Zamira Zulfikri 2020 Portfolio
Master of Architecture Liverpool School of Art and Design
ABOUT ME A motivated ambitious architecture student; pondering ways to make people’s life better through architecture and design.I consider myself as responsible, detailed oriented person and passionate about arts, design, architecture and history. My future plans include in getting higher education and experience in Architecture; to gain more knowledge to design buildings & environments that work and are inspiring.
Contents 7222AR/1 Thesis Project
4 - 49
7221AR Urban Design Project 2
50 - 67
7231AR Live Project
68 - 71
7122AR Housing Project
72 - 81
7112AR Specialist Study
82 - 97
7121AR Urban Design Project 1
98 - 107
Curriculum Vitae 108
7222AR/1 Thesis Project
University of Chester Henry Lynn Campus
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Zamira Zulfikri 2020 Portfolio
Dr James Keefe defined learning style as “the cognitive,affective and physilogical traits that serve as relatively stable indicators of how learners perceive, interact with, and respond to the learning environment”. According to David Kolb, learners must involve themselves in learning for the experience to be educative. He mai tained that knowledge is acquired either by concrete experience or abstract conceptualization and that knowledge is processed through reflective observation or active experimentation. Research has demonstrated that engaging students in the learning process increases their attention and focus, motivates them to practice higher-level critical thinking skills, and promotes meaningful learning experiences. Learning could be an innate character in human nature since the early existence because it is a necessity for survival. Interaction among students are important in assisting the learner to organize their thoughts, reflect on their understanding, and find gaps in their reasoning. According to the psychologist Graham Wallas in his famous shared creativity process, every student has their own way of understanding an idea and how to carry it into the world. He expressed student can range from learning by observation,learning by hearing and learning by saying or teaching and learning by doing. Different form of collaborative learning can help to enhance and prepare the students more to reach the ideal learning environment that can help in generating productive and versatile innovations. Chester holds many significant historical resumes that have become one of the attractions to their city. Corresponding to one of their concern regarding the current main university in Chester;University of Chester, their art campus known as Kingsway Campus are lacking in providing a platform for their art students to showcase their work and be closer to the city as a way to promote their work which will act as their survival guide for the real outside world. The new Art School will be a place for testing, creating, exhibiting and presenting their latest innovations. An open and flexible structure that allows for continuous change and adaptation to changing need which focuses on the future life and activities inside the building. It will be a factory for an artistic experimentation that will set the stage for cooperation. Workshops and collaboration spaces will be the ‘central link’; giving opportunity for them to collaborate on projects with other students from different courses or their own projects. This new art school will serve as resources to fill students’ knowledge gaps. 2020 Portfolio Zamira Zulfikri
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This site was chosen due to it being close to city centre, racecourse, group propose train station and the River Dee. The initital idea is to create a building or space that could create a public square that can generate ommunication between different users in different areas. Relating back to the individual proposal, buildings form from the previous groupwork was defined more to apply Sitte’s principle which is some of the buildings were pushed to get a more define centre plaza. Entrances to the buildings were pushed nearer to their respective end to give a clearer people circulation.
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Camillo Sitte’s principles for a successful urban space : 1.Public squares should be enclosed 2.Buildings, monuments and sculptures should be located along side of the plaza; not centred 3. Plaza shape unsymmetrical (irregular plaza shapes stimulate interest); 4. Plaza center open 5. Streets enter at angles; 6. Avoid plazas open to too much traffic; 7. From any point in plaza, only one single view out of plaza possible at a time (hence only a single interruption of the enclosure as a whole) Sitte mentioned the location of sculptures, fountains and other foci of interest should be placed along ‘an artistic activity guided by the invisible hand of creative sensibility instead of placing them geometrically. Positions of foci’s should be formed from the natural lines of communication existing in the plaza.
Relating back to the individual proposal, buildings form from the previous groupwork was defined more to apply Sitte’s principle which is some of the buildings were pushed to get a more define centre plaza. Entrances to the buildings were pushed nearer to their respective end to give a clearer circulation.
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One City Plan is a 15 a year strategy to guide the future economic regeneration of Chester,by celebrating the city’s strength; which seeks to co-ordinate and drive a programme of public and private investment and development activity into Chester city centre. In developing the plan, extensive & wide consultation was undertaken with over 1200 comments taken into account from local residents and stakeholders. The Cheshire West and Chester Council (CWaC) wish to focus on quality and maximise fully the opportunity of its assets. They seek to invest in better maintaining and enhancing its existing offer to residents, tourists and businesses and it will welcome new, appropriate, high quality facilities that increase usage and spending in the city centre. Chester is a vibrant historic city with a dynamic future.
Chester’s cultural and heritage infrastructure is in decline - historic areas including the City Walls and Towers are in a state of poor repair and suffering from years of under investment.
Spaces and places to create creativity, activity and social interaction.
Place education at the heart of the city’s values, supporting its Colleges and University and ensuring that students, graduates and adults have the skills to develop personally and meet business needs.
Encourage inclusiveness and collaboration in a way that generates dynamic ideas that add to Chester’s economic success, cultural vibrancy and overall quality of life.
Celebrating its long and varied history and heritage – protecting, promoting and utilising its assets, to enhance their settings and maximise their full potential.
Lacking a significant performing arts venue - as a result, less vibrancy and limited diversity of activities and events.
From the issues addressed by the CWaC, educational building in Chester especially the University of Chester plays a vital part in making names for Chester; one of their pride. Which then the idea is to look into educational facilities and University of Chester itself; investigating how educational sectors in Chester could be improved more and what are they lacking of. At the same time, providing a building that could help students and graduates to have platform to showcase their work and be closer to the city centre, existing museums and galleries which will create a better communication with public and tourists.
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Kingsway Campus
38
m
in
Map showing the current location of University of Chester campuses. As seen on the map, their Art Design campus; Kingsway campus, located far from the city centre. Their department have addressed their concern about not being able to provide full opportunity for their art student to show or exhibit their work.
Parkgate Campus
15
m
in
Students at the University of Chester fear campus-share with children.
in 22 m
in 14 m
Riverside Campus
Queen’s Park Campus
Angry students fear the loss of vital facilities if a free school for infants is located at their University of Chester campus. Students at the university’s Kingsway campus, who pay £9,000 a year in fees, are upset the university didn’t consult them about a possible move to their campus where the faculty of arts and media is based. One parent raised concerns online about putting her four-year-old daughter on a bus to Kingsway. Mature student Suzanne Bowen, 39, a mother-of-three, said: “As a parent I can’t see both sides of this. It is inappropriate to house a school at a university campus that’s already short of facilities.” Talking about the lack of consultation, the fine art and photography student added: “The corner shop knew about it, the parents knew about it. On the website they are talking about when it will start. They have held Meet the Children events. “It looks like a done deal. We were only told about it last Thursday because it had been kept under wraps.” Fellow student John Quayle, 23, believes Kingsway is not the right site for a primary school. He said: “Last weekend one of the parents saw a music student wearing a T-shirt with name of a band called Sex Addicts and pulled their child away.” The second-year student is considering transferring to another university if the free school takes over educational facilities at what was formerly Kingsway High School. He said: “It already feels like a bit of a school any way and we are so far away from the main campus. We don’t have a library and we don’t have a real canteen. If there are kids here, it’s going to get worse and worse.” Mature student Elise Weir, who is studying fine art and photography, said: “I think the fact a group of students have reacted has prompted extra meetings and consultations within the university. “It’s difficult for me to give you more information because we don’t know what’s happening.” The University of Chester says the ‘student experience is of paramount concern’ both to the university and its sister organisation, the University of Chester Academies Trust (UCAT). A spokeswoman said: “With this in mind, UCAT, the sponsor for the University Cathedral Free School (UCFS), has been seeking the most appropriate accommodation for the pupils who will start this autumn.” The nursery had been operate at Kingsway Campus since 2013 and quit few complaints were given by students and parents of the children saying it’s not a good initiative to put both university and nursery in one facility. 2020 Portfolio Zamira Zulfikri 9
R - Reception 1. Nursery 2. Lecture Theatre (1st floor) 3. Dining hall 4. Computer Suites (1st floor) 5. Staff offices (Ground floor) 6. Learning Resources 7. Performing Arts (GF & 1st floor) 8. Fine Arts 9. Graphic Design 10.NHS / Children Centre Cheshire County Council
Size : 6920m² (2 floors)
1 4 2
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1. Parkgate Road Campus - Faculty of Social Science - Faculty of Medicine, Dentistry and Life Sciences - Faculty of Archeology 2. Riverside Campus - Faculty of Education & Children’s Services - Faculty of Health & Social Sciences 3. Queen’s Park Campus - Faculty of Business & Management 4. Kingsway Campus - Performing Arts Department - Art & Design Department Creative Campus located along the Kingsway street on the outskirts of the city centre, about 25 min walk from the Parkgate Campus and 30 min walk to the city centre. The Creative campus provide facilites for the Performance Arts Department and Art & Design Department as well as social hub, a courtyard performance space, a catering outlet, IT labs, a library, seminar spaces and a 200 seat lecture theatre.
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Since opening in 1839, University of Chester now has about 18000 students with hundreds of courses at undergraduate, postgraduate and research degree level across eight academic faculties. The university has four campuses in Chester :
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Performing Arts Department BA (Hons) Acting BA (Hons) Dance BA (Hons) Drama and Theatre Studies BA (Hons) Music Production BA (Hons) Music Production and Performance BA (Hons) Performing Arts BA (Hons) Popular Music Performance MA Dance MA Drama MA Popular Music MRes Arts and Media
Arts & Design Department BA (Hons) Fashion Design BA (Hons) Fashion Marketing and Communication BA (Hons) Fine Art BA (Hons) Graphic Design BA (Hons) Interior Design BA (Hons) Photography BA (Hons) Product Design MA Fine Art MA Design MRes Arts and Media
From the site analysis done for the group project and information’s from Chester One City Plan, one of their missions is to place education at the heart of the city’s values, supporting its colleges and universities and ensuring the students have good exposure and opportunities for their work. Currently University of Chester Kingsway Campus house their Art and Design department as well as the Performing Arts Department. The current campus for their arts students is around 6920m² with studios and workshops. Having visited the campus and interviewed some of the students, better facilities are required to accommodate the growing number of students and staffs. Their current facilities are scattered and the studios for art and design students reported to be small and unable to accommodate the large number of students. Unable to see other student works have become one of their concern. Dan Eddleston; a graphic design Master’s student said there are not enough room for Masters students work as they have to share their spaces with the Undergraduate students which they too have problem with the spaces. Most of the students find it odd to have a nursery located right next to their building and the Kingsway Children’s Center right at the entrance. The idea of sharing their outdoor spaces with kids and seeing kids running around the campus moreover the quiet reserved residences around the campus doesn’t really have the environment of an art school. The students wished for the school to be closer to the city center to be closed with the other campuses and a better platform for them to exhibit their work to the locals. This project will relocate and build a new art school for the university; providing better facilities and flexible learning spaces that can centralize collaboration and diversity.
RE-LOCATING UNIVERSITY OF CHESTER KINGSWAY CAMPUS
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In 1926 the psychologist Graham Wallas famously shared his model of creativity, a way of understanding how original ideas form in the mind and are carried into the world. In the model, Walls expressed four distinct stages which must be taken to produce creativities and valuable ideas. The creative processes comprises of 4 stages :
1. PREPARATION
In order to come up with innovative notions, students need to feed their brain materials to work with. This essential but under-celebrated stage of the process is simply called preparation and involves trying to learn lots of things. At this point, rather than searching for magic leaps of understanding, the brain is using attention,
reasoning, and planning to gather information. One of the way to prepare for creativity, students must be open to new experiences. Psychologist and author Scott Barry Kaufman explains: “Openness is about valuing information. People with high openness show high dopamine projections at the potential of acquiring information. In other words, the higher you score on the ‘openness’ trait, the better it feels to learn new things.”
Curiosity must be at play, willing to
not only learn new things but actively pursuing the informations. And lastly, students must be resourceful. No amount of curiosity and openness is going to help students if they can’t find any interest in the things happening around them. It’s at this stage that students are trying to absorb as much information as possible because this information will go into their sub-consciousness where it is very important for the second stage, or second level. Talking to people who are interested in the same things as they are helps them to become more creative, and this explains why creatives tend to be attracted to areas with a
2. INCUBATION
3. ILLUMINATION
4. VERICATION
“Then there is this important stage where you let it go,” said Kaufman. Interestingly, at the stage of incubation, creators or for this case; students, often temporarily shift their attention away from the main problem and seek relaxation; they let their internal thoughts flow in order to effect a kind of unconscious problem solving (Kirschenbaum 1998). The incubation stage involves thoroughly working over the resources they’ve collected, examining concepts, looking at them in different angles, and experimenting how they fit together. Sometimes, they may even have to
This is the scientific name for that classic “eureka!” moment when “connections automatically, subconsciously collide and then reach the threshold of consciousness,” says Kaufman’s words. Students start to see clearly what their project or mission is; how they should act afterwards. The Illumination stage help students to build up their creation to the extend where it becomes visible. Normally this stage comes unexpectedly at unexpected time or place; hence why access to materials need to be easily found; the impulse is to get the idea out as soon as possible.
The last stage of the creative process is about having a platform from which students can verify the idea or work produced as a result of the creative model. Once students see and critic their creation, they’ll go into the verification stage where they perform actions to improve the creation. They perform verification with themselves and others. Students need to have required spaces to share their resulting idea or work, and action is fundamental in getting to what comes next: exposing what they’ve come up with
walk away from their idea and do something else that energizes and excites them to come back to it eventually. This stage is where the students
mind wander to force creative connections. Students stare intently
at a blank page, computer screen or let their mind wander without being pressured or constrained into producing good ideas.Which explains why patience and space are two primary aspects of this stage. Patience means allowing themselves to ruminate with as much time as necessary, while space frees up their mind to explore outside of an otherwise restricted perspective. Research shows that letting the mind wander in this way leads to greater creativity. A certain amount of literature which investigated creative thinkers’ ‘incubation’ behaviours suggested that ‘solitude seems to be
in order to verify its usefulness.
SPACE THAT ENCOURAGE CRITICAL THINKING
ACCESS TO MATERIALS
studios
workshops
high density of other creatives.
CREATE + CONNECT + CONSUME lecture studios seminar spaces
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breakout space library courtyard ‘think tank’/ learning pod
Type of Learners
Visual
Auditory
Ways to connect : -writings/drawing on board (interactive panels, whiteboard,chalkboard & other visual aids) -need text/long speech mixed with something they can see
- towards sounds;music, rhymes,rhytms etc (hearing than seeing) - Learn better with music on, provided that it is not distracting - Thrive in group and panel discussions - Are easily distracted by auditory stimuli such as background noise or being spoken to
Verbal
(reading,writing)
Kinesthetic - learn through physical action (making something, tactile learning & hands-on practical experience). - good at picking up skills through active participation. (do well at building, arts/drama). - adapt at learning by watching someone else. - It also has two sub-channels: kinesthetic (movement) and tactile (touch). They tend to lose concentration if there is little or no external stimulation or movement.
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Having a double height volume on the Ground floor to provide natural light.
Tall glass window facing south - light in for upper floors
Workshop or Exhibition as the central core - students live in the middle of the action - environment that showcase students works and helps to generate more creativity and ideas.
Design Elements 14
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Workshop
and
Theatre
on
Ground
floor
- direct line for students and staffs to load and unload props built in workshop to bring to theatre.
Main circulation at the center to act as a ‘social hub’ - place where students from different courses can discuss and collaborate together.
Art and Performing
Design Department (A&D) and Art Department (P.A) separated
- P.A direct route to theatre for easy access which also connecing to the workshops
Starting from Ground floor consisting spaces that can be opened for public; exhibition for example. Workshops on Ground floor due to the heavy machineries which will also located close to the Theatre for a direct access. Going to the upper floors are spaces to generate ideas, thoughts and creativities of the students. Spaces act as collaborative area; students from different courses have flexible study area as well as private study space for those who required one. The rehearsal rooms will have their own stair and lift to their theatre for easy access during a performance. The new Art school will be designed for a versatile flexible and fluid spaces that will encourage creative and critical thinking and students to communicate about their respective projects.
Programme
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staff offices staff offices staff offices
lift lift study space
breakout space
REHEA
FASH breakout space photography study space pc LIBRARY breakout space lab T
Reception
Cafe
(ancillary space)
Space Study through Section 16
recording rooms
Zamira Zulfikri 2020 Portfolio
study space
EXHIBITION Storag
(3
ARSAL STUDIOS
dance changing drama room performing art
HION STUDIOS
THEATRE
300 seats)
ge
sewing weaving textile printing
backstage green room changing room
REHEARSAL
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Space Study - Fine Art 18
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Space Study - Fashion 2020 Portfolio Zamira Zulfikri
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Space Study - Graphic Design 20
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Space Study - Theatre/Drama/Dance 2020 Portfolio Zamira Zulfikri
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Narrative Collage 22
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NEW AARCH
Aarhus School of Architecture
Denmark
Area : 12000 m²
To open up the school of architecture even more and make it an integral part of the city and the area to create a creative and socially engaging laboratory. A laboratory where collaboration can be shaped in cooperation with the citizens of Aarhus, the municipality, business and industry, architectural practices, the construction industry, entrepreneurs, and the city’s cultural institutions. The building is organized as a city within a building, rich in diverse programs within a quite simple industrial framework. People outside the school can use various sections of the building and the open space throughout the building allows students and the public to interact.
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RCA BATTERSEA CAMPUS Proposal London, UK
Area : 15000 m² - House the schools of architecture, material, and fine art, as well as specialist research centers and entrepreneurial incubators. - Create a spatial model that encourages collaboration across academic disciplines - All elements of the project are flexible and reconfigurable, allowing for accommodation of future changes in the school. For instance, table structures can be added and removed, and partitions in the shelves can be adjusted.
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ARUP SYDNEY OFFICES / Hassell Sydney, Australia
Area : 7500 m² - In a long-standing collaboration between design and engineering, HASSELL partnered with Arup to create a workplace where the exchange of knowledge and skills through learning and experimentation. - Striking horizontal and vertical views across and between floors presents a clear view of Arup’s everyday operations and sense of connection. Arup’s desire to be open and authentic led to a planning model where exchange spaces are dispersed throughout the tenancy. These spaces sit adjacent to the void on all floors, each with a different focus, where lab spaces, workshops, meeting, and collaboration zones become destinations driving connection and collaboration between Arup’s people, clients and partners.
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CISCO OFFICES / Studio O + A San Francisco, USA Area : 10219 m² - variety of meeting spaces (formal and informal, indoor and outdoor) - chalkboards, whiteboards, and corkboards can be easly found within the building so that employees could sketch, write, and pin-up graphics. DO - IT - YOURSELF CULTURE
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GERRIT RIETVELD ACADEMY AND SANDBERG INSTITUTE / Studio Paulien Bremmer + Hootsmans Architects
Amsterdam Area : 6850 m² - Concept of ‘Experimentation is key at the academy. This essentially means looking across borders and disciplines. - Creation of a collective, interdisciplinary educational environment. The result is a landscaped building: a backdrop to making, meeting and exchange. Interaction as a Starting Point. - flexible workshops on Ground floor (using perforated screen door to allow daylight in and to carry out dusts created)
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GERRIT RIETVELD ACADEMY AND SANDBERG INSTITUTE /
Studio Paulien Bremmer + Hootsmans Architects Amsterdam Area : 6850 m²
- Concept of ‘Experimentation is key at the academy. This essentially means looking across borders and disciplines. - Creation of a collective, interdisciplinary educational environment. The result is a landscaped building: a backdrop to making, meeting and exchange. Interaction as a Starting Point. - flexible workshops on Ground floor (using perforated screen door to allow daylight in and to carry out dusts created)
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1. Group Proposal
- recognizing few elements from the group project that can be defined more; e.g : size of the road and the large green area
point of access
Chester Racecourse
2. Changes & Points
- changes to width of the road to give more space for the campus plaza. Nodes on existing site.
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Chester City centre
3. Setbacks
- setbacks from Railway (10m), Roman Wall (20m), main road and Art Gallery for an outdoor performing space.
4. Form
- building reacting to proposed program; workshop at the back consist one floor only & courtyards for outdoor performing area and learning spaces.
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5.2m
8.5m
5. Height
- Four stairsteps & height for each floor added. Roman wall (8.5 m) & Railway (5.2m).
6. Green Plaza
- Plaza for relax or casual space; bbq, table tennis, benches.
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7. Atrium & Screen
- Perforated screen added towards South to optimize sun glare and heatgain & atrium with glazed window for ventilation and natural light in.
Pavilions for outdoor study space or dicussion area.
8. Public Realm
- Covered walkway & three pavilions added for the campus use. Street furnitures; bollards and street lights and bus stops.
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GROUND FLOOR
- Reception, Cafe - Formal & Informal Exhibition space - Workshop (separated) smithy, woodworking, glass, metals & jewelery and sculpting - Outdoor space Pavilion for study or collaboration space, relax benches, students art works display area, tennis court, existing multi purpose field
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FIRST FLOOR - Theatre (350 pax); direct link to backstage, green room, changing room and a rehearsal room for quick practice - Library & break out spaces - Learning ‘Pod’; own cubicle study space and group discussion An open staircase rises through the triple height atrium to the rehearsal rooms. At first and second floors the stair width is increased to incorporate breakout spaces, providing not only circulation, and visual communication across the floors but creates a social and interactive focus to the building.
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SECOND FLOOR - Studio for Fashion Department weaving, textile printing and sewing - Breakout space / open study area - Seminar rooms - Staff offices east of the art school
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THIRD FLOOR - Rehearsal rooms for Performing Art students (Drama & Dance) on 3rd floor; for optimal sound performance. - Recording room - Breakout space & Open study area - Staff offices
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South Elevation 38
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James Cook University Verandah Walk
Covered pathways made with wood and mirror ceiling on the bottom to reflect surrounding landscape
Interactive displays where students and staffs can sit or use it as part as their learning space. The display can be part of the students art works hence promoting their own project to the school and public more.
Shaded area : Covered pavilion Three pavilions with benches, tables and chairs that can be move around so they can be a flexible outdoor learning spaces.
Outdoor performing space with the Roman wall that can be use as a background.. A tower to project an animation or videos to the backwall of the Art Gallery as a background for a performance or an outdoor cinema.
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EXISTING
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GROUP
INDIVIDUAL
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7221AR Urban Design Project 2
River Dee Station Development Chester
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“Culture is not about buildings, but about the life and happenings between them and the opportunities such places and spaces create for activity and social interaction. A succes ful city establishes a sense of place – determined by the surrounding physical environment, its history and the people acting out their lives in it today. By effectively defining, encouraging and investing in such a sense of place, culture and history people are drawn to LIVE, STUDY, WORK and VISIT.”
In 2012, a 15 years strategy known as One City Plan was launched by Chester Growth Partnership as a guidance for future investment and development for more opportunities in Chester. The plan also aims to develop Chester as a vibrant historic city for people to live, work, learn and relax. According to the plan, one of the challenges is to make the city an economic centre for business and economic activity. Using this as a basis for the proposal, the aim is to maximize the potential of Chester economically while promoting cultural activities for residents and visitors.
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GROUP Project 52
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Pedestrians
Existing Railway track & Walking Distances
Generally,Chester is a walkable city due to its fabric and character which allows people to have a comfortable and safe walk. As part of its transport strategy, the council has established a pedestrianzone on Northgate Street which is located within the city walls. By having a more pedestrian-friendly road during the day, it will increase the quality of public realm. Apart from the pedestrian-zone in the city centre, the walkable city walls were also a main tourist attraction. Current pedestrian route along the River Dee from Roodee towards the Sealand Road is underused as it is lack of development and interesting nodes that can attract people.
Chester’s railway station was opened in 1848 during Industrial Revolution and is located at the North East of the city centre. Apart from motorways, the railway station also acts as one of the main transportation hub for connection to other cities. A new development to improve the facilities and access to the station was done in 2007 under a £10 million regeneration scheme. The station is also a Grade II* listed building which was recorded in 31 July 1970. In 2017, Chester opened its new bus interchange with new facilities and a green roof. The bus interchange features 13 bus stands that allows more bus to operate on the hub.
Flooding
Vehicles The vehicular routes in Chester changes drastically after the completion of Chester’s Inner Ring Road in January 1972. The purpose of the dual carriageway road around the city centre was to avoid congestion in the city walls. There is also several park and ride facilities around Chester to encourage people to use public transport and have a hassle-free journey into the city centre. By having this strategy, the council is trying to achieve less congestion in the city centre and improve road safety. With its strategic location on the North West of England, Chester is highly connected to cities such as Liverpool through the M53 motorway and Manchester through the M56 motorway.
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As the site consists of a walkway, it is important to capture natural elements on site as a sense of place on site. The visual analysis will help in determining a efficient and successful nature walkway.
The visual analysis on hard lan scape withing site boundary will help in determining the suitable type of landscape that can be used in the proposal. As the hard landscape mainly make up pedestrian walkway, it is important to ensure that a suitable and comfortable material is being used.
Visual analysis on graffitis is an interesting study as it gives a different point of view on site. Most graffiti were drawn on empty walls. Although graffiti usually be perceived as an act of vandalism, it can actually be seen as a form of visual art.
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Daily activities on site on day and night time can influence type of programme that can be proposed as a guide. Most activities happened in zone 1 which is closest to the city centre. From study, zone 4 can only be accessible by foot and bicycle which makes it a less vibrant zone as compare to the others.
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Significant exisiting buildings in Chester consists of a variety of programmes which includes c fes, housing, sports facility, pubs, offices and parks. As the council encourages park and ride co cept, several car parks can be found around Chester. On the west side of outer city walls, most of the land are being used for residential that exists from as early as 1870s.
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As analysis of site were done, the initial thought was to bring back the glory of River Dee as it once was before. The river was packed with various activities such as fishing, shipping, trading and was the centre of activity in Chester. The initial concept for the proposal was to appreciate River Dee as an asset for Chester, to encourage cultural diversity and reactivate connection between west of Chester to the city centre. It is also thought to establish a place that encourage art and increase engagement between local communities and organisations. A precedent study was done on several existing schemes to give a guidance in making a site proposal. Initial discussion and tests were made to come up with an early proposed programme and scheme on site.
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Promoting a more interesting and healthier lifestyle
Encouraging social interaction and engagement in community
Increase water edge activities by the river
Addressing flooding problems in the area
Increase job opportunities and improve economy
Appreciating River Dee as main component of the city
Maximising potential of public spaces
Enhancing identity of Chester as historical city
Encouraging cultural diversity
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Proposed Design Concept
CULTURAL + EDUCATION
RIVERWALK
RETAIL
- Proposing a performing art space to promote cultural activities and events and bring more vibrancy into the city.
- Connecting the city walls area with the west of Chester by reactivating the riverside route.
- To make use of the spaces underneath the rail track by renting the spaces out for retail purposes.
- Food market and craft market to exchange culture and skills of different background.
- Route provided for pedestrians and cyclists with a better and safer environment.
- Encourage economical activities and provide more job opportunities.
- Museum for local and visitors to appreciate culture and history of Chester, specifically on River Dee and Chester Racecourse.
- Several viewing points along the Riverwalk to enjoy the view of river and Roodee with background of Chester city skyline.
RESIDENTIAL
- Creative hub with spaces for gallery, workshop and work spaces that can be used by communities.
- Urban outdoor gym to encourage healthy lifestyle through low-impact training.
- Cafes along the riverside.
- Open museum with monuments and information boards to give a sense of direction along the Riverwalk that guides users to cultural district.
- Education hub that links to existing teaching and learning programmes such as Chester Sea Cadets, RAS Ltd. and University of Chester.
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- Existing housing to be extended to provide more residential building for potential new residents.
PROMENADE - Providing spaces to encourage social interaction through outdoor activities/ performances. - Livelier parks to increase quality of green spaces in the area. - Flexible site to overcome flooding problem.
FINAL MASTERPLAN The final proposed masterplan consists of several programmes which includes train station, hotel, retail area, accommdation, museum and leisure. The spaces are also defined by plazas or squares as a place for socialising and appreciate the public visual landscape. By ha ing a refurbished walkway along the river, it is hoped that more people can connect and cherish nature. The train station acts as the ‘heart’ of the scheme that has important connection to other places. Generally, the scheme sees an interconnection between the historical city of Chester and natural surroundings through social interaction and engagement in the community. 2020 Portfolio Zamira Zulfikri
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Acccess
New Plazas
Connection - Train station
New Built
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7231AR Live Project Management, Practice & Law
THE CALLISTER TRUST GARDEN PAVILION
Client The Callister Trust LJMU MArch Team Mark Barlow William Ekuban Nurul Aisyah Ibrahim Alice Jones Adam Shallcross Adam Webb Zamira Athila Zulfikri Dominic Wilkinson (Tutor) 68
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The client report is a feasability proposal for a single storey pavilion for the garden space in the care of the Callister Trust. The garden is located in Birkenhead on the Wirral Peninisula. The Pavilion’s main function is to operate as a community event space for the local residents and volunteers all year round. In addition, the pavilion will also provide a flexible kitchen and a communal space. Storage space for garden equipment, interior and outdoor furniture and games for the volunteers will also be required . This report pulls together the comprehensive and complete design scheme proposals for the new building and associated landscape work needed to make this proposal feasible. The completion of this report and associated cost plan will allow the project to progress beyond the Stage 3 in the RIBA’s Plan of Work Timeline. The report should provide a suitable foundation for the client to make an informed selection of a building contactor and commencement of construction works, as described within the report.
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7122AR Housing Project
Density, Type & Diversity
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Not much sunlight received on this part : 17 meter high Music Factory blocked the sunlight. Not ideal for residence/units : more likely to be part of the workshops
Current Music Factory only use their Ground Floor : all their music studios & classrooms situated only one GF. The 1st & 2nd floor are completely abandoned; not used at all. Possibility to extend them to be an art / performing centre.
2 gates blocked : no access to the site Open to give more public access to residence; placement of bollards Possibility route for service / drop off
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1. Existing Build
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2. Extract
3. Workshops
Extract unused middle workshops to give space for outdoor communal space, music / performing stage.
Workshops to be located on Ground floor; ‘pushing’the residence units to first floor providing more privacy
4. Entrances
5. Residence
6. Interaction
Ground Floor corner cut; giving new access to the centre courtyard & placement of cafe/bar
Workshops to be located on Ground floor; ‘pushing’the residence units to first floor providing more privacy
Balcony,corridor & stairs will be facing towards centre courtyard; initiating more interaction between centre courtyard and residence units.
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Ground Floor
First Floor
1. Cafe/Bar 2. Gym 3. Service room-Laundry 4. Ticket + Management office 5. Outdoor Cafe
1. Communal space 2. Corridor - 2 lifts Units - STUDIO 15x (33.4 m²)
Second Floor
Third Floor
Units - STUDIO 8x (33.4 m²) DUPLEX Lower floor (47.4 m²)
Units - DUPLEX Upper floor (85.1 m²)
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SectionB-B
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The existing 17m music factory blocks the sunlight received on the workshop here;not much of natural light.Artificial light will be used to optimize the lighting here.
Rooms facing south receives the most sunlight, North facing rooms optimum sunlight over all seasons.
Autumn Solstice - 12.30pm
Spring Solstice - 12.30pm
Winter Solstice - 12.30pm
Summer Solstice - 12.30pm
Section A-A
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7111AR Specialist Study
City Study : Berlin
POTSDAMER PLATZ Methodologies of a Failed Urban Space?
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“The locus of power is an empty place, it cannot be occupied - it is such that no individual and no group can be consubstantial with it - and it cannot be represented.� Claude Lefort, The Question of Democracy
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Potsdamer Platz is probably the most well known square in Berlin, have undergone tremendous changes over the past hundreds years. Having became Europe’s busiest road junction around 1830’s to a huge wasteland as a result of destruction,to now; a so called ‘European Metropolis’ and a symbol of modernity of Berlin, this essay will cover the changes Potsdamer Platz had and investigate;supported with facts, pictures & maps, whether this place have become a successful urban space as it was intended to be or has it been a failed urban space at first?
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CHAPTER 1 : Historical Resume 1700’s - 1900’s *Frederick William I *Berlin Customs Wall *Residential Districts *Potsdamer Bahnhof (1838) *Headquarters of the Nazi regime (World War II) *Black market *Berlin Wall (1961) CHAPTER 2 : Critical Re-Construction *collapse of GDR ,fall of Berlin Wall (1989);reunification of the two German states(East + West) *IBA - “Rediscovering the Inner City” *connections with Kulturforum, called for a ‘Berlin no longer divided by the Wall’ *Competitions - notable architects CHAPTER 3 : Approaches & Current Built *intention for an ‘urban mixture’ *creating ‘European City’
CHAPTER 4 : Missed Oppurtunities? *district has been subject of many debates, competitions and unrealised ideas. *influences of commercialization; entertainments *move the public focus away from Berlin’s historical values
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Chapter 1 : Historical Resume Traces of Potsdamer Platz can be find in the beginning of 17th century under the rules of Frederick of Prussia I (1657-1713) and continued with his successor; Friedrich Wilhelm I. In 1737 on the westward edge of Berlin, there was a vision to build sector that will symbolize the emergence of German culture from rural feudalism into an appearance of “enlightenment”. Based on a rectangular street plan, Friedrich laid out a series of new districts divided into parts; each formed in an intense grid patterns, unrelieved by open space or public monument. The expansion of the town Friedrichstadt in 1737 led to the establishment of three characteristic geometric squares laid out before a city gate; on the south a circle marked the Hallesches Gate, on the north a square marked the Bradenburg Gate and between these two squares, on the west locate an octagon marked the Potsdam Gate. These three baroque squares and their gates became Berlin main symbolic axis. Potsdam Gate is one of the western gates of the Berlin Customs Wall, south of the still standing Bradenburg Gate. The area before the Potsdam Gate known as ‘the place in front of the Potsdam Gate’ (Platz vor dem Potsdamer Tore) by 1740 but it did not appear on maps as Potsdamer Platz before the 19th century. Potsdamer Platz appeared on maps intermittently from 1804 to 1850’s. It was absent in Selter’s map on 1804 but reappears on a map of 1834 and the revised version of Selter’s in 1841; later disappeared again in 1850 on Reimer’s map but this time the entire area; the gate and the two areas before and behind it was known as ‘the place around the Potsdam Gate’. The country road towards Potsdam extended towards the south west in front of Potsdam Gate. Due to this incident, there was a road linking the Potsdam Gate with the country road forming the extension of Unter den Linden and the Charlottenburg Palace. This connecting road was built through the Bellevue Palace from the end of the 18th century. The square had been known as the ‘Square in front of Potsdam Gate’; developed from the need to provide space for transport vehicles waiting in the tailback for the customs post. In 1797, Friedrich Gilly proposed to build a monument for Frederick the Great in Potsdam but only refer the place as ‘the octagon on the Potsdam Gate’. He intended to unite both sides of the gate; turned it into an architectural and political unity. His intention to unite both sides of Berlin were seen as to transform Potsdamer Platz into the vestibule of a necropolis. The place has become a theatre for political and architectural memory. Gilly’s proposal was never projected nor was Schinkel’s plan to build a cathedral on the site to commemorate the Prussian victory over Napoleonic France in the Wars of Liberation in 1814. Schinkel planned to build a cathedral to provide a focus on the regeneration of art and industry as well as the union of architectural and political order. Gilly’s and Schinkel’s visions for the futures of Potsdamer Platz projects to a more subtle colonization of the place by architecture and politics. Will Potsdamer Platz be a more successful project if these plan occurred? Place or buildings to commemorate their hero or religious figure as in for church instead of empty voids between buildings, a plaza that is sold to large investment companies that centralizes money and fame for cheap price? Potsdamer Platz have gone through a long journey from being a quiet neighborhood to a bustling traffic junction in the centre of Berlin. At the start of the 19th century, Karl Friedrich Schinkel proposed various plans to change the intersection into a form of a square. After the victorious war Prussia had against Austria and the fall of the Berlin Customs Wall, the plaza were led to a considerable increase in the continuously growing traffic. It was reported somewhere in 1846 and again in 1879, horse-drawn buses and horse-drawn trams along with horses and carts, cabs, hand carts and an ever greater number of pedestrians, ensured a true traffic turmoil on the square. The main cause of these events are nothing but to the fact of everyone was looking for the shortest route across the square. 2020 Portfolio Zamira Zulfikri
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In 1920’s, Berlin was characterized by vice, seen through rampant prostitution, a thriving black market, gambling and other illicit activities. Ernst Ludwig Kirchner’s painting 1914 Potsdamer Platz and woodcut Frauen am Potsdamer Platz (Women at Potsdamer Platz) depicted as a nightmare of metropolitan modernity. At the centre of the painting stands two women or some media translate as prostitutes, surrounded by males. In the background can be seen the Bahnhof station and group of predatory males circle the two women who believed to be prostitutes standing at the centre of the square on a circle base. On the left side, a women wearing veil covering her face; sense of mystery and alluring for men, a guise that, after the war began, was appropriated by prostitutes as an apt concealment not only for its public acceptability but also its notable capacity for discouraging questions from the authorities.There were reports of saying that most of these prostitutes stands from widow who lost their loved ones from war. Lack of support from the governments forced them to engage in prostitution as a means of securing an income to feed and clothe their family. From the painting shows the bustling of a city, the struggle people have; the disturbed realities of everyday city life. Kirchner painted what he believed to be the street life of a corrupt city. Even though there are no signs of prostitution or anything similar to it now, Potsdamer Platz were and still is an un-usable but for a different reason. Potsdamer Platz who known as a centre of cafe culture and cabaret, believed to represent the independence and symbol of modernity of Berlin - intersecting streets with people swarmed or pass through each other without much attention given; multiple intersecting streets met at Potsdamer Platz. Eventhough mentioned before about Kirchner painting of Potsdamer Platz to be the nightmare of a metropolitan modernity, Weimar Republic during the 1920’s celebrated its modernity; stating that Potsdamer Platz justified Berlin’s claim to be the New York of Europe. A poem by known cabaret artist and writer Erich Kastner illustrates the loud, bustling chaos of the 1920’s through the eyes of tourists:
Distracted, they stand at Potsdamer Platz And find Berlin too loud. The night glows in kilowatts A young lady says hoarsely: “come with me, my dear!” And shows far too much skin. Astonished, they don’t know anything They just stand and stare. The trams rattle. The cars screech. They would really rather be at home. They find Berlin too big. It sounds as if the city is groaning Because someone is scolding it. The houses twinkle. The subway thuds. They’re not used to all this. They find Berlin too wild. Scared, their legs buckle. They do everything backwards. They smile, perplexed. And they wait stupidly and stand around Potsdamer Platz Until they are run over.
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Potsdamer Platz remained as the centre city of B residential quarter into an important traffic junctio new regime – resulting in more un During the rules of the National Socialists in Janu obvious changes here was the occupier; from mi offices; Nazi’s quarter. The “People’s Court” built i Lords to Bellevuestrasse 15 in Potsdam The “People’s Court” handed out about 12 000 d when a group attempted to assassinate Hitler on J ofAktion T4 or Nazi Euthanasia Programme; wher disabled people deemed incurably sick happened Platz happened on September 1939 until the e happened here was the robbery of Jewish prope was visible on Potsdamer Platz where the Kem F.W.Borchardt company in 1937.
Potsdamer Platz was chosen to play an impo triumphant regime. In the summer of 1937, A refurbished the National District Party headquarte construction set his mark as a successful arch confidant. By then, Hitler commissioned him to pre Hitler discussed his vision for a new Berlin at a d possible for any city to solve the present lack of sy cultures in a city. On his vision for Berlin, Hitler
“What is ugly in Berlin, we shall suppress. No Berlin…One will arrive there along wide avenues c Army, the Square of the People – things to take succeed in eclipsing our only rival in the world, Ro such a scale that St. Peter’s and its sq
Hitler imagine for an emergence of a new Berlin; w cities; no buildings to represent Nazi’s power and been mentioned before, Hitler assigned Speer to d of them will be somewhere in Potsdamer Plat masterplan drew by the city planners of Berlin i meter wide street running from north to south sa will be in lined with other Navi’s monumental buil had to be demolished to make way for “Runder Pla in Viktoriastraße and Margaretstraße also been building site. The division of north and south whe commercial and social city to the south.
Potsdamer Platz suffered major destruction as a buildings, offices especially the houses became th from once Europe’s most busy junction to voids le open wounded scar in Berlin.
Berlin - an intersection of five streets changing the on in Berlin. The area quickly changed after under nfortunate events in Potsdamer Platz. uary 1933, Potsdamer Platz hardly changed - the illionaires residence to a whole number of Nazi’s in 1935 moved from the former Prussian House of mer Platz next to the Hotel Esplanade. death sentence; the most famous case trial was July 20th, 1944. Then unfortunate inhumane acts re mass murder of 300 000 mentally and physically d along the Tiergartenstraße closed to Potsdamer end of the war in 1945. Another infamous event erties described as “Aryanization”. “Aryanization” mpinski company’s sign was replaced with the
ortant role in the architectural complex of the Albert Speer caught Hitler attention when he ers on Voss Straße in Berlin. After Speer design or hitect in Berlin, he became Hitler’s favorite and epare plans for the reconstruction of a new Berlin. dinner party in 1941; he discussed whether if it’s ymbols of national community and the declining of stressed:
othing will be too good for the beautification of containing the TriumphalArch, the Pantheon of the e your breath away! It’s only thus that we shall ome… Let [the center of the new Berlin] be built on quare will seem like toys in comparison!”
worried about the lack of German’s symbol in the d Berlin was to be renamed ‘Germania’. As what design and construct some of his vision which one tz. Nordsud Achse or North-South Axis was a in 1933. A seven kilometre long and a 156 wide aid to act as a magnificent boulevard - the street ldings. To envision this plan, numerous buildings atz” and the House of Tourism. Numerous houses n demolished beforehand to obtain the requiring ere political and symbolic city to the north and the
a consequence of the Allied air-raids with many he victim. The War had changed Potsdamer Platz eft with tanks and rubbles everywhere; became an
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Chapter 2 : Critical Re-Construction World War II ended on September 2nd in 1945; ruined most of Potsdamer Platz – turning the place from a thriving city to rubble from air raids and war tanks. Potsdamer Platz was a major target area during the war as a lot of Nazi’s edifices or the National Socialist centre located here. Just after the war ended, the plaza once again; became lively again - infamously. World War II and 1953 People’s Uprising had resulted Potsdamer Platz to become an open border in Berlin; place where people met, fight and argue about their political beliefs. As a result, an ‘anti-fascist protection wall’ were proposed; this decision was the result of the military plan that foresaw the need for a permanent division. Life in Potsdamer Platz ended after construction of Berlin Wall in August 1961 between the two halves of the city started. The remaining of the ruins were cleared on both side to make room; both side buildings were cleared to give clear free fields for the border guards who were given order to shoot and kill anyone attempting to cross. Potsdamer Platz was the first location to place the Berlin Wall construction because it was previously the busiest crossing border. Potsdamer Platz by then known as the ‘death strip’ in the east and became a place where one wants to see deaths and as a tourist viewing platform to the west. After decades, Potsdamer Platz had turned to a no-mans land – a void and an empty wasteland. To the west of the wall, souvenir kiosks were built for tourists who wished to take a look at the Wall. Early in 1957, the Berlin city government bought plots of land on the empty land to tear down the houses and buildings there to reserve areas for a future government sectors. But later on, the government canceled the plan as it seemed obvious an all-German government sector would fail in the abandoned area. By the 1980’s, Potsdamer Platz were a pair of forlorn tram lines heading nowhere and the ghostly traces of the former street plan now colonized by rabbits. Sarah Kirsch, a German poet, wrote in one of her poem named “Naturschutzgebiet” (Nature Preserve) in 1982 that Potsdamer Platz as a ‘rabbits metropolitan’. Potsdamer Platz had once again emerged as a memorial landscape; a place of failed marriage of architecture and political symbolism which at this time featured as the front line of the global Cold War. In spite of the turbulent changes the plaza experienced, it continued as a tourist ‘hot-spot’ in the West; people would draw up, climb the gantry and stared glaringly to the empty land and took a peek to the East part of Berlin, buy a souvenir and an ice cream then return back to their home. In Peter Schneider book, he wrote the ‘life’ of the Berlin Wall in Potsdamer Platz : The border between the two German states, and especially between the two halves of Berlin, is considered the world’s most closely guarded and the most difficult to cross. The ring around West Berlin is 102.5 miles in length. Of this, 65.8 miles consist of concrete slabs topped with pipe; another 34 miles is constructed of stamped metal fencing. Two hundred and sixty watchtowers stand along the border ring, manned day and night by twice that many border guards. The towers are linked by a tarred military road, which runs within the border strip. To the right and the left of the road, a carefully raked stretch of sand conceals trip wires; flares go off if anything touches them. Should this happen, jeeps stand ready for the border troops, and dogs are stationed at 267 dog runs along the way. Access to the strip from the east is further prevented by an inner wall, which runs parallel to the outer wall at an irregular distance nail-studded boards randomly scattered at the foot of the inner wall can literally nail a jumper to ground, spiking him on the five-inch prongs. It is true that long stretches of the inner wall still consist of the facades of houses situated along the border, but their doors and windows have been bricked up. Underground in the sewers, the border is secured by electrified fences, which grant free passage only to the excretions of both parts of the city.
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An interesting statement question whether been seen as an interruption for a city centre :
Potsdamer
Platz
would
not
have
“Had the second world war not suddenly interrupted the dynamic development of the young metropolis, this central position would never have been in question” Wings of Desire; directed by Wim Wenders in 1987, was a movie about invisible immortal fallen angles flying around Berlin who are able to hear human innermost thoughts and desires. The location done for this movie was mostly around the empty land in Potsdamer Platz. Berlin Wall two years before its fall in 1989; was seen at almost the entire of this movie; giving bit of insight of the Wall and the no man’s land. Some interesting scenes managed to capture the Berlin Wall and its activities. Some lines said by few of the characters really portray the essence of being lost; lost in a divided country – looking for sense of belonging to a place, anywhere but the walls. An old man looking for the once bustling Potsdamer Platz in the middle of the empty land; taking steps along the Berlin Wall and searching for people to talk to; disappointed of what the plaza experienced and what it has changed to. “I cannot find the Potsdamer Platz. Here? This can’t be it. Potsdamer Platz, that’s where Café Josty used to be. In the afternoon, I went there to chat, to drink a coffee and to watch the crowd. Before that I smoked my cigar at Loese & Wolf a renowned tobacconist. Just across from here. This can’t be the Potsdamer Platz. And no one whom you can ask. It was a lively place. Tramways, horse-drawn carriages and two cars; mine and that of the chocolate shop. The Wertheim store was here too. And then suddenly, the flags disappeared. Here, the whole Platz was covered with them. And the people weren’t friendly anymore and the police wasn’t either. I will not give up as long as I haven’t found the Potsdamer Platz. Name me, muse, the immortal singer… who abandoned by his mortal audience lost his voice. He who, from angel of poetry that he was become the organ grinder ignored or mocked outside, on the threshold of no man’s land.” Few captured scenes from the movie shows Berlin Wall and the empty land; when the old man was looking for the old Potsdamer Platz. It’s a bit shame that Potsdamer Platz changed tremendously after World War II which later resulted as a blank space defined by Walls. Transformed from a central area to a “no mans-land”, this formerly crowded space became a void between capitalist in West Berlin and communist in East Berlin. One can say Potsdamer Platz had shifted from a symbol of modernity to a symbol of Berlin’s division. The collapse of the communism in Berlin had opened a new passageway for Berlin to rise up again; to be same level; actually higher than what Paris and Rome had, to become Europe’s representative for Metropolitan City. Potsdamer Platz experienced heavy burden in how to shape the unforgotten past into a brand new future city; no traces of the past. The fall of the wall seen by architects, city planners, politicians and especially developers as an opportunity; a plot of land rich in history and culture; place that were criticized as a place that seem hard to re-unite or rebuild. Developers, architects, politicians and city planners rushed to fight over this plot of land. This led to the question of do they involved themselves in this project just for fame? Considering the place was a centre of attention not just in Berlin but the whole world. Architects or developers hunger for fame maybe? With an area nearly to 300 000 m², the Berlin Senate organized a design competition for the redevelopment of the Potsdamer Platz. Potsdamer Platz chose as a place to represent the renewal of German; to represent the strong desire to reunite the once divided country. Big responsibilities lied upon Potsdamer Platz to emerge as the new city centre of Berlin and for that, the Berlin Government seek for solutions. 2020 Portfolio Zamira Zulfikri
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Chapter 3 : Approaches & Current Built An architectural competition was held in 1991 to re-build Potsdamer Platz by the West Berlin’s International Building Exhibition (IBA). They called for a “European City; focused on the traditional neighbourhood with street corners and plazas and promoted privately owned-buildings of limited heights and sizes that combined commercial and residential functions. In addition, apartments, shopping, work and entertainment units will be built in close proximity to each other leading it to be an urban mixture. Notable architects around the globe had partaken in the competition to regenerate Potsdamer Platz; around 75 architectural firms involved but only sixteen were invited to participate in the competition itself. Different proposal or masterplans were submitted and presented to the Berlin Senate for approval. Even though IBA had set some guidelines such as the design must be strictly adherence to traditional block patterns, some architects challenged the rules mentioned. For example,in 1983 Oswald Matthias Ungers designed a 200 meter tower placed next to a grid of over 30 five story urban villas which failed to create a visually unified area adjacent to the next low-rise residential structures. Although these proposals by world-renowned architects were elicited by the news media, responses from them were predominantly negative. Labeled by journalists as “purely aesthetic gestures” and “urban design’s entry into the post-modern media age”, the architects were criticized by the media and locals for ignoring the practical problems Berlin facing and failed to understand Berlin’s historical structure. Most of the design schemes made stands from high rises towers or skyscrapers added fuel to the competition. In spite of that, the proposal did manage to catch the eyes of investors and developers. Another urban characteristic to be achieved in Potsdamer Platz was a sequence of pedestrian-friendly streets and squares within a street plan that maintained the defining traits of Berlin’s history inner city – the regular street front development of geometrically shaped city blocks. IBA expressly stressed the importance of re-connecting the Kulturforum with the adjacent area and the design should achieve the desired variety and mixture of functions. After reviewing numerous masterplans, IBA juries in 1991 rejected all high-rise proposals for the area and awarded first place to German architects Hilmer and Sattler for their horizontally modest structured proposal and were believed to represent the elements of the Prussian traditional European City. Eventhough Hilmer and Sattler masterplan was chosen, both Daimler Benz and Sony were unhappy with the design that they hired Richard Rogers in 1992 to make another plan for Potsdamer Platz . Both of the companies find Hilmer and Sattler proposal did not fit their desire to build a large corporate headquarter with skyscrapers that will reflect their power through architecture; stating that the plan was antithetical to their visions and it will suit more for a small town rather than a major city. Most of the buildings in the redeveloped Potsdamer Platz were designed by “starchitects”; undeniably brought fame and open chances for them to break into the European or even the global market. Their contribution to the plaza attracts architectural tourists to visit simply in order to see these buildings; studying, taking notes of the architectural elements of the place. Berlin became a destination and still is a one stop place to visit for architectural tourists. Numbers of buildings in Berlin were designed by renowned architects. “Berlin lives from tourists. This city is poor. This is a challenge for the next Legislative session… how can we bring more people into the city who will spend money? What must the city look like so its citizen feel at home, but at the same time the whole world gravitates towards Berlin, not least because it’s in a situation where it can organize events for millions of people?”
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Chapter 4 : Missed Oppurtunities? Today, Potsdamer Platz, being almost 25 years since its transformation,have been Berlin’s best representative for a major renewal project; a representative demonstrating the reshaped and repositioned of Berlin’s new city centre.This is partly due to its brutal history and the power of politics have in architecture and urban planning; how the plaza changed constantly from a bustling city centre to a no-mans land.The Government seek for solution from architects – “starchitects”, expecting for a successful masterplan that reunite the once divided country. The main motive in re-designing Potsdamer Platz was to again reunite Berlin and providing spaces as a centre for communication for locals as well as tourists. From the research and resources done for this essay, it seems like Potsdamer Platz is torned between being a successful urban space or just another void in Berlin.Potsdamer Platz has been critique from all angles; from architects, journalists from around the world, urban theorists to German’s themselves. A red box temporary exhibition called “InfoBox”,managed to grasp people’s intention and gave glimpse of the intention for Potsdamer Platz.For a time, InfoBox was the most famous place to visit in Berlin; about eight million visitors over a period of five years, as it became a symbol of Berlin’s rapidly changing urban landscape. However, it was disassembled in 2000 and were sold by piece by piece by internet auction. A bit shame that this piece was sold when it’s where people gather and discuss about their anticipation for the former no “mans-land” changing to impressive feats of engineering. Even though it was a small project compared to Potsdamer Platz itself, at least there was a sense of optimism and anticipation for the plaza which compared to now, gone. Media as Critiques Media played an important role in the urban regeneration of Potsdamer Platz; through images,videos, newspaper and movies; both in positive and negative manners. Images of Potsdamer Platz often captured the striking high tech engineering and architecture; high rise towers made with glass metal steel facade. “Would investors and developers have insisted on expressing their corporate identity in form of high rises without the media’s promotion of this building type? And would the dominance of the city’s skyline by a handful of corporations have been acceptable to the population had not magazines, newspapers and exhibitions bombarded them with glossy imagery of the vertical form as necessary progress?” “The world’s best architects came and give it their worst buildings.” “It was a huge architectural opportunity to regenerate a large part of central Berlin, which has been completely wasted. They brought in lots of top architects, including Renzo Piano,but it hasn’t worked at all.Everything is very ugly.It looks extremely corporate, with towering buildings.” A Failed Architecture? This essay argues that the current planning and design of the so called ‘new Berlin’ doesn’t really focus on Berlin’s inhabitants and their past but rather emphasize more towards global capital through futuristic, placeless design. Some even questioned the architects involved in this project. Were they chasing after fames for this project? Have the money involved for this project lured them? The value of putting history of certain place into their buildings bring a whole lot meaning to it. Some architects represent history through their buildings and other do not. Some people prefer historical awareness are seen through the buildings and some don’t; they prefer to leave the past – no traces of it. 2020 Portfolio Zamira Zulfikri
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The Berlin Wall plays a very significant role in Berlin’s history, once shaping the urban fabric of Berlin. Drawing from own experience being in Potsdamer Platz, the Berlin Wall on site is lacking in appreciation; kind of degraded by the public. If the Wall were to put in a glass box, it will at least set up a new nice vistas with Bahnhof station and the Deutsche Bahn Tower as the background. Renzo Piano, the chief architect of the Daimler City development, was asked in an interview if he felt his work in Potsdamer Platz was successful. His response raised few questions about his representation of history through his work : “One has to be very careful not to grow too nostalgic or, on the other hand, too forgetful. The disappearance of the Wall is significant. The desire to forget is typical for Berlin, at least in the morning; in the afternoon, the city becomes nostalgic. One forgets the tragedy of the past and sometimes replaces it with nostalgia. Then I am asked, will Potsdamer Platz be like it was earlier? Of course it won’t! Berlin is no longer the Berlin of the thirties, the population is no longer the same as before, today Berlin of the most multi-ethnic city in all of Europe and is full of bubbling energy. The city has changed fundamentally – that is the true challenge. As an architect I have two possibilities. If I’m wise…I’ll stay away from such project. But if I’m daring, I’ll jump into the cold water and do it, knowing the whole time that nothing in life is perfect.” “Potsdamer Platz is useless. Even if it used to be the centre of Berlin, today we have Alexanderplatz in the East and Zoologischer Garten in the West. A third centre is baloney.” “Potsdamer Platz is artificial, and will always be cold and uncomfortable. I can still rememberwell what it used to look like… a wasteland… and there was always that big flea market there, do you remember it? At any rate it was more organic back then.” Reviewing the responses from publics and own observation, is there a need for a new city centre? Potsdamer Platz was intended as a space only for tourists; looking for entertainments and shoppings, thus doesn’t make it a part of the “real” Berlin. One can’t see the histories or cultures the plaza once had; they were swept away by these Americanized architectural styled buildings; with high-rises and squares, with urban life inside the large-scale structure and with compacted street spaces. Moreover, the public square did not provide smaller livable property units and its lack of a true public space. Regarded as ‘Blade-Runner-City’and ‘Investors Paradise’, the architects were called out for transforming the plaza from “the urban centre into a world expo of the building industry.”Potsdamer Platz failed to achieve its own goal which was to provide a mixture of styles and functions of an “European City”. Prove of Potsdamer Platz centralizing too much on entertainment is when office components of the area was reduced to 50% which resulted to increased entertainment and retail units to 30%. These resulted in making Potsdamer Platz as a destination city where people go to work to or to be entertained but not to live in. One have to take account of the upcoming projects presented by the Berlin Senate Department for Urban Development and the Environment; in which they are planning to build more urban development around Berlin that harness Berlin’s true cultures. So will Potsdamer Platz remain as people’s favorite place in the next 15 or 20 years after the construction of the upcoming big corporation projects? A significant number of offices and apartments has remain empty; recent report shows 90 000 square metre of office spaces are empty and the number is expected to increase. Furthermore several large corporations have moved out such as Sony Music and there were reports saying in the future there are possibilities other corporations will do the same thing. One can argue that Potsdamer Platz did not meet with its expectations. These events took us back to Kirchner painting of Potsdamer Platz in 1914; depicting the so called ‘Metropolitan life’ where people ignore each other, spaces left unattended and bustling of traffics. The same thing happened when World War II changed the once bustling plaza to a no-mans land which lasts for more than 20 years. 96
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Conclusion Potsdamer Platz undeniably become a shrine to architectural engineering and ambitions of multinational corporations which resulted to a public display of history without memory; no traces of history through its built environment. Small piece of Berlin Wall and part of once elegant pre-War buildings does not justify the claims made by the architects that Potsdamer Platz signifies the merge of architecture and history. Potsdamer Platz turned the public focus away from its main motive which is to displays cultures and histories from its buildings. Events such as the Berlinale or screening of an international English movie at the CineStar and IMAX theatre clearly shows Potsdamer Platz is characterized by spectacle; a place people come and go – not a place to live in. However one need to take account of the successful part of Potsdamer Platz. Because of the arguments or the new architectural style introduced to Berlin through Potsdamer Platz, the plaza are visited by almost 70 000 visitors daily. In spite of that, the crowds are mostly made up of white, middle class Berliners, suburbanites and tourists – no place for the poor and homeless. Potsdamer Platz did not solve Berlin’s true government and social problem; to name a few lacking in residential areas. The residents here live in a world where there are no churches, schools or other social amenities closed by. Yes indeed Potsdamer Platz had changed dramatically over the past years. But what does the place values the most? Is it just the entertainment-focused-intended plaza? Is it just about making the place crowded with locals and tourists that stay just to seek leisure? Where is the sentiment values for its historical background and cultures? Does the intention of making a successful urban space in one of Berlin most historical central plaza failed? One might argue that if the Hilmer and Sattler masterplan had been expanded throughout the districts, the public realm maybe somehow be at the forefront instead of hiding behind high rises, more like the Potsdamer Platz in the 1920s; compared to now where the domination of privatized public space plays a strong game. “Potsdamer Platz somehow reflects the failure of the 1990s vision of the square as a futuristic center of commerce and camaraderie for a reunited German capital.” The issues brought up by Potsdamer Platz continue to be a controversial matters in Berlin and elsewhere. A poll done by MSNBC in 2004 shows shocking result where one out of every five Germans wants the Berlin Wall to be rebuilt. This is not to divide the country again but to value the past – keeping memory intact to their mind. With the upcoming projects by the Senate for the next few years, it will be interesting to see how memory and public spaces work together through out the city’s future built environment. The current Chancellor of Germany, Angela Merkel, wrote “Potsdamer Platz is an expression of urban life and a reflection of German history at the same time.”.Now, Potsdamer Platz represents a selective, sanitized history to a particular public.
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7121AR Urban Design Project 1
1. Hotel 2. Car Showroom - Vauxhall 3. Stores / Retails 4. B&M + Home Bargains
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5. Ellesmere Port Train Station 6. Convention Hall 7. Residential - Extension 8. Business Centres
Previously called as Port of Ellesmere, Ellesmere Port is both a town and port in Cheshire, England located to the north of Chester city and south of the Metropolitan Borough of Wirral on the banks of Manchester Ship Canal. Housing for around 64 600 people, it is currently retaining Stanlow oil refinery and Vauxhall Motors car factory making industrial and manufacturing sector the major employer alongside service sector. Ellesmere Port is well connected to the surrounding cities such as Liverpool, Cheshire and Manchester, through two main national motorway networks which are M56 and M53. The selected site for this groupwork is located near the exit of M53 motorway, allowing the site to have great access to the motorway which allows them to commute to nearby major cities easily.
Existing access to site
Existing vehicles route
Relations to existing context
Pedestrian time journey
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si Bu
Reta il
si Bu
Reta il sin es s
Business Business
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Bu
Reta il
Bu sin es s
Reta il
Business
Business
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Pedestrian routes
Lake
Green Pockets
Buildings
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Recognizing buildings entrances
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Connecting pedestrian routes between the museum,offices and train station
Trees against the offices walls for privacy
Greeneries - adding landscape
Lake - vistas
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ZAMIRA ZULFIKRI
Cheras, Selangor zamirazulfikri@yahoo.com
EDUCATION 2018-present
Liverpool John Moores University
Masters in Architecture [MArch] - RIBA/ARB Part II
2013-2016
Leicester School of Architecture
2012-2013
LimKokWing University Cyberjaya
2007-2011
SMK Bandar Tun Hussein Onn 2
BA [Hons] Architecture - RIBA/ARB Part I Foundation in Built Environment
Malaysian Certificate of Education [SPM] - High School
EXPERIENCE Feb 2017- Feb 2018
Arkitek OMA .Tshung Shin Secondary School. .Bangi 2 1/2 Bungalow House. .Titiwangsa PDRM Golf Clubhouse. .Aspirasi Telipok Entrance Gate. .Mini Bongawan Stadium.
2015 - present
.Affordable houses in Penampang [Kg Gahot,Kg Lamposan, Kg Longgab,Kg Luhar.] .Single Storey Bungalow House Kg Putatan, Sabah. .3 storeys warehouse/factory with offices in Pengerang. .Taman Nelly 22 units 3 Storey Houses.
Graphic Designer
Wedding card, posters, stickers.etc.
EXTRA CURRICULUR State Netball Competition - 5th of 30th place Head of Marching - School Youth Cadet [State competiton] 3rd of 30th place The Australian Mathematics Competition [AMC] - School Representative for state competition
LimKokWing Cyberjaya University 2012 Architecture + Design Exhibition Fadhilah Event Venue
- 90m x 50m event venue for multi purpose event. Design & 3D renders.
ARCA Bandar Tun Hussein Onn Association
- Designed their offical association poster & car sticker.
UNIKL LAZZAT Cafe
- Design proposal stage for a cafe named LAZZAT Cafe to be located close to a local university, UNIKL.
Official Photographer for BTHO Tadarus As-Siddiq Group.
PROFICIENCY AutoCad, SketchUp, Adobe (ps,id), ArchiCad, Enscape, V-Ray, Microsoft Office.
VOLUNTEERINGS Raudhatus Sakinah, Sungai Buloh
Motivated troubled teen girls at a shelter in Taman Samudra. Held by IKRAM; a Malaysian NGO.
Japan International Homestay Programme
Programme held by HIROSHIMA Kuala Lumpur under the Ministry of Education Malaysia. One of the volunteers sent to Japan for exchange of learning cultures, educations & socials.
LimKokWing 2012 South Korea - Malaysia Students Exchange Programme Malaysia Student Representatives.
Leicester Homeless Project Volunteer Group
Feeding the homeless and those in need in the streets of Leicester held by LeicISOC & DMUISOC.
Liverpool Homeless Project Volunteer Group
Feeding the homeless and those in need in the streets of Liverpool held by LivISOC, LJMUISOC & As-Suffa.
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