 1.5 h drive away from Turin would become the main material supplier for the project. In particular, the lenses of calcite and calc-silicate marbles, interlayered within the kinzigites of the Ivrea-Verbano Zone, with a subvertical attitude and small thickness (8-30 m).
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Parco Dora site would almost stay as it is now apart from the area where tower would be located. Currently there is a delapitated structure that occupies the South-West corner of the Park, which would be demolished and replaced by the proposal. The rest of the site will remain intact due to it’s value as an industrial heritage site. By placing the Tower here the site will be exposed to the tourists coming from the city centre.
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Ticketed access
Bathouse SPA Rooftop pool
Event space/ ballroom Viewing platform
Sloow Food venue, Cinema, Savoy art collection
BELT BRACING
Piedmonese designer schowrooms
Public access
BELT BRACING
Cable car reception Garden bar & Kitchen
Tower reception Aquarium Tickets/ merchandise Admin office
Plant
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GROUND FLOOR PLAN
The tower
The tower 1. Reception 60 sqm 2. Lounge 90sqm 3. Circulation core 4. Ramp to the garden bar
Aquarium
1
2
3
5
Total area = 270 sqm
Ground Floor Access
9
In order to maintain a free charachter of the park, the first level of the building has a relatively small footprint. Arcades provide enclosure on the outside, meanwhile the ground floor accommodates the tower reception, cloakroom and a catalyst for a visitor interest - an aquarium.
7
8
6
4 Aquarium
1
5. Cloackroom 15 sqm 6. Aquarium 50 sqm 7. WC 10 sqm 8. Filtration system 9. Circulation
1
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Design language One of the major conceptual considerations for the project was to develop an aesthetics that encapsulated references to historical architectural past of Turin. Proposal’s rich and persuasive form stems from a transformation of the basic elements, rather than added decoration. A complex interaction of vaulted spaces in the finalised design is mostly constituted by groups of mirrored ‘primitives’ created by stereotomic operations. There is also an emphasis on mass and plasticity as it is in Italian Baroque.
DESIGN LANGUAGE MASS & PLASTICITY of baroque
As one of the major conceptual considerations of the project was to develop an aesthetics that encapsulated references to historical architectural past of Turin, a study on Baroque design language was conducted. In most cases the aesthetical aim of Baroque architecture was to create an environment with a strong emotional and persuasive impact. Baroque’s rich and persuasive form stems from a transformation of the basic elements, rather than added decoration. There is also an emphasis on mass and plasticity - ie continuous series of plastic membranes, whose variations in density constitute a space that seems eminently In the works of Franceso Borromini (1599 - 1667), the irrational, “synthetic“ content is expressed by a correspondingly complex form. Borromini, however, overcomes complexity as such by means of spatial and plastic continuity. He thereby unifies heterogeneous elements into synthetic wholes that represent new psychic and existential characters.
6. Henry A Millon, The Triumph Of The Baroque (New York: Rizzoli, 1999), pp. 32-213. 7. Gilles Deleuze, The Fold (London: Continuum, 2006), pp. 21-165
Stereotomic operations to actieve plasticity effect
5. FINISHED VOLUME
4. MIRRORING 3. HALFCUT 2. STEREOTOMIC OPERATIONS 1. GIVEN VOLUME
transformation of the basic elements
A complex interaction of vaulted spaces in the finalised design is mostly constituted by groups of mirrored ‘primitives’ created by stereotomic operations. The design language was to represent a proccess of Sculpting form from a solid block (marble in this particular case) in order to achieve visual effects of aulting in different directions. Cnc proccess allows to achieve these qualities in a potentially infinite number of affective variations and intensities. For this project I imagine a steel frame structure clad with cnc-cut marble cladding of a small thickness.
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DESIGN DEVELOPMENT
! !
As one of the key explorations was an ambition to elevate visitors to expose views of the Alps, the symbolic city centre archades were taken as a starting poin to create a ‘vertical archaded promenade’, wrapping around the central core. Instead of directing the view there will be multifocal perspectives and panoramic views exposing the city and its surrounding context.
Body agent introduction (the sphinx) in order to merge upper parts of the building as they become one entity in terms of operation and access to the events. Lower part of the building is accessible by the public for free, the uper half is ticketed access only due to the nature of events.
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Stereotomic operations to configure initial voulted spaces within building volume. Arcades and sculptural columns not only create a rich and vibrant play of light and shadow within the building but also reference the arcades of the city centre.
Further spatial development driven by introduction of the cable car reception point, programmatic, and experiential requirements.
Certain elements of the building are intentially designed to create an effect of fluidity and interaction of the monument’s ‘body parts’. This was done to introduce surreal effects and make the building look seemingly alive or under action of invisible forces.
Major transformations during design development:
+
3. Further design development facilitated the inclusion of the ‘recieving hand’ into the tower to manifest the arrival of the cable car.
Initial tower model 1. Initial volume of the tower was ‘carved out from a number of primitive objects to start forming archaded promenades, ‘wrapping around the crentral circulation core. 2. The ‘head’ was introduced to give a sence of a monument or a statue - like appearance to the building. The Turinian “Statue of Liberty“ would emphasise the fact that Italy become unified and independent in the 19th century under Savoys family and Turin was its first capital.
Further development
Final design
4. Next steps included further design development, such as reconfiguring of the cable car reception poit and introduction of the body agent. finalising proposal’s programme and space requirements; access for all and other practical design requirements additionally enriched design progress.
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The tower
2nd level
Ticket office ( occupies 2 levels)
1. Tickets 2.Souvenirs/ branded tower merchandise 3. Circulation core 4. Small Bar/snacks 5. Outdoor seated area 6. WC 7. Service lift - restaurant kitchen
This level of the Ticket office accommodates Tickets and souvenire sale, as well as outdoor seated area, accessible via weelchair friendly ramp from the ground floor level South - facing outdoor seated area is ideal to have a coffe with a snack in case there is a queue of tourists at the icket till!
7. 4.
5.
2.
AA
3. 6.
1.
1:20 Ramped access from the ground floor level
+13600 mm
Second Floor Level Accommodates tower tickets and merchandise, as well as a small bar/snacks
+5000 mm
First Floor Level Accommodates tower Administration office, staff facilities and aquarium
+200 mm
Ground Floor level Basement level
- 3500 mm
AA
Mostly accommodates plant facilities for the aquarium and first levels of the tower, as well as water filtration systems and other utilities.
Fragment of a West-Facing Section drawing The tower, as a focal point of the surrealist garden puts its emphasis on experiential and aesthetic qualities. Inspired by the precedents studied there was a desire to show a relationship of the building with naturethrough sertain design decisions, such as specially designed planters and depressions within the building to accommodate nature and create a feeling of the nature taking over the building.
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The tower
Garden Bar and kitchen - 3rd & 4th levels
1. Bar 2.Outdoor terrace 3. Sandwich bar 4. Access to the cable car reception 5. Step-free access to the ramp leading up to the cable car reception 6. Restaurant kitchen service lift 6.
1.
3.
2.
5. 4.
2
1
Busts of famous Turin personalities
2
Garden bar arcades 50 55
Core Escalator down to the bar and tower reception (spread over 2 levels )
Step-free access to the platform and a 1: 20 Ramp leading up to the hallway where vertical circulation cores (wheelchair friendly) are located.
Reinforced glass ballustrade
2400 mm
Reinforced glass ballustrade
Gondolas are slowing down to 0.2 mph when approaching the hand so the passengers can get out easily from almost-stationaty car. The doors are equipped with automatic mechanisms so when approaching the platform they would be lifted up.
1 : 20 Ramp access from the ticket office down to Parco Dora
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Showrooms Gadrn bar + kitchen Cable car arrival point Gadern Bar Terrace
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FASHION SHOWROOMS 1. Staff room & WC’s 2. Fashion showrooms 3. Circulation core 4. Outdoor terrace
1.
BB
BB
THE VERY BEST OF PIEDMONT’S FASHION The fashion showrooms would serve as a platform for the very best of Piedmont fashion designed and made locally. This would benefit local designers in the way of promoting their product to a wider demographic not only including Italians but also overseas tourists.
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2
SLOW FOOD EXPERIENCE RESTAURANT + CINEMA
FASHION SHOWROOMS
1. CAQUARIUM 2. SOUVENIR SHOP
AQUARIUM
PLANT
3. CLOACKROOM/ WCS
1
Ticketed access to private part of the tower
Bathouse SPA Rooftop pool
BATHOUSE / SPA
Event space/ ballroom Viewing platform
Sphinx
EVENT SPACE / BALLROOM FOR HIRE
SAVOY ART COLLECTION
SLOW FOOD EXPERIENCE RESTAURANT + CINEMA
Tickets
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Rooftop pool Spa/Sauna Pool SPA Reception Event space for hire Mezzanine Event space Ramp
Savoy art Collection
Sloow Food Experience
Cinema 65
Ticketed part of the tower - The sphinx ‘SLOW FOOD’GASTRANOMIC VENUE 1. Service lift 2. Bar 3. Circulation core 4. Private Dining 5. Restaurant terrace
ACTIVITIES & EVENTS Masterclasses Fermentation workshops Vine workshops
1
Eataly events Competitions Designer dining
2
3 5
WC
4
Savoy art Collection
Sloow Food Experience Cinema
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Rooftop level: Hot Calidarium pool Solarium
SPA facilities level: Cold Frigidarium pool Steam room Sauna Massage
Reception level
Steam Room and Sauna
Level 23: SPA
Bathouse SPA The top 5 levels of the building are dedicated to Bathouse complex.
Rooftop pool Spa/Sauna Pool SPA Reception
SLOW FOOD EXPERIENCE RESTAURANT + CINEMA
SAVOY ART COLLECTION
EVENT SPACE / BALLROOM FOR HIRE
BATHOUSE / SPA
PLANT
AQUARIUM
3. CLOACKROOM/ WCS
2. SOUVENIR SHOP
1. CAQUARIUM
GARDEN BAR + CABLE CAR RECEPTION OFFICE
FASHION SHOWROOMS
PROJECT MANAGEMENT The term ‘Stakeholder’ refers to either an individual or organisation that has a direct or indirect involvement in the planning, construction or occupation of a design project. Stakeholders are most commonly separated into three categories: The Client, Design/Construction Team and the User Groups. In theory, the funding would be secured for the project via the two major stakeholders / client – Fiat and the Savoy family. The Tower phase of the project is designed to bring luxury entertainment to the once heavily industrial area and the procurement strategy selected has been done so to ensure that the quality of the build is not sacrificed in anyway. It would be fair to say that the invested parties have set a rather handsome budget for the scheme to ensure that their vision for the site is realised. Despite the fact funds are readily available and cost constraints are not such a issue, the scheme clearly requires stringent cost control and as part of the design team, a Quantity Surveyor shall be engaged to ensure that this is administered. The project is simplified in that the funding for the tower is being secured 100% but the two aforementioned parties and as such reporting back to the stakeholders in respect to finances and allocation of funds will remain transparent.
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MAJOR PROJECT STAKEHOLDERS
Turin Metropolitan Council
Savoy Family
Fiat Automobiles
The client for the project involves a board of individuals from three organisations. The main clients, and decision makers, are Fiat Automobiles , Metropolitan Council of Turin and the Savoy Family. The FA and Savoys will make the major decisions with authorisation from the Council. The Fiat Automobiles act as the final Client for the cable car link who must be consistently informed but have entrusted the MCT to lead the project and its functionality. The Savoys will act major stakeholder for the tower’s design and construction. The board of clients will be involved in the proccess via an appointed representative in order to ensure the project’s realisation is going to the expected standard.
OTHER STAKEHOLDERS
Lavazza + Slow Food Major names representing Turin worldwide - Lavazza and slow Food would be invited to colaborate in the project by supporting gastronomic venues in the tower.
Co-City Turin Investing into the rehabilitation of abandoned spaces and underused structures and fostering the active participation of residents in different neighborhoods.
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PROJECT VALUE
The value of the scheme is mostly orientated around the benefactors (Fiat & Savoy) providing a magnificently constructed and iconic landmark for the City of Turin to add to the city’s public realm, whilst also enhancing a former industrial heritage site which has been hidden from the public as a result of being outside of the city centre. Clearly the clients are looking to promote their names within a modern landscape to ensure that they remain relevant in a city where they have a rich history. The Local Authority will be primarily concerned with the functionality of the development, particularly the cable car phase, to ensure that this delivers an effect means of transport to the site. The two stakeholders pertained value will not be too far removed, and it would be considered practical for the Local Authority to be mostly concerned with the infrastructure supporting the Tower, whereas the client will be focusing on the magnitude of the tower itself to ensure if carries the desired vision to the community and city. The community themselves, will be concerned with value in terms of accessibility and inclusiveness and this is something that the client should be aware of when developing the scheme. The scheme should be fairly balanced in terms of the demographics it is appealing to and try to avoid a clash between ideologies.
PROJECT FUNDING
With such a grand and exuberant project, the amount allocated to the project is heavily – if not completely dictated - by the specification and the bill of quantities, which would have been produced by the Architect in conjunction with the Quantity Surveyor. The construction of the Tower will involve staged payments to the contractor and the consultants, as per the terms set out in the JCT Major Works contract. Funding for the cable car reception station and link to tower, takes shape in the form of a s.106 payment from the Developer (Fiat / Savoy), as a ‘counter balance’ to ensure the main development proposals (Tower) is acceptable in planning and infrastructure terms and also to mitigate the impact of the development. In essence, this is a developer contribution to the Community Infrastructure Levy. In this particular instance, the area where Tower is located suffers with car conjestion , and with the increased user capacity of the site, a cable car link has been proposed to accommodate for this new influx and unload city’s roads. The link is also proposed to ensure that the transport networks between the city and the site are generally enhanced for the use of residents of Turin leading into Spina 3 regeneration area, which is predoantely residential. The cost calculation will be set in accordance with the local council and must be fully adhered to by the client to ensure that the Tower receives full planning consent. The content of the s106 agreement is agreed through consultation period of the planning application with the relevant parties and planning officer. The s106 Legal Agreement can be prepared by the council’s solicitors. Once the contribution has been received a Monitoring Officer shall monitor the spending of the money ensure that it is being correctly apportioned for the scheme.
COSTS
Whilst the Architect will have been heavily involved in the specification for the new building, the Cost Strategy of the Tower will be administered by the Contract Administrator, however due to the scale of the development specialist cost management Surveyors shall be engaged to ensure that costs are closely monitored. Whilst the client is clearly a wealthy benefactor, they remain vigilant in respect to the agreed price with their chosen contractor. As with the model set within a traditional building contract, a Bill of Quants will be prepared and the selected Contractor will have allocated their costs for the work against this. For instance, in this particular scheme, there will be preliminary costs – i.e. site investigations, statutory consents, site setup and installation costs etc. Then each component of the building will be broken down in terms of substructure, shell and core, superstructure, cladding, fit out and services. Valuations shall be undertaken on a joint basis between the Client’s cost consultant and the Contractor’s Quantity Surveyor, and upon agreement that certain work has been carried out, instructions for payment (known as interim certificates) will be issued and then certified and agreed by the Contractor Administrator. Monthly payments for work in progress are a significant component of how Contractors earn money and is therefore critical in terms of their cash flow, which is critical to ensure that the contractor remains able to make payments to the number of sub-contractor’s engaged directly by them. The flow of money during the construction process is of the most importance and it will be dependant on a competent project manager, working on behalf of the Contractor to ensure that this is managed correctly. It must be stated that the costs detailed in the tender returns are subject to variations and it is expected that during the course of the project, such variations will arise and in such situations, the cost consultant will need to ensure that they are reasonable costs for the client to incur. In summary, the costs of the project are primarily dictated by the specification prepared
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CONCLUSION The aim of the project was to propose a new iconic entertainment centre with an integrated cable car network to unload the city’s traffic and connect tourist centre with the perifery of Turin. The construction of the building required the demolition of the existing delapidated structure. Due to the large scale of the scheme, the structural challenges it presented and the vast array of different stakeholders involved in its design, the report demonstrates the importance of a closely knit design team, working in a non-adversarial manner. The scheme responds to many of Metropolitan Turin council objectives, by providing a sustainable transpotration link, a catalyst for tourist expansion and community facilities in accessible location, promoting the connection to the City Centre, and reinterpreting the city’s historic assets. The ambition is that it would make Turin more attractive to residents, businesses and tourists. While there is a degree of risk entering into a construction project of this ambition and size the report highlights how through careful management these risks could be reduced greatly. The report also highlights the importance of a well integrated design team from the early stages of the project.
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MArch year 1 University of Westminster
VERTICAL URBAN FACTORY Chelsea, NYC 2017_2018
DESIGN STUDIO 13 At the core of each creative discipline is the production of a body of effects that shapes the way we relate to the world and each other. At DS13 we were interested in disciplinary specificity, in the effects specific to architecture. Architecture’s relevance, its engagement with the world and its sense of agency derive from its ability to generate effects and, through these effects, to produce affect, thus shaping human experience. More specifically we were interested in investigating the possibility of creating new types of architectural and urban conditions through a deliberate architecture of affect. At DS13 we were fascinated by the wonder, suspence, and surprise of objects. Ensnared by the incredible sway their forms hold over us, we allowed ourselves to surrender to their allure and illusion. The work of DS13 aims to make inroads into a new teritory of architectural imagination tha is concerned with boundaries, edges, volumentric primitives and relations not of continuous flows and fields but of separation and difference.
KEY DIFINITIONS: OBJECT / COUNTEROBJECT The studio’s agenda was focused on exploration of architectural objects: their wonder, suspense and surprise. This type of architectural imagination is concerned with boundaries, edges, volumetric primitives and relations through separation and difference. Initially we investigated spatial effects produced by polygonal constructs, their chunks, joints, niches, patchiness, inlaying and interiority. If objects are products of legible geometries, en/counterObjects defy precise delineation. They are not forms but formations: heaps, totems, piles, glitches, assemblages, flocks, unexpected composites. They are deliberately ambiguous, distancing themselves from the object and clear perception, interpretation or direct understanding.
PROJECT LOCATION Research abstarct for the MArch year 1 project was situated in the city of New York, where we explored spatial and organisational opportunities of urban expansion through rezoning and exploring the novel architectural and urban typologies emerging from the potent social, cultural and political pressures that are reshaping the city.
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Introduction New York City has far and away more arts nonprofits than any other American city, as the number of cultural organizations in New York City increased by 54 percent over the past decade. Ever since 2011, the city’s manufacturing sector has grown by 3,900 jobs, including 1,100 jobs in the last twelve months. This hardly makes manufacturing one of the city’s leading growth industries, nevertheless, as the city’s massive luxury consumer market continues to grow, there are ample opportunities for New York’s metal, wood and digital fabricators to expand further. Due to expansive infrastructure networks of New York and technological changes in manufacturing, a new contextual reconfiguration provided a spatial potential to rethink the space of manufacturing, namely, as the vertical factory. The city's multiple and complex layers challenge architects and planners to formulate methods for planning hybridity, a quality now deemed valuable to growth and sustainability. In the present ecologically consious times and with the redefinition of industry, the idea of the vertical factory may be pertinent in order to conserve land and save costs. The vertical factory provides design and cultural opportunities for new thinking, both in terms of its relationship to the city itself. The focus on labour and promotion of the proccess of making and product's authenticity allows to expose the proccess to the public as a live spectacle - just like New York itself.
By positioning the object on the elevated park of NYC _ The Highline, the factory would become a point of industrial tourism and product sale which would happen inside the showrooms. By using production and the city as a spectacle, the product would be percieved in a very special manner. The oculous and anticipation effect which we experience in New York built environment is also at hand where an impressive backdrop would frame a luxury product in order to create a unique experience of both the object and the city. Dramatisation of the encounter moment with an object or how it is being made is aimed to offer something exclusive with a strong sensation of 'made in New York’. Each show room hosts a unique product produced in New York and manufacturing activity happening alongside showcasing and testing hub, will therefore creating new opportunities for small luxury manufacturing businesses to showcase their work for wider public and tourists. Showroom objects contain immersive environments for consumers to experience new products along with experiencing how the objects are being manufactured and with a chance to personalise some of them. These experienced are varied according to trending products in New York, and include luxury designer objects, personalised ceramics, bespoke accessories and other.
VERTICAL URBAN FACTORY NEW YORK CITY - CHELSEA
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SITE
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E
LIN
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EH
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TECHNOLOGICAL HUB HUB
SITE
RETAIL
MANUFACTURE
CH EL SE A
COMMERCIAL
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VERTICAL URBAN FACTORY NEW YORK CITY - CHELSEA
CHELSEA, NYC The booming creative areas of New York are predominantely located in Soho, Brooklyn and Chelsea Districts, however the shortage of specialised manufacturing and workshop facilities is challenging for local creatives. In combining the high demand for designer objects, and the advantages that modern manufacturing methods can offer, there is an opportunity to provide the area with an urban factory specialised in one off designer objects. The challenge here is how can we make a place of production to be inventive and to bring out social and architectural value?
SITE
1. Chelsea District, NYC Aerial plan of Chelsea depicting the main avenue with the cross intersections that occur along the road, and elevated park - The Highline.
VERTICAL URBAN FACTORY NEW YORK CITY - CHELSEA
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CONTEXT AnALYSIS
ART, CRAFT, & LUXURY
The New York’s only elevated park - The Highline is one of the Manhattan’s most popular New York attractions. . Today it is an urbanite’s playground featuring lovely wildflowers, greenery and outdoor art, while offering walkers some of the best views oin NYC. Architectural language of the area is a mix of industrial Multiple passes through the old loading docks like the former buiscuit factory is reminiscent of the industrial past of the area and creates a sense of gravity and excitement. Being one of the most popular tourist attraction in NYC, the Highline provides an excellent
opportunity for a programme which would benefit from high visit rates and tourist interest.
Whitney Museum of American Art
11 th Ave nu e
The Highline:
VISITED UP TO
1.3 million people annualy
SITE
Chelsea Market
KEY: Luxury shopping - designer items Art Galleries Fabrication Crafts/ jewelry and antic markets
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CITY SCAPE
EXPERIENCE ON A ‘HUMAN SCALE’
CHELSEA
GRID ARRANGEMENT & LONG VIEWS
The grid-like arrangement of Manhattan allows to create long linear visual links. This patricular quality of environment creates a so-called cinematic effect of New York framing vistas by surrounding environment.
SENCE OF SCALE & GRAVITY
SPATIAL ‘OVERLAYS’
Manhattan as an island gives its users opportunities to evade the city through central park, and many other green points of escape. Multilayered spatial organisation is produced by activities happening on multiple levels of the city. A cake of different pedestrian/ vehicle circulation routes, multiple activities, as well as active rooftop usages create a sence of spatial overlays.
VERTICAL URBAN FACTORY NEW YORK CITY - CHELSEA
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Google Headquarters
CH EL SE A
Hudson Yards Development
Commercial & office buidlings Related Institutions Mixed residential + commercial
IAC Headquarters
Transportation & utility Technology companies
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The Manhattan grid has manifested a multitude of architypes emerging in the limited space of the restricted city block confines. One can view the urban grid of Manhattan becoming exhausted for space to allow new manifestations to arise, and therefore a major urban gesture could bring forth new opportunities.
DISTURBING THE NEW YORK GRID THE HIGHLINE
POINT OF ATTRACTION In order to disturb the very rigid grip of New York Streets, as well as tackle small footprint limitations, and attract byers the building is poitioned over the Highline. By this act the building turned into a focal point for the people walking on the street. The act of providing an oculous cut where the building meets highline has furthermore frames the views of Chelsea providing a new unusual for NYC spectacle.
SITE
VERTICAL URBAN FACTORY NEW YORK CITY - CHELSEA
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MADE IN CHELSEA:
TECHNOLOGY + CRAFT = LUXURY NORMATIVE TYPOLOGICAL BEHAVIOUR 80%
Being one of the most popular tourist attraction in NYC, the Highline provides an excellent opportunity for a programme which would benefit from high visit rates and tourist interest. Concidering Chelsea manufacturing past and a growing luxury object market there is an opportunity to create a home for Chelsea craftsmen and artists in order to promote local creative produce.
URBAN FACTORY OF DESIGNER OBJECTS
PROJECT TYPOLOGY MANUFACTURING & SHOWCASING
WHY PRODUCE LOCALLY?
REDUCTION OF COMMUTE TIME
EFFECTUAL MOMENT 20% DESIGN OFFICES
SHOWROOMS +PRODUCT PERSONALISATION HUBS
LOWER ENERGY CONSUMPTION
REDUCED CARBON EMISSIONS
REDUCTION OF TRANSIT COSTS
SMALL TO MEDIUM SCALE OBJECT MANUFACTURING
The MADE IN label becomes a popular signifier and brand for companies that choose to to prioritise authenticity and local production. Such companies are a catalyst to new manufacturing and incubate ideas that become production circles or points, rather than lines, even in shorter runt.
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TECHNOLOGY + CRAFT = LUXURY THE NEW YORK TIMES: ‘‘It is about a mix of traditional craft, collaboration and knowledge with new techniques and materials. Technology and craft go hand in hand , and that is the ultimate luxury. It is about that moment of surprise when someone walks into a space and encounters a piece and gets a feeling of impossible being possible’’
PRODUCTS & FACILITIES: HIGH END AND NICHE DESIGNER PRODUCTS
3D PRINTING
PRODUCT PERSONALISATION
PUBLIC E FACILITIES
TRAINING FACILITY
PRIVATE FACILITIES
WOOD/METALWORK
MILING WORKSHOPS STUDIOS SCANNING PAFILITY (LARGE) SCULPTING MILLING PRINTING FACILITY MATERIAL STORAGE
SHOWROOMS GALLERY PUBLIC WORKSHOPS
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The New York grid has manifested a multitude of archetypes emerging in the limited space of the city block confines. This, together with a tradition of pronounced entry points in Manhattan’s buildings led to an idea of manifesting the factory’s entrance by positioning it over the Highline. By doing so the building would attract millions of visitors per year thus becoming a new point
initial effectual construct
TH EH IG HL IN E
OCULOUS
1. RECTANGLE PRIMITIVE
Pronounced entry point + small building footprint - Framing the views of Highline
2. BOTTOM CUT - OCULOUS TO THE CITY 3. TOP CUT - SPECTACLE ‘END OF THE JOURNEY’
4. N-E SIDE PUSHED BACK TO ALLOW FOR EXTRA DAYLIGHT
5. THE OBJECT
initial proposals
OBJECT: The outer shell of the building was designed to produce oculous with the city on the Highline level. The spectacle effect at the top would be reasiled as the end of the journey with an exhibition courtyard facing Manhattan at the top of the building.
VERTICAL URBAN FACTORY NEW YORK CITY - CHELSEA
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The focus on craft and the process of making, as well as the product’s authenticity, was realised through its exposure to the public. Small-scale bespoke manufacturing would be shown to visitors as part of the tour through chosen production spaces and the showrooms. Production spaces are located within the ‘object’s body’, where sufficient open-plan spaces are suitaple for designated activities: metalwork, woodwork, ceramics, 3d printing, cnc-ing and other. The showrooms are housed inside the counterobject, which comprises open arcaded spaces often overlooking sertain production or product testing areas. The journey through the building would culminate in a gallery, cafe and a rooftop sculpture park, where luxury objects would be showcased against Manhattan backdrop.
COUNTEROBJECT: ‘‘Visiting the factory has become more prestigious than shopping at the store in the city and connects the consumer to their desire for
-CITY BACKDROP FOR SHOWCASING LUXURY OBJECTS
SPECTACLE
- MANUFACTURING PROCCESS TO MARKET THE PRODUCE
1. TRANSPARENCY THE FACTORY AS SPECTACLE Concept of transparent factory - factory’s marketing showcase is using design to attract attention by using the display of the production at the point of sale , thus hypercommodifying a company’s factory. The consumption of production and the public’s gaze onto proccess encourages the physically transparent factory, in terms of viewing the workers as an attempt to increase profits by allowing people to get close to the sourse of origin, to understand how a car is made and who makes it, and to seduce the consumer with the product’s authenticity, both emotionally, and viscerally in a display of desirable products.
2. SHOWCASING PRODUCTION AS A PART OF MARKETING: The view of the workers and their work - in contrast to a more normative, sterile, and sealed factory building - could animate the building facades and connect directly with the street and passersby. The worker would thus enliven the city and its street scape while potentially advertising a company. Simultaneously, the visibility of the worker demonstrates the integrity of craft and labour, as well as satisfies the public curiosity for how things are made
COUNTEROBJECT
3. GALLERY
2. SHOWROOMS
1. RECEPTION & DESIGN OFFICES
94
GROUND FLOOR PLAN
FACTORY SEQUENCE: COMPONENT MANUFACTURE
PRIVATE TOWER : factory personnel access finished product dispatch deliveries & refuse
MATERIAL STORE
PACKING COMPONENT TESTING
STORAGE/ DISPATCH
PUBLIC TOWER : Souvenir shop Cloackrooms
COMPONENT MANUFACTURE
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OBJECT
COUNTEROBJECT
3. GALLERY
2. SHOWROOMS
OBJECT
1. RECEPTION & DESIGN OFFICES
SUPEROBJECT
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PRODUCT PERSONALISATION HUB
lle
ry
ce
in
g
Ga
Offi
uf ac
tu r
nt ra u a
M
an
st
Re
FOOD/ DRINK
OBJECT PERSONALISATION HUBS
DESIGNER OFFICE
OCULOUS WITH THE CITY SPECTACLE MANUFACTURING PROCCESS EXPOSED
FOOD/DRINK
Pe nt h
ou
se
Sh ow
ro o
m
s
CO-WORKING OFFICES TO LET
OBJECT GALLERY PRODUCT TESTING
Much of the focus is now on URBAN smaller companies capable of FACTORY rapid production, technology PRODUCT and niche products for the luxury TESTING market. The building would provide independent Chelsea craftsmen with a much -needed studio or an office space, as well as the equipment, storage space, digital fabrication facilities,MATERIAL STORE and more. However, the main advantage of this proposal for its occupiers would be the showrooms that expose the proccess and showcase products against a magnifiscent New York backdrop.
Designer offices Restaurants Gallery Small-scale manufacturing Designer showrooms
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1:200 Physical Model
TYPICAL FACTORY FLOOR
Designer office Circulation core 1
Welding room Digital fabrication Showroom Woodwork Client zone
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OBJECT/ COUNTEROBJECT EXERCISE
TV Studios Unknown location 2017_2018
The first semester of MArch year 1 at Design Studio 13 we were given a group project exercise which involved the production of new geometries and prototypes for architectural objects and their counter/objects. Studio brief described objects as the products of legible geometries, while en/counter objects would defy precise delineation. They are not forms but formations: heaps, totems, piles, glitches, assemblages, flocks, unexpected composites. The following proposal is for the TV studios and production offices in an undisclosed location. The project started from experiment actions with stereotomic operations and their effect on mass, interiority, surface articulation and object/ ground relationship - conferring each equal importance. By studying the top-down geometric procedures that give shape to Objects and foray into the unpredictable processes that form counter objects we were able to produce a proposal where the two clash but simultaneously exist in a harmonic relationship by enhancing each other. The object segment of the building would act as an office & co-working space, while the counter object will behave as an immersive multimedia buffer space housing nested studio pods, superdesk and production areas.
110
CUBE
MODIFIED CUBE Angled roof to increase interior daylight levels
BOOLEAN DIFFERENCE.0.3
EXTERNAL CUT ADDED
to mark atrium
Cut introduced to mark principal entrance point
OBJECT ROTATION
POSITION ON SITE
SITE TOPOGRAPHY CHANGED TO MANIFEST ENTRY POINTS
Object transformation
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Design Development Diagrams - External Shell
113
Counterobject development
The counterobject was designed with an aim to create a sence of anticipation and intrigue when you enter the building. The public entrance via ampitheatre exposes the object floating in space where the entrance to TV studios is located. The private access to the studios is elevated above the principle entrance in order to give Tv hosts and their guests an opportunity to enter the building unnoiticed if needed and provides additional means of escape.
Public access Private Amph it
heatr e
Poche/ Office Spaces
Main Stage
Coubterobject
Superdesk News Studios Office Spaces
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Pattern transparency and distribution
2. Interlocking and continuous space within counterobject comprises a buffer zone between office spaces and where the magic happens - TV studios. Interactive projection areas and ‘digital interior skin’ cocoons those arriving before the show showcasing immercive visual experience prior to entering the studios.
1. Creating the initial moment by catching visitor’s attention - the counterobject is slightly visible. However, due to a difference between counterobject’s interior and exerior this does not give the full impression but creates a sense of anticipation.
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TV studios (non-transparent skin) Counter object shell (semi-transparent) Interstitial space (exposed)
Poche space is mainly office space for the production studios. As a working envieronment it is open and light provoking interaction between users.
Emmercive environment of the counter object interior is designed to intrigue visitors of the studios and those waiting before the show having a drink at the bar.
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Outter shell
Counter object (semi-transparent)
TV studios
Viewing platform Circulation in counter object
Office space
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Professional Experience RIBA PART I Architectural Assistant 25.08.15 - 52.08.18
London - Kent
During my 2 year-long placement at Guy Hollaway Architects London as a Part I Architectural Assistant I was primarily involved in 0 - 3 RIBA Stages. As part of a team, I was assisting on development of design proposals, in particular: concept development, preparation of drawings, reports, visualisations and schedules. I was involved in direct communication with clients, planning officers and local authorities as part of design and planning procces. Preparation and submission of planning applications for projects of different scales was one of the areas of my primary focus. As part of the team I was able to successfully coordinate designs with other members, manage tight deadlines such as competition bids and other submissions. During work experience I managed to build a strong understanding of the UK’s Design guidelines and building regulations, such as Approved Documents, London Housing Design Guide, and others.
My involvement: Design Pre planning & Planning documentation/ drawings CGI Public consultations, Pre-app,/DRP meetings Liasion with clients directly + English/Russian interpretor experience Office Admin
16
The site is located at the intersection of Pilgrims Way and Stone Street or Hampton Hill, Kent. The Upper Outlook, which is a proposed replacement dwelling has been designed to be subservient to the Lower Outlook’s Paragraph 55 house as both proposals response to the natural topography and the local’s characteristics of AONB. This replacement house integrates itself within the landscape as the meadow wraps the roofs and part of the building. The proposal was carefully designed and developed through a series of design schemes fulfilling the client’s briefs whilst acknowledging and preserving the existing landscape. The proposal is a contemporary innovative design of significant architectural merit that has a great potential of complimenting the chalk grassland.
Residential THE UPPER OUTLOOK MONKS HORTON, KENT (AONB)
MY INVOLVEMENT: Design Pre-planning & Planning drawings Feaso, Pre-app and D&A statement documentation CGI’s
PLANNING APPROVED RIBA STAGE 0 - 3 CONTRACT VALUE £750K PRIVATE CLIENT
INFILL
N
KEY PLAN @ 1:500
M4 M1 M3
M4 M1 M3
KEY PLAN @ 1:500
M2
M4 M1 M3
M4 M1 M3
M2
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Mixed - use St Mark’s Square , Bromley South Central , London
MY INVOLVEMENT: GLA COMPLIANT FLAT LAYOUT DRAWINGS
The St Mark’s Square scheme will transform the southern end of Bromley Town Centre into a new urban lifestyle quarter. At the heart of the proposed new residential and leisure quarter will sit a new vibrant public square with 200 luxury apartments, 9 restaurants including Las Iguanas, Nando’s, Prezzo, Turtle Bay, a nine screen Vue cinema, 130 bed Premier Inn hotel and public car park, all two minutes from the train station with 16 minute connections to London Victoria. The main residential block is of the dramatic sloping form that reveals amazing views of London and the South East for the future owners of the apartments. My involvement included preparing GLA compliant flat layouts and schedules for the project.
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Mixed - use Poole masterplan RIBA STAGES 0 - 3 CONTRACT VALUE ÂŁ160 million CLIENT: Atlas Partners Sydenhams
MY INVOLVEMENT: Concept & Developed Design Pre-planning & Planning drawings Feasibility, Pre-app and D&A statement documentation CGI’s Investment brochure for project investors
PLANNING APPROVED
The approved scheme is located at the Poole waterfront. It includes extensive accessible public realm, lined with cafes, bars, restaurants and shops, all centred around a new marina with the capacity for up to 23 boats. With a landmark building at the entrance of the site to give the regeneration area prominence and identity, the proposal includes seven buildings across the site, strategically located to allow for permeability and freedom of access from multiple approaches. 353 high quality residential units of mixed tenure will be provided, giving much needed new housing to the town, and further accelerating the regeneration of the Hamworthy area. - A landmark, 14-storey building on the southern approach to Poole Bridge which will draw people into the landscaped public realm. - 353 apartments, ranging in size from one to threebed units. - A central marina, with attractive public quayside including pedestrian and cyclist access throughout, linking Poole Bridge to the adjacent Carters Quay. - A range of commercial uses (24,000 sq ft) at ground floor around the marina, including retail, workshops and office space. - 345 parking spaces, of which 92 are allocated for public use, and ample residential and visitor cycle spaces. -High quality landscaping with a publicly-accessible open space that can be used for a variety of activities
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Hospitality Horsers Corner Hotel Ethelbert Crescent, Margate RIBA STAGES 0 - 3 CONTRACT VALUE £3.7 million CLIENT: Harrisons Property
MY INVOLVEMENT: Concept & Developed Design Pre-planning & Planning drawings Feasibility, Pre-app and D&A statement documentation Client & Local authority meetings Creation of investment brochure for Chinese investors
PLANNING APPROVED
Margate has been a seaside resort for over 200 years, and its history as a holiday town dates back to the 18th Century. Its accessibility from London (1h 20 m from St. Pancras Internnational) made it an ideal destination for sea bathing, when bathing in a consuming seawater was thought to be beneficial to health. It is believed that Margate today is undergoing a long-waited regeneration which would bring its past glory back! This hotel is to compliment Margate’s growing tourist industry, as a result of the new Turner Contemporary Atr gallery (designed by David Chipperfiled) , and Dreamland amusement park - a collaboration between GHA and Hemmingway Design.
Dining
Wardrobe Wardrobe
The buildings cranked form is a direct response to the site’s prominent corner location and the desire to make the most of the outward sea views across Walpole Bay. Full height fixed glazing allows the majority of rooms to benefit from maximised sea views, and many of the rooms have been designed to have the capacity to interlink to accommodate families. The hotels unique multicolour metal façade reflects the famous Margate deck chair and plays on the regeneration of tourism and culture that is being seen throughout this eclectic seaside town. Margate has seen a rise of artists taking residency in the town, which is rumoured to also include Tracy Emin’s new studio, this is as a result of the success of the Turner Contemporary Gallery. Visitor numbers are also increasing as a result of the success of the Turner Gallery, and more recently Dreamland, therefore creating a growing demand for quality hotel bedrooms.
126 Internal Layouts
Club
Lobby
Riser 13 ft
n li
rso
Pe
e 13
Hotel Offic
ft
n li
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Pe
Kitchen 13 n
rso
Pe
13 n
rso
Pe
ACCESSIBLE WC
lift
Cleaner's cup'd
lift
Riser
Riser
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Residential
Springfield Road, Maidstone
MY INVOLVEMENT: Pre-planning & Planning drawings Feasibility, Pre-app and D&A statement documentation Planning Application Submission The proposals is for a residential development of a long vacant site adjacent to Springfield Roundabout in Maidstone, UK. This land was acquired by U+I who saw the potential of this former paper mill site overlooking the river Medway for a residential community. The plans submitted for 310 new homes, public realm and landscaping improvements. including a range of buildings from 8-18 storeys, marking the gateway to Maidstone town centre. My involvement in the project included working on the pre planning and planning drawings, as well s Preapp, D&A statement documentation.
PLANNING APPROVED
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Residential HOUSE EXTENSION - 23 Monks Horton, New Malden (Private job)
MY INVOLVEMENT: Design Pre-planning & Planning drawings Planning Application submission
PLANNING APPROVED
Working directly with client and their neighbours, the project is to create a full rear extention and a loft conversion for no.10 &12 Northcote Road in New Malden, UK. The design intention was to create a new extended kitchen and ensuite master bedroom with ‘snug space’ on the second floor. The agenda was to transform terrace house in order to improve the natural lighting of the existing dark rooms and form a better connection to the garden. By extending the rear of the residence, and removing the existing back wall on the ground floor, an openplan kitchen and living room with glass doors that open to the courtyard was created. Light materials are used inside throughout the residence, including pale timber flooring and white-painted walls, to keep the spaces bright. These simple finishes are also intended to complement the brickwork of neighbouring residences.
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Student Accommodation Parham Road, Canterbury, Kent RIBA STAGES 0 -2 CONTRACT VALUE tba PRIVATE CLIENT
MY INVOLVEMENT: Concept Design Pre-planning drawings Feasibility, Pre-app documentation CGI’s
The proposal site is located on the eastern bank of the river Stour, in Canterbury, within the Sturry road student village. The site is currently highlighted as a “Designated Green Space”, but remains cordoned off and unused. The proposed approach to the site is to provide a managed piece of landscaped area, which is maintained as part of a small student accommodation development. The locality has a high density of student population, and the proposed development will enhance the provision of new managed accommodation in the popular area. The landscaped area will be publicly accessible, and aims to make amenity use out of this currently unused and poorly maintained piece of land. Features such as free urban gym equipment, and a living green wall on the perpendicular façade aim to maximise the provision of green space which will have a new found purpose.
Horisontal landscape
Vertical landscape
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Type B Bedroom @21 sqm
7.1 m
8.8 m
A
3.1 m Type B Bedroom @26sqm
C 3.1 m
Typical Floor Plan (nts)
RIBA STAGE 1 CONTRACT VALUE £220M
EAST BROOK STUDIOS, LONDON Creative city
MY INVOLVEMENT: Concept design Pre-planning drawings Feaso, Pre-planning documentation Client/local authorities meetings
A new Hollywood-scale film studio planned for Dagenham East has come a step closer after the London mayor, Sadiq Khan, said a study has shown the site is an ideal location and a “rare chance” to build the first new TV and film studio in the capital in 25 years. Working with our clients the Rainbird Company and Barking and Dagenham Council, the project is to create an exciting ‘creative city’. It will house largest in the UK TV and film studios, restaurants, bars, training academy, 750 residential units and a hotel. Set to create new jobs in the TV and film industry, and help to replace the former Ford manufacturing industry. It is hoped this scheme will play a crucial role in regenerating Dagenham. The study estimates that a studio of this size in Dagenham East could generate around 780 fulltime jobs in the local area and generate £35m each year for the UK economy.
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Live/work units Student Accommodation
Residential units(PRS) Cycling track
Hotel
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OTHER PROJECTS
Winning competition bid - Brambletye School extension
Winning competition bid - Beneden School extension
Award-winning X-Ray chamber & artist’s studio in Maidstone, Kent
INTERIOR DESIGN
USA STORE PROPOSAL for HOUSE OF GARRARD
MY INVOLVEMENT:
Interior + Furniture design Pre - Planning drawings CGI
4590
1120
Garrard has an untouchable heritage and is one of the international market leaders for engagement rings and tiaras. The proposal for USA store included interior and furniture design proposal featuring a central counter showce inspired by the famous Garrard ‘diamond and dot’ motif. Finishes such as timber herringbone flooring, with brass edge detail, rich colored velvet central rug, and antique mirror were chosen in order to create a quintessentially British interior for American store. Central howcase wall included five individual deck mounted showcases with 2 internal LED front lights, 16 storage draws,Visual wall showcasing fundamental images and film of Garrard, and interactive framed screen. Intelligent ‘projection’ will allow guests to ‘feel like a Queen’ through projected historical and current tiaras; generating engagement, entertainment and social media content.
Floor to ceiling = 3400
THE HOUSE of GARRARD
Eye Level = 1650
1080
1680
600
550
137 E L E V A T I O N
1 : 2 0
COUNTER SHOWCASE 1:20
Revisions
Project
Jewellery display counter
Bibliography BOOKS: 1. Allen, Don Cameron, Mysteriously Meant: The Rediscovery Of Pagan Symbolism And Allegorical Interpretation In The Renaissance (Baltimore: The Johns Hopkins Press), pp. 1-95 2. Ardito, Fabrizio, and Fiona Wild, Turin (London: Dorling Kindersley, 2005), pp. 50-79 3. Barr, J. (2016). Building the skyline. New York, NY, United States of America: Oxford University Press, pp.134-253. 4. Ballantyne, Andrew, Deleuze And Guattari For Architects (London: Routledge, 2010), pp. 96-123 5. Bidwell, Paul T, The Legionary Bath-House And Basilica And Forum At Exeter ([Exeter]: Exeter city council, 1979), pp. 134-156 6. Blackman, Lisa, The Body (Berg Publishers, 2008), pp. 34-165 4 Breton, Andre(1934). What is Surrealism? (A lecture given in Brussels on 1 June 1934 at a public meeting) pp 22-43 7. Cartwright, Mark “Roman Baths”, Ancient History Encyclopedia, 2019 Cullen, Niamh, Piero Gobetti’s Turin (Oxford: Peter Lang, 2011), pp. 21-38 8. Clamp, Hugh, Which Contract?, 5th edn (London: RIBA, 2012), pp. 331-336 9. Deleuze, Gilles, The Fold (London: Continuum, 2006), pp. 21-93 10. Deleuze, Giles, The Logic Of Sensation ([Providence, R.I.]: [B. Schorn], 1987), pp. 12-86 11. De Laine, Janet, The Baths Of Caracalla - A Study In The Design, Construction, And Economics Of Large-Scale Building Projects In Imperial Rome (Portsmouth, RI: JRA, 1997), pp. 20-72 12. Franks, James, and P. A Harlow, Building Procurement Systems, 3rd edn (Harlow: Longman, 1998), pp. 10-65 13. Hughes, Will, Ronan Champion, and John Murdoch, Construction Contracts, 5th edn (Abingdon: Routledge, 2015), pp. 86-123 14. Imperiale, A. (2000). New flatness. Boston: Birkhauser, pp.11-98. 15. Joyce, Raymond, CDM Regulations 2015 Explained (London: ICE Publishing, 2015), pp. 13-79 16. Koolhaas, R., Delirious New York (New York, New York: Monacelli Press, 1994), pp. 236-256. 17. Lester. A, , ‘Project Management:Planning and Control’, Butterworth-Heinemann, Oxford,2007) pp.34-65 18. Millon, Henry A, The Triumph Of The Baroque (New York: Rizzoli, 1999), pp. 32-213 19. Penshaw, J. and Adamson, G. (2015). Postdigital artisans. Amsterdam: Frame Publishers. 138
21. Rappaport, N. (2016). Vertical urban factory. New York: Actar Publishers, pp12 - 97 22. Sinclair, Dale, Assembling A Collaborative Project Team (RIBA Publishing, 2014), pp. 50-74 23. Sheeler, Jessie, and John Ferro Sims, The Garden At Bomarzo (London: Frances Lincoln, 2007), pp. 14-64 E-SOURCES:
Besonen, J. (2018). West Chelsea: From Industrial to Chic. [online] Nytimes.com. Available at: https://www.nytimes.com/2016/11/30/realestate/west-chelsea-from-industrial-to-chic.html [Accessed 1 Apr. 2018]. Cartwright, Mark, and Mark Cartwright, “Roman Baths”, Ancient History Encyclopedia, 2019 <https://www.ancient.eu/Roman_Baths/> [Accessed 13 March 2019] Lasky, J. (2018). Where Is Design Going?. [online] Nytimes.com. Available at: https://www.nytimes.com/2018/05/02/style/where-is-design-going.html [Accessed 25 March 2019]. Walsh, Catherine, Renaissance Landscapes And The Figuration Of Giambologna’s Appennino: An Ecocritical Analysis, 2019, pp. 2-32 <https:// open.bu.edu/bitstream/handle/2144/16000/Walsh_bu_0017E_11344.pdf?sequence=2&isAllowed=y> [Accessed 20 January 2019] Besonen, J. (2018). West Chelsea: From Industrial to Chic. [online] Nytimes.com. Available at: https://www.nytimes.com/2016/11/30/realestate/west-chelsea-from-industrial-to-chic.html [Accessed 1 Apr. 2018]. The High Line. (2018). The High Line | Friends of the High Line. [online] Available at: http://www.thehighline.org/ [Accessed 14 Jan. 2018]. Lasky, J. (2018). Where Is Design Going?. [online] Nytimes.com. Available at: https://www.nytimes.com/2018/05/02/style/where-is-design-going.html [Accessed 25 March 2018].
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PDF DOCUMENTS:
The Strategic Plan for Turin Metropolitan Area http://siteresources.worldbank.org/INTMNAREGTOPURBDEV/Resources/Turin_March2006.pdf Catherine Walsh, Renaissance Landscapes And The Figuration Of Giambologna’s Appennino: An Ecocritical Analysis, 2019, pp. 2-32 <https://open.bu.edu/bitstream/handle/2144/16000/Walsh_ bu_0017E_11344.pdf?sequence=2&isAllowed=y> [Accessed 20 January 2019].
Metropolitan Turin 2025 Action Plans http://www.torinostrategica.it/wp-content/uploads/2015/04/Metropolitan_Turin_2025_Summary_web.pdf CDM Regulations: http://www.legislation.gov.uk/uksi/2015/51/regulation/12/made Part B https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/441669/BR_PDF_AD_B2_2013.pdf Part M https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/441786/BR_PDF_AD_M2_2015.pdf Part A https://www.labc.co.uk/sites/default/files/EXT.Approved-Document-A-Structure-ENG-2013.JMCN_.v1.200417.pdf Team Partnering Manual cic.org.uk/download.php?f=team-partnering.pdf De Pieri, Filippo, Turin’s Historic Heritage In The Policies Of Urban Regeneration Of The Last Twenty Years (Turin: Politechnico Di Torino, 2019), pp. 167-186 <https://www.ledonline.it/Rivista-Scienze-Turismo/Allegati/RST-I-2-10-DePieri.pdf> [Accessed 17 March 2019] Catherine Walsh, Renaissance Landscapes And The Figuration Of Giambologna’s Appennino: An Ecocritical Analysis, 2019, pp. 2-32 <https://open.bu.edu/bitstream/handle/2144/16000/Walsh_bu_0017E_11344.pdf?sequence=2&isAllowed=y> [Accessed 20 January 2019].
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