Volume III Library
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Volume III covers the design process and explain in detail the scheme of the final design and reflecting on its potential impact, its connection to previous investigations in volume II and on the ease of the design process.
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Brief Scheme Initial Approach Aspects: Bunker versus Open Space Approach
Diverging the path: Obstacle and Overhanging
Circulation: People and the Staff
Facade
Light gradient
Reflection
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Brief User Space - Open Reception Service Space Staff Area Reading Area Terrace Bridge
Above Ground
User space and Protection- Semi Enclosed - contact point
Here I included a printing facility that is only accessible by the staff to ensure the protection of digitally published books in case the internet is compromised. This ensures the inclusivity of the library as an Art Library, and means that its storage is ever growing.
Secured Reading Area Book desk Book reception
Protected Space - Staff Access Only Printing facilities Bunker
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The brief is a small catalogue of the types of spaces I need to consider in the building. They mutated and manifested themselves quite differently in the different stages. The circulation route linking these elements together is also very crucial in designing a building that comprises of two volumes threaded and connected by the vertical circulation. This linking thread is discussed in the scheme section.
(Partial) Underground
Scheme The scheme of the design is to have two masses different in nature: one which is light filled and fluid where the other is enclosed, darkerned and rigid. The bunker is the enclosed space, limiting light and access to public. In this was the bunker is preserving its role in protecting the books, which cannot be exposed to much light. The open is space is linked to the bunker through a staircase inserted into the wall thickness of the bunker but it is much more porous than the rest of that solid mass. The user space is a parasite, for it cannot be used if the bunker is removed. Once the bunker is removed the parasite loses its vertical circulation. Rome’s underground system
Bunker allowing for expansion
The scheme is to have a small mass of the bunker protruding out on to the ground surface and allowing that part to be porous, the rest of the bunker is inserted into the ground, allowing the building to expand as much as it needs underground as the building’s capacity increases. The underground mass is then potentially connected to the underground network of Rome, creating a protective decentralized system to protect books. This also allows other libraries of the city to tap into a large resource of books. This scheme also considered diverging the public path to guide them through the historical fabric of the Piazza del Teatro di Marcello. 7
Initial Approach The initial approach was influenced by the 599 Bunker by RAAF architects cutting a mass through the bunker to the public user space. The cut was supposed to be the moment where a visitor can appreciate the thick walls and secluded internal environment of the bunker before they enter into their designated space. It is quite interesting in concept and valuable as an evidence of how it links to the urban environment and the immediate surrounding context for the slice actually makes reference back to the layout of the church. After many attempts at organisation, it was deemed complicating and unnessary so it was removed.
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Bunker 599 RAAF architects
Moment of awareness of protcted space: view of the altar User space Contact point between user space and protected space Altar: the protected space
enclosure/protection
openness
Diagram of the church The cut in plan is infact a tunnel through the building that was supposed to show the thickness of the bunker, allowing the viewer to have the similar moment of awareness and appreciation found in the church of San Nicola in Carcere that is nearby. The problem in poses, however is the strange junction between the library and the church. Through reflection, I decided the bunker must maintain a purer shape than the wing. The wing then has a more organic shape that can adapt to its environment better where the bunker leaves a wasted area between the church and its rear. Plan of design in development 1:400
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Consideration of the cut and its reference to the church 10
Process The process of the design dwelled much on consolidating the nature and ration of the bunker versus the open space. Originally, the design was to have the bunker surrounded by the user space, using the open space as a cloak to shield the bunker. However, I didn’t feel that this would show the contrast between the two spaces well. Therefore, the design then took a step in the direction of keeping the bunker slightly exposed and the user space as a parasite latching onto it. I was hoping that perhaps in the future, as the bunker remains and the user space is in ruin, the rubbles of the parasite would also leave the bunker exposed and clear. This aspect of the design is partially inspired by the ruins of the Fori Imperali for their ruins were exposed enough for visitors to re imagine the grand scale of the buildings that had once stoof in their place.
Original scheme of user space as a cloak
Scheme of the bunker as a geometrical space and the user space as an organic parasite.
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Then I started thinking about how the bunker is going to be situated in relation to the parasite and what ratio it should take. One of the earlier attempts was to have the bunker hidden away in a corner or situated in the middle of the composition. However, since the user space is now merely a a parasite and not a cloak. The bunker tucked away does not seem like a fit choice for the scheme.
Original approach
Bunker moulding to the church’s facade.
The volume of the bunker was very small compared to the rest of the complex in the beginning, and as the design progresses, it takes a more predominant presence. The massing of the bunker also is a form of connecting to the past by re evoking the dense massing of the ancient Jewish Ghetto that was surrounding up until this part of Rome. Another concern was how to maintain the geometry of the bunker while resolving the awkward space between the library and San Nicola in Carcere. I attempted to mould the bunker onto the church but this seems to compromise the geometry of the bunker and so I decided against it.
Geometry of bunker maintained
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Experiments testing the orientation of the gradient on site. Here I’m attempting to try out the different positioning of the bunker on the site using the models from the first four weeks to find a way that can distill the scheme and concept to its most potent form. I foung that the concrete and resin modular model was especially helpful in the understanding of the composition of closed and open spaces.
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Design in progress Attempted scheme: This scheme did not really work out as the cut was found to complicate and dilute the concept too much. However, it did introduce the idea of inserting the vertical circulation into the wall. This advances the design to make the user space completely dependent on the bunker to be functional.
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Design
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Corten Steel Roman Concrete: Pozzolana
Onyx marble
Reinforced polished concrete
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Roof view 1:500
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Bridge overhanging the ruins.
Staff circulation: protected access to all floors and protected areas.
Bunker: protection. Books are part of the walls that support the bunker.
Book reception: Contact point where requests for books are made.
Public space, flexible space.
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Level 0 Plan 1:250 20
Staff and administration area.
Book showcase, an “introduction� to the library.
Approach On the ground floor the building create an urban change with a swooping tail: A change in the circulation of the public. Whether they are not using the library or not. They are either forced to go through the lighter wing of the library or guided towards a narrow passage squeezed between the building and the church, juxtaposing the two fabrics of the two different buildings. The passage at the rear of the building allows the visitors to view the concrete mass and protectiveness of the bunker, suggesting that something precious is contained within, very much similar to the church layout discussed previously. Meanwhile, the passage through the parasite of the building does not have the same effect, but rather, it focuses on the contact between the light and the protected. Moreover, the building introduces the passerbys by creating a showcasing space inserted into the thickness of the tail.
The tail of the building act as an urban move to redirect the passage to either through the building, or the passage between the mass of the building and the church, creating a moment where they can appreciate the mass and intensity of the roman concrete bunker.
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On page 18 is the access of the building from the side of the church. From this approach the building is presented with a showcase inserted into the thickness of the tail that redirects the path of the public to concentrate on the building as well as the church nearby. On page 19 is the access of the building from the overhanging bridge, which also allows visitors to appreciate the more light filled parasite section of the building as well as see the ruins from a closer vantage point. This bridge also brings the visitors to the passage wedged between the church and bunker, allowing the visitors to decide on the route. If they were to choose the passage at the rear of the building, they would be greeted with a view over part of the marcello theatre and then with the texture of the church on one side and the bunker the other.
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The bridge over the ruins is made of corten steel, linking back to the passage overhanging at the Fori Imperali designed by the Nemesi Studio.
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Plans
Staff access
Bunker and book archives.
The lower levels constitute the majority of the bunker. They follow the same plan to ensure wall continuity through out the building vertically, creating a concrete spine running up and down the mass and supports the upper floors. The storage for the books are inserted into these walls to maximise storage. This allows the plan to be continuously repeated if the libary were to grow and expand into the soil.
Level -2 and lower. 1:250. 24
Level -1 contains parts of the bunker and also a printing and binding facility that is only accessible by the staff. This is where published books online are printed and bound to conserve them in the worst case scenario of the Internet falling. The two areas are separated by the thick Roman concrete wall that runs up into the upper floors as well as into the lower levels of the bunker to maintain support.
Bunker
Printing facilities
Level -1 Bunker and printing facilities. 1:250 25
Bridge overhanging over the ruins.
Tripple height entrance. Staff circulation: protected access to all floors and protected areas.
Bunker: protection. Books are part of the walls that support the bunker.
Book reception: Contact point where requests for books are made.
Public space, flexible space.
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Level 0 Plan 1:250 26
Staff and administration area.
Book showcase, an “introduction� to the library.
Staff access
Reception receiving books. Open reading area Secure reading area
Stairs inserted into thickness of the bunker’s wall
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The 1st level has a secure reading space on top of the bunker area. It is situated within the bunker mass. This secure reading area is a semi enclosed space with skylights of onyx marble diluting the light from above inside. It is the transitional state that was discussed in the models of my first four weeks since it is a more porous part of the solid bunker. Aside from the skylights, this space is completely enclosed. It follows a formal organisation for reading as this is where books of important values are read. Each book requested will be brought to the borrower at their designated table. Meanwhile, in the more open area, the borrowers of the book can go up to the book desk to retrieve their books and sit as they please. This shows a contrast beween the open and the enclosed space, not only physically but also in the formality of its ritual of reading.
Computer zone
Level 1 Plan 1:250 27
Staff access
Reception receiving books. Open reading area Terrace with rooflights introducing light into secure reading area below.
Stairs inserted into thickness of the bunker’s wall
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Level 2 Plan 1:250 28
Open reading zone
The top floor is the lightest most open floor out of all. The stairs have a rooflight casting light down into the circulation within the bunker, encouraging the visitors to move up and experience their passage within the mass and thickness of the bunker. As they emerge they come face to face with another mass of the bunker, squeezing them either to the terrace that is on top of the secure reading area or into the open reading area. The terrace here is infact the ultimate extreme open space that I experimented with as I came up with the concept.
The Gradient of Enclosure in Plan
Diagram showing the gradient of enclosure and security in plan.
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1:200 Section 30
The bunker section of the building is allowed to grow down and connect to the Roman underground system in order to create a network of protection for the books in Rome.
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1:50 section of gradient of enclosure and open space 32
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Circulation
- 2 and lower
-1
Protected, staff access Public access
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Level 0
Level 1
Level 2
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Diagram of gradient of staff access and public zones in section
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Facade The development of the facade was driven by the context and the Roman mood that I felt when I was there. I was very partial to the pattern of the scaffolding of the Portico d’Ottavia nearby and used it as a beginning point for the facade strategy. On the building, this is expressed as embossing on the concrete and a translucent film where it covers the glass. The pattern of the scaffolding of the Portico d’Ottavia also helped in determining the frequency and thickness of the glass window strips of the building’s elevation as well.
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The reduced pattern of the scaffolding influencing the frequency of openings on the facade.
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The pattern of the scaffolding is the embossment on the facade in the concrete ad continues as a translucent film on the glass.
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Light Gradient Fewer openings on lower floors, darker.
Light above of stairs
Secure reading room toplit through marble lights.
Most enclosed parts of the building. Darkerst.
This diagram shows the gradient of light and darkness within the building. Continuously referencing back to the gradient model of the first four weeks. In this scheme the building becomes more and more porous as it moves out and upwards, with the bunker being the most enclosed, then with the secure reading room being a porous state and lastly with the terrace.
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Views
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Above Ground.
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The two extremes The bunker being the darkest and most enclosed. The terrace being the most open.
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The entrance of the building overlooked from the first floor, seeing the ruins and the buildings at proximity to the Marcello theatre.
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The porosity secure reading room created by the addition of the rooflights.
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First floor being darker and not as open as seconf floor. However it does have a separated area for multimedia. e.g: computer space. The second floor view from on the right shows the light overflooding the staircase and the open reading area.
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The building as a mass in the fabric.
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The Mass Underground connecting to the network of Roman quarries, catacombs, bathhouse boilers, etc.
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FIN
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