Mapping The Inbetween by Ayla Riome

Architectural Design: Year 2 Semester 2 Any Place: Library Mapping The Inbetween Ayla Riome s1129647

Contents Analysis

The Written Word

Precedent Study

Pecha Kucha

Synthesis 1

The Written Word Drawing with satellites #3

Rome

Any Place: Library

Field work

Any Place: Library

Synthesis 2

Mapping The Inbetween

History Technology and Environment

Assignment 1 Assignment 2

The process of the acquisition of knowledge. Different words attitudes and ideas are synthesized, repressed and disseminated. This was then framed relevant to permanence, changability or an ephemeral quality.

Analysis The Written Word Week 1

The indeterminate expansion of knowledge. Knowledge becomes flowing and ever changing Permanence versus permeability Blurring the boundaries of an institution An institution or a library can be deconstructed and open to the street Ordering and adding to knowledge

Analysis The Written Word week 2

An investigation into the multiplicity of a library and it becoming part of the city in a fluid motion. Formless or formful became an issue.

Analysis The Written Word week 3

This is the award winning scheme at Jussieu University in Paris designed by OMA. It radically reconfigures the typical library layout. Rather than stacking one level on top of another, floor planes are manipulated to connect through a series of ramps, forming a single trajectory. An interior street that winds its way through the entire building. In section the building implies a continuity from ground to roof creating a vertical continuum of the city. Although the building is seen as one fluid movement from the street there are smaller stair cores which emphasis vertical circulation but are seen as secondary.It could be said Jussieu is a three dimensional network, not a building. My second library is the New Town Library in Maranello, by Isozaki and Andrea maffei It consists of a glazed reading room floating over a pool. the shape mirrors the water to create a relaxing environment.A canopy juts out into the public space making the architecture recognizable from the street. Reading becomes an open experience through the transparent membrane that forms the facade. It is an interaction between knowledge and the contemplation of the landscape. The building expresses a dialogue with the urban fabric through the transparency of its body creating a direct interaction with the city. These two libraries can be contrasted in their approach to the movement through the building and the idea of public vs. Private The Jussieu Library has an unravelling constant arrangement that appears busy and seamless. Whereas the approach of the Maranello library is more relaxed and irregular. It seems as though it could be a bump in the street which gives people the choice of stopping.

Precedent Study New Town Library Arata Isozaki and Andrea Maffei Jussieu Library OMA Pecha Kucha week 4

new town library, maranello, arata isozaki and andrea maffei, 2011, www.designboom.com/ architecture/arataisozaki-andrea-maffeiassociati-maranellolibrary/

jussieu library, jussieu university campus in paris, OMA, 1992, www.johnstuartarchitecture.com/ Fall_2009_History_3_files/ Week%2014%20 Final%20Images. pdf

jussieu library, jussieu university campus in paris, OMA, 1992, drawingcanonicalideasinarchitecture.files. wordpress.com/2011/08/chapter-8-email.pdf

new town library, maranello, arata isozaki and andrea maffei, 2011, www.dezeen.com/2012/12/16/ new-town-library-in-maranello-by-arata-isozakiand-andrea-maffei/

New Town Library Arata Isozaki and Andrea Maffei Jussieu Library OMA Pecha Kucha week 4

A study into movement influenced from the Maranello as a library as a break in the street or a passage through.

Synthesis 1 The Written Word week 5

Our GPS tracking focuses on the connection between neighbourhoods and the law enforcement. From each of our homes all in various points in Edinburgh (Tollcross, Fountain Bridge Canonmills and Stockbridge) each person in the group attempted to reach the Scott monument on Princes Street as this was considered a central location. The challenge was that if police were seen during our walk we would immediately stop and turn off our GPS system. If the line did not reach the Scott monument it signified that police were present in the neighbourhood. Through our project we discovered that police were mainly present in central locations. This project is as much about the central empty space as it is about the routes taken and the neighbourhoods they are within. In my design work I have constructed a route between two central spaces within the city. Although law enforcement wasn't a factor in my design the idea of stopping to read has been investigated similarly through week 5's models.

Drawing with satelites #3 GPS Tracking week 4

Rome Any Place: Library Mapping The Inbetween week 4

The first 5 weeks of this unit consisted of an investigation into the layers and journey of knowledge. Site 2 (the ruins site) enables me to explore the ideas of a walk through library while adding to the existing historical layers. The library then becomes about pedestrians, history and an incidental experience, or the interstitial.

Field work the Ruins Site Any Place: Library Mapping The Inbetween

InI nbetween Between

Existing

Buildings

Existing Buildings

Infrastructure

Ancient

Fragments

Ancient Fragments

Ancient

Archetype

Ancient Architype

An exercise in de-laminating the historical layers of site 2 has revealed a previously hidden layer fully contracted to the study of the interstitial. This understudied layer is the accumulation of lightweight and sometimes temporary paths, bridges, ramps fences and signs. They are solely there to assist our understanding of the ancient from our modern perspective. My goal was to add a library program to this interpretation as well as embedding the architecture within the layers.

the Ruins Site Any Place: Library Mapping The Inbetween Mapping martina contento

the

adam kelly

jordan mccrae

Between ayla riome

peter wright

The importance of the ancient fragments and the inbetween were highlighted and it was decided that my library should form part of the inbetween enhancing the understanding of the antiquity and creating a layer of interpretation.

synthesis 2 Rome Any Place: Library Mapping The Inbetween

The library, as an addition to the inbetween, was established through the influence of scaffolding which surrounded the portico of Octavia. This scaffolding now forms two lightweight steel structures which cantilever out over the ruins and serve as reading rooms. This reflects what a library does for all information: a vehicle for viewing. A large concrete structure forms an inhabited wall along the length of the church creating a route from one piazza to another. This wall acts as a modern/historical layer linking the library further with antiquity. The route that has formed not creates a walkway and connection between one road pavilion (bus stop) and another which has been created using the same language. These pavilions are important as they act as the deliverer of activity to the library.

Site Plan 1:1000 Any Place: Library Mapping The Inbetween

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

5 9

The Temple of Apollo

Theatre of Marcellus

3 4 5 6 7 8

Monument to Vittorio Emanuele ii Tiber Island Augustus' Bathhouse Porticus of Octavia San Nicola Piazza 1

9 10

Piazza 2 Bus Stop

Site Plan 1:1000 Any Place: Library Mapping The Inbetween PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Development the Ruins Site Any Place: Library Mapping The Inbetween

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

piazza 1

2 3 4 5 6 7

piazza 2 public library reference library walk through library San Nicola Ancient Columns

Roof Plan 1:200 the Ruins Site Any Place: Library PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

2 3

9 7

1 2 3 4 5 6 7 8 9

piazza 1 piazza 2 public library reference library walk through library services public reception entrance 1 entrance 2

Floor Plan 1:200 the Ruins Site Any Place: Library PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Section AA 1:200 the Ruins Site Any Place: Library

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Section BB 1:200 the Ruins Site Any Place: Library

Section AA 1:50 the Ruins Site Any Place: Library

detail 1

detail 4

detail 3

detail 2

Section BB 1:50 the Ruins Site Any Place: Library

Entrance 1 the Ruins Site Any Place: Library

Reference Library the Ruins Site Any Place: Library

Public Library the Ruins Site Any Place: Library

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

detail 1

The cages consist of a steel frame with glass walls, roof and ceiling. the transparent shelves and information screens are hung between columns using steel wire.

Details 1:5 the Ruins Site Any Place: Library

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT detail 2

light weight steel tables sit on the glass floor.

Details 1:5 the Ruins Site Any Place: Library

detail 3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT an extra beam was needed in the reference library in order to support the glass roof.

Details 1:5 the Ruins Site Any Place: Library

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

detail 4

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT the connection between the old building of the church and the new library is made through the use of a simple steel braket and glass covering.

Details 1:5 the Ruins Site Any Place: Library

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Arch History 2B Culture and The City

A city that was deliberately and conscientiously planned for both practical purposes and as a utopic vision is Chandigarh, the capital of India Designed by Le Corbusier in 1951. An influential aspect of city planning in the nineteenth and twentieth centuries was the work of Ebenezer Howard and his precedent study, the English Garden City which the city of Chandigarh takes inspiration from. Le Corbusier’ s city was designed from scratch to accommodate the political and administrative ambitions of India as an emerging country within the modern world. I will discuss the overarching principles involved when designing this planned city. These include both a political and symbolic statement of India as well as the rigorously planned spatial layout to cater for the citizens’ needs. I will go on to discuss how effectively these were developed in practice and any problems that were encountered. Utopianism aims for an enhanced collective society. Chandigarh was influenced by one of the first urban utopias, the English Garden City designed by Ebenezer Howard in 1902. This conceptual and idealistic plan demonstrates the ideas of urban, anti urban, industrial development and a rose tinted view of the past nineteenth century in conjunction with the responses of many of the troubles of the twentieth century. Howard demonstrated his reaction against the sterile nature and uniformity of the classical geometric method of planning resulting in an association with the arts and crafts movement. The collective ideals of the Garden City combined ‘ urban dispersal with rural colonization and decentralized government.’ Howard also believed that a city should earn its income from a combination of industry and agriculture, creating an amalgamation of both contemporary and past ways of life. The influence of The Garden city towards the planning of Chandigarh can clearly be seen in the original plan designed by Albert Mayer, parts of which were implemented into the finished plan by Le Corbusier. He envisioned an initial fan shape contained within two rivers. The government buildings were to be located at the upper edge of the plan with the business district located at the centre of the city and seen as the hub. Surrounding this was to be ‘ residential super blocks’ and parkland. This preliminary plan demonstrates the governmental detachment of the Garden City. Vertical buildings and skyscrapers were deemed unsuitable in the case of both city plans, considering the socio economic-conditions and lifestyle of the people. The everyday way of life was seen as the most important aspect within the city and, with this in mind, Le Corbusier planned that every household should have access to three main elements; sun; space and greenery; reminiscent of Howards approach. One area where the garden city differs from the plan of Chandigarh is that it was limited from expansion by a surrounding green belt. Each city was to be positioned as a satellite community and linked to a main centre by railway. Le Corbusier’ s plan for Chandigarh was for 500,000 people which could then be extended to accommodate one million people. However currently seven million people reside there resulting in overcrowding and is seen as a fatal flaw in the design. Perhaps if harsher restrictions were imposed on further development or, in fact, a ban on any expansion this problem would not have occurred. The city of Chandigarh was envisioned soon after India‘ s Independence in 1947, as east Punjab was left without a capital after the split of the nation. India was in need of a place for political leadership. This became one of the overriding factors taken into account during the design process of the city. Firstly the gaze was turned to already established cities as a source for a capital. However, these were deemed as inadequate due to poor water supply, access and the sheer amount of people seeking refuge. Another problem they faced when looking to established cities was that none had the space needed for government functions. The only way this problem could be solved was through the creation of an entirely new city. The development of Chandigarh is now seen as a symbolic expression of urban, political architecture. As well as establishing a foundation for governance and rehabilitating refugees the capital was to be entirely new. As stated by President Nehru in 1950, ‘ Let this be a new town, symbolic of freedom of India unfettered by the traditions of the past, an expression of the nation’ s faith in the future.’ The idea was for a capital that would function as an example in city planning for the new nation. One of the most prominent ways the City of Chandigarh asserted itself politically was through the large capitol placed at the head of the city along a monumental axis linking the main residential complex to the government. The complex consists of three immense buildings: the Assembly, the Secretariat, and the High Court which stand against the mountains adding prominence to its impact within modern society. Norma Evenson evaluates the impact these building have on society. She says that the sheer scale of the capitol, which is then replicated throughout the city, may be justified by the symbolic effect of creativity, power and strength it has within society. Chandigarh overcomes the turmoil of post-war India through its monumental architecture. There are many problems with the political approach of designing Chandigarh. Techniques associated with adaption to the climate and to the lifestyle of the people, demonstrated in traditional cities of India, were not taken into consideration and instead an attempt to modernize Indian society creating a political statement of authority within the modern world was made. Because of this Chandigarh could be described as incoherent as the city was to hold no connections to the past and be entirely new. However, this incoherence was overcome by the introduction of a strict dimensioning, used when creating the overall layout resulting in an organised appearance. As the decision to create a new capital was based on a political agenda, it was not considered possible, or important, in the chaotic situation in which India found itself, to collate the information considered necessary when planning a modern, urban town. However, this was not seen as a problem as the main goal of the city was to achieve the harmonious living of the citizens within a contemporary setting. A major criticism of the design for Chandigarh is the separation of the Capitol from the rest of the city. There appears to be no transition from the residential area to the government buildings except from a large motorway and a pedestrian route; the people of Chandigarh feel disconnected from their government. Despite this feeling of detachment the problem is outweighed by the scale of the buildings upon arrival to the capitol, which reasserts the impact of power that the government has over the city. Unfortunately, today the city does not appear to uphold these monumental aims due to ‘ modernist decay’ and the shabby appearance as a result of the limited budget given for the building of the city. However, it can be considered the first Indian city where water, drainage, and electricity are available to the most impoverished, demonstrating that this city deserved a place in modern society and therefore meeting the specifications of the people. The spatial planning of Chandigarh was decided in 1951. It consisted of large buildings separated by a garden like landscape typical of Le Corbusier’ s style. Chandigarh was supposed to demonstrate a new approach to urban planning, a development from the English Garden City of Ebenezer Howard previously mentioned. This need for a new type of city stemmed from the radical changes to the everyday lives of the general public due to the industrial revolution causing disorder as new building typologies were introduced to city centers. To cater for the needs and problems other modern societies faced Le Corbusier based his design around four requirements: decongestion of city centers to provide for the needs of modern transport, the increase of density and continuity within a central location due to the interaction required for businesses to function, boosting the means by which traffic can circulate and increasing the areas of open green space (a requirement directly influenced by the Garden City design). These requirements were met by the introduction of the ‘ sector’ . The sector was considered ‘ the container of family life.’ In contrast to the organization of Brasilia, Chandigarh has a non hierarchical layout and no sector is entirely self sufficient resulting in communication and movement between sectors. This concept was introduced in an attempt to create a large community spirit. The contemporary city symbolized a universal city that could be positioned on any flat section of ground. The interconnectivity of Le Corbusier’ s plan was seen as a constraining factor, however this was overcome by the use of a circulation grid and road network which paid particular attention to the scale of the user, for example, smaller buildings were placed along pedestrian areas in order to relate to the people, whereas larger buildings were placed along busy roads. Another way this idea of circulation between sectors was resolved was through the use of openings. Residential areas mainly opened out onto pedestrian zones whereas industrial areas had access to busier roadways. The dominant issue with the spatial layout of Chandigarh stems from the reoccurrence of strict geometry and the uniform network of streets, a well known aspect of Le Corbusier’ s work, contained within the homogeneous sectors which, despite Le Corbusier’ s best efforts in terms of connections and pedestrian zones, do not create the desired community spirit expected within a city. As a result of the static quality of the sectors, Le Corbusier has created a city that is inflexible and difficult to developed. As a consequence of this ridged dimensioning the inhabitants appear merely to endure the city as opposed to owning, adapting and growing not only within the city but with the city. Perhaps a downfall of Le Corbusier’ s plan is that it has been implemented so well, with little understanding or sympathy towards the changing requirements of Indian society, that it has no appeal as a social hub, either visually or functionally. Since this initial design the city has been developed by the capital project office that have tried to solve this problem of limited adaptability by adopting a western formula of creating community spaces and open areas within the city. Despite their efforts this formula was already out dated and has resulted in desolate voids between the repetitive buildings. In conclusion the utopic vision of Chandigarh is highly influenced by Ebenezer Howards English Garden City as it was perceived: As an idealistic view of a collective society. However this has not been realized to its full potential due to the changing values of modern society and the disregard of the traditions of the past. Le Corbusier’ s city was designed to accommodate a political and symbolic capital suitable for the modern world as well as exploring a spatial model for modern town planning. Several problems were encountered when creating the political aspects of the city such as an incoherent atmosphere, although this was remedied through the strict dimensioning of the plan. The interconnectivity and adaptability of Chandigarh became a problem due to the design but attempts to resolve this were subsequently made by the capital project office and the introduction of circulatory roads. Overall Chandigarh was well planned as a capital city. However the rules on layout were so strict that it has been hard for the city to modernize and move with the times resulting in overcrowding and stagnant open spaces.

7. Many cities throughout history were deliberately and conscientiously planned, whether for practical purposes or merely as utopic visions. This applies especially to capital cities, and in particular those cities designed from scratch to accommodate the political and administrative ambitions of individual rulers, imperial regimes, or newly-constituted post-colonial nation states. Focusing on a single example of a 'planned' capital city from either the nineteenth or twentieth century, discuss the overarching principles involved (political, ideological, and spatial) and how these were developed in practice. What problems were encountered and how were these resolved? In providing your answer, also consider historical precedent and influence.

History Essay Week 7

The store is the conversion of a 23,000 square-foot space in Soho, Manhattan which previously belonged to the Guggenheim museum. The building was first commissioned in 2000 and then opened in 2001. This was the first of 3 stores across the USA with two more located in San Francisco and Los Angeles. The store in New York is an exclusive shopping boutique, public space, gallery, and performance space as well as being seen as an important part of OMAs continuing research into the public realm and shopping, an activity that is widely considered the last form of public activity. Within recent years many public buildings such as: museums, airports, libraries and even hospitals, have become ever more impossible to differentiate from shopping centres; they have adopted a retail function into their programme for example a gift shop or cafe within a museum. OMA believe this is due to a need for survival which has now trapped the public into a world of consumerism by converting museum-goers, travellers, researchers and patients into customers. Activities no longer retain the uniqueness that gave them richness. The Prada store aims to reverse this so that customers are no longer recognized as consumers and shopping becomes part of a greater experience. Technology becomes an integral part of this previously mentioned enriched experience. Original display methods are used throughout to improve the shopping experience and catch the public’ s attention. For example customers press a button to make the glass doors of the fitting rooms turn opaque, they are then able to view how their new clothes look from a variety of angles on video projections instead of a mirror. A circular glass elevator serves as a display area for accessories as well as a transportation device to the basement. Videos on plasma screens respond to the clothes also hanging on railings between items. The materiality of the Store is equally important to enriching this experience. Unfinished gypsum board walls on one side of the store contrast with the northern wall of the store which runs between Broadway and Mercer Street creating a new pedestrian way through the city block. This wall consists of a translucent polycarbonate skin. Turning itself into a surface for a giant mural known as the Prada wallpaper. This wall changes on a regular basis and defines a theme for an exhibition or portrays an aspect of the current fashion. This then permeates the spaces throughout the store. Movable large metal cages hang from the ceiling for the display of clothes. A combination of these decorations adds to the new experience OMA is trying to create by instilling a quizzical feeling within the public as they view the clothes. The shop becomes a kind of museum or gallery itself. From the street the customer is enticed into the store through the use of large picture windows framing the interior space, this engages the consumer and creates a perception that in this case, perhaps the store’ s design is more important than the display of products and that the configuration of the interior overrides the architecture of the exterior. This idea is exemplified as Once the shopper is past the entrance security guard, they are immediately aware of the sense of space (or possibly the luxury of wasted space due to the loft-like two storey space. The plan of the building here shows the extent of the space used by the store. It seems strange that despite this space there are very little items on display. However this lack of clothing reduces the idea of a consumerist society and therefore fulfilling Koolhaas’ s aim. The most prominent and interesting part of the design is The Wave constructed from zebrawood. It consists of a curving space scooped out of the ground floor which opens up and flows down to the basement where the actual shopping occurs. Koolhass envisioned this element to exemplify his experimentation in to what a fashion store can be. On one side, the slope has steps for displaying items for sale However during events it can be used as a seating area which you can see here. Opposite this is a small stage which unfolds from within the structure of the wave. When this occurs the shop then becomes a venue for watching films, performances, and lectures. In conclusion Shopping has turned into the most common ingredient of any new urban substance. OMA have tried to reinstate this idea of the free city within the activity of shopping through the introduction of performances. Rem Koolhass stated that the Prada stores ‘ offer a kind of sedation within the turmoil of globalization.’ Technology, grandeur and decoration are all integrated within this store to entice customers and ensure they feel they are in a unique environment and don’ t feel pressured with the need to buy although this is the main aim of the shop. In my opinion this reinvents the shopping experience as it is no longer purely about consumerism.

OMA Prada Department Store History Presentation Week 10