Volume 2
DEPTH Cecile Ngoc Suong Perdu s1455066
Index Site Overview, Features 4 Personal Approach 6 Chosen Design Concept 18 Site Information 20 Group Approach 24 Final Proposal 60
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Some drawings are not to standard scale due to size limitations. If in need of recognizable scale, please refer to the exhibition.
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Site - Overview - Features King’s Stables Road
View of castle from princes garden, near site
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Trees on Castle Terrace
Tunnel to Site
Trees on King’s Stables Road
Historical areas and monuments
Site
Art, Theatrical/ Cultural Area
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Personal Approach What is the environment now?
It’s clinnically divided into bays. Face the wall. No choice for the introverted. Present your work on your wall and your table Less collaboration Only 1 window per bay. Sitting desks. No ground for building.
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If I feel I am eminently private man I am above all a man who does not have an audience, who still has a great deal to risk with the audience, if I feel I am an eminently public man, I am above all a man who has not settle the bill with myself and still have a great deal to risk with myself if I am a private man I am a man without an audience if I am a public man I am a man who does not have himself exasperating contradiction which not even the igloo manages to escape. Despite such an exasperating situation, the igloo can become a place of reality, therefore myself (private man) in the space allowed me by the DAAD (a public organization) enter the igloo, transport my asociality in the igloo. I draw I transport musical unconsciousness in the igloo I transport some elementary forms of life in the igloo I transport a few other individuals in the igloo
S1455066
- Mario Merz
It should be:
Open Small years/ small classes -> individual attention. Providing open spaces, open plans, green spaces. Collaboration encouraging. Hands on experimentation encouraging The building itself must encourage you. Interaction with community around. Full of light Southern light for awareness of time. Scotland has beautiful grey clean light, beautiful sunsets and sunrise, why must we hide it. Exchanging between year groups Allow for choice to accomodate introverts as well as extroverts.
It shouldn’t be:
A number - a student closed off. Enclosed in tight space with no natural lighting. One student one wall
WHY?
Why choices for introverts and extroverts? Introvercy and extrovercy is misunderstood and misinterpreted. We are not one or another. It’s a spectrum where the middle point is ambivercy. It’s a spectrum where the two ends can/should coexist with eachother. Understanding the spectrum means that you can design working spaces that have different qualities so that people can move to spaces where they most feel comfortable. Idea inspired by 2 books.
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Concept Light Funnels
The feeling I got of the site was that it was dark, humid and quite frankly, dirty. This is probably because of the carpark, which was built out of concrete that has darkened and was dirtied overtime. And the tunnel also contributed into this feeling of darkness. But studios require light so I set up to investigates light wells, or light funnels. My precedents is the Serpentine Sackler Gallery by Zaha Hadid. In this design, not only do the light funnel get light down into the tent, their shape and color help project/reflect this light into the space. A similar scheme would be extremely helpful in order to lighten up this Edinburgh site.
Light funnels Courtesy of Luke Hayes
Sackler Perspective Painting Courtesy of Zaha Hadid, 2013 paddle8.com
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The attempt here is to create light wells that will span the entire height of the building and project light into it as it goes down. At the bottom of the building, there would be a green space, a private garden. The light well ends there to form a overhanging light above trees and bushes. To project light into the spaces and onto ground garden, mirrors can be used. The scheme is to also try to pull in the greenery from the two ends inwards giving every studio an access outdoor. The facade is kept as simple as possible , and covered with a lot of glazing to let light into the studios. The roof is a green roof, providing a park for the public to use as community place, viewing platform towards the castle and the venue for the farmers market. Access to roof is via the ends where the roof comes down flush wish the pavement of castle terrace.
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Concept
A Line in the Landscape Inspired by Yasuhiro Onishi’s painting. I thought about how a building is simply a form on the landscape. Most of the time, it is a mass. Yet what if this mass is merely a line in the landscape. So that it blends with the landscape.
Yasuhiro Onishi (Japanese, b. 1986, Tokyo, Japan) - A Line On The Landscape Acrylics on Plywood
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Partially, I think Im on a sinuous designing track has more to do with this painting than it has to do with Zaha Hadid’s work. I want to building to blend in with the landscape. I want it to have a subtle inner power rather than competing with the castle. The site is right underneath the castle so instead of a futile attempt at competing with it, the building must be powerful on its own, with no need to reference back to the castle and I think the way to do so well, is to give the building a subtle exterior and strong interiors.
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Roof Garden Public access - provides gathering / activity space - viewpoint on castle, meeting place for the farmers market on Saturdays.
Layout and Space Organisation attempt
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G - mezanine - offices - Cafe
-1 - studios , print labs, shop,
library
-2
Adaptive spaces (crit rooms, seminar rooms, exhibition space) Workshop and building areas (indoors & outdoor) Lecture Theater
-3 Public access green space and bikes parking area
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King’s Stables Road Elevation
Section BB
Short Sections CC DD EE FF
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Light Distribution Studies
Section AA
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E
D
C
F
E
D
C
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Shell like roof of Sackler Serpentine Gallery by Zaha Hadid, Courtesy of Artist
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Above: Drawing representing the lightwells puncturing the mass of the building down. In some ways the proposed design imitated the melting form of the Sackler Serpentine Gallery, (unitentionally) and it works well as a light gathering strategy. However, the concept was to pull greenery in, create open spaces for exchange yet these schemes were not carried out to their full extents. The planning seems to be a bit too controlled to be called open and flexible spaces and does not allow for element of choice for introvercy and extrovercy as planned. Although in some ways the library wing manage to perform well in the sense of creating an introverted spaces. One of the things I believe worked well in planning is the fact that most service spaces are tucked away into the cliff, freeing the entire space to studio and architectural activities. Perhaps another thing to consider is that: Should we include Landscape Architecture? I believe yes, Architecture and Landscape Architecture must go hand in hand.
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“Has anyone ever noticed how people only love the ocean when the sun is out? Once darkness settles, breeze kicks in and sharks come out to play - no one wants to swim among its waves. And I hope I never made someone feel like that. As if they’re only admitable in light. As if their darkness wasn’t worth exploring. [...] - a.p I see all your light, I love all your dark -via wnq-writers
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Concept by Shaun Leung Concept: Mass, Darkness, Depth, Icebergs Shaun’s concept was the ability to enjoy the darkness of the place, which is opposite from what I was initally approaching this site and truthfully, it is a very interesting approach. That is what drove me towards choosing this design. Another part of the concept was to create the massing of iceberg, the ability of seeing only the tip of the ice mass but feeling it’s solidity underneath without necessarily seeing it. It is a very appealing concept that corresponds with my inital attack - creating something that is subtle but powerful nonetheless. The concept is very sculptural as well and his models and drawing showed how these masses puncture the floor plates as negative spaces and in some instances positive spaces. Similar to my lightwell design yet different as well since the focus here is on the darkness.
Toyo Ito’s Sendai Mediatheque skeleton. This is an imprtant precedent for Shaun’s concept
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Site Analysis For this site I was particularly interested in the building fabric around it. This is because on one side of the site is Grassmarket and Old Town - the old architecture; the site itself faces the castle which is one of the oldest structures in the city. Yet it is also facing Princes Street Gardens, behind which is New Town and its more recent Architecture. It is an appealing representation of what architecture should be, going back in history in order to move forward. In order to make these representations of urban textures, I had to look at aerial views and classify general materials and textures. Then I reproduced them as small drawings, scanned them and used them as digital brushes to go over the studied area. To be more accurate i should have made sure to study the type of trees around the site whether they are conifers or not, whether they change colors according to changing seasons. This process allowed me to take it one step further and study the site through out the seasons based on tourist’ photographs.
Grass
Trees and shrubs
Rock
Concrete
New Masonry
Old masonry
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Spring
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Summer
Fall
On the left are the other three seasons of urban fabric/ On the right is the study of the site’s topography compared to Edinburgh’s topography as a whole.
Winter
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Architecture: Year 1: 50 students/year Year 2: 50 students/year Year 3: 50 students/year Year 4: 50 students/year MA Architecture: Year 5: 20 students/year Year 6: 20 students/year Landscape Architecture: Year 1: 20 students/year Year 2: 20 students /year Year 3: 20 students/year Year 4: 20 students/year MA Landscape Architecture: Year 5: 10 students/year Year 6: 10 students/year Staff: Tutors: Will be moving back and forth between their classes and their practice. Course organizers/Staff: 30 approximate`
AA’s collection of student work
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Unit system We were thinking of emulating the Architectural Association’s system where the students would be able to follow the tutor’s practice and get hands on experience from it. This would mean that the studios for year 2 and 3 should be mixed. But year 1 and 4 should be kept separated. The Masters students are involved in running the units along with the tutors as well. Second of all, we decided to give the Architecture students more space than Landscape Architecture due to their greater population. Thirdly, due to the fact that students follow their tutor’s practice, it would result in a wide range of projects spanning all four years. So it would require a large collection/exhbition space. Right now, ESALA does not seem to have a collective exhibition for all student work and I believe it would be extremely beneficial to the programme. Staff to student ratio Approximately 1:10
Brief (?) Building should allow the students to engage with their community, thus some parts of it has to be accessible to the public. Public: Large lecture theater - 1 design lecture per week across all 12 years, can be shared with public. Exhibition space Library - extensive. Cafe. Shop - has public access as well as private access for all students. Rooftop - open to public and farmer’s market on weekends. Private: Casual lecture theater - lecture and talks, event and common space among students and staff. Studio space Crit spaces Computer spaces Workshop Garden - private gardens given access on all floors.
The manifesto of our school is that architecture students should base their work on experimental work, and on openess and transparency. Constantly testing and trying out new proposals, and designing for the community. So in order to create such environment, the building of the architectural school itself must be a source of inspiration that performs in a similar way.
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Explorations of concept And the battle for green spaces After meeting up with the team, we decided to explore the concept to its full potential to see whether there can be any possible road that we can take into our design and concept. First we looked at the void to floorplate allocation and ratio, then to green spaces, to roof activities and also shape, numbers andfunction of cones. Above are the sketches that did not necessarily contributed into the design and were discarded but it shows the range of roads that were explored and could have been taken.
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For
One of the argument for the improvement of the concept is to give the building more green spaces, and green areas. This is driven by my initial attack at the design; for I believe that open spaces, outdoor areas and greenery helps create an encouraging learning environment.
Green space or no green space? 28
The other debate was whether we should have the cones as solid cones or should they emeluate the shape of sheet material rolled into a cone like shape. But in the end we settled for simple cones.
Concept and photo montage by Shaun Leung
Against The green space idea however, did not fit within the concept of the iceberg as was presented previously, so it was discarded in favour of a icier feeling/design, to recreate the feeling of underwater light, masses and depth as shown by these diagrams. After comparing schemes and sketches we decided to forego the greenery. It might not be a core concept but it can be included in the design at a later stage.
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General Moves General Schemes
Lifting the mass of the building upwards to let the bottom of the cones protrude. The decision for this was made to allow the viewers from King’s Stables to have a glimpse at the cones puncturing the mass of the building. The question then arises, do we want to see the cones from the outside or should we shield it away? These sketches show greenery coming in but as previously discussed the greenery is not part of the core schemes.
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Roof Public Access and Seating to view the castle. Part of the drive for this design is to incorporate the public realm into the practice and running of this architectural school as well. Thus the roof, which is flush with Castle Terrace, is a great opportunity to give access to the public. From the roof, the public can gaze into the cones down to the multiple rooms within them. Along the cones’ openings would be seats organized towards the castle.
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Courtesy of Yourlocalfarm.co.uk
Although greenery was driven out as a core concept, we decided that the end corners are important as well. Therefore, a private garden that has access on all floors to the building was created as a resting area. The facade was dull and uniteresting, and needed attention. The gardens were also not as private as they should be as they are exposed on King’s Stables road. Since we decided to shield the cones from outside view (except at the bottom), a screening system was put in place. Not only does it screen the cones from outside, but the screens will continue to both ends of the site to create an enclosed, screened garden at both ends.
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This site is also the venue for the Edinburgh’s weekly farmer’s Market - thus one of the general scheme for this building is to design a space that can encourage the Market activity in order to incorporate the school into the community. A concern raised over this is that how would the farmer’s Market use the space, organize the space? Should they emulate how the studios are organized below them? Should they be allowed complete freedom of organization? How would this affect the entrances from the rooftops? Another concern was that perhaps the entrance on the rooftop isn’t clear enough of an entrance if we are planning to invite the public into lecture and library spaces. Yet how can you announce a formal entrance and keep it subtle? After studying the site we realize that Castle Terrace slopes down wan on one end, so half of the building is flushed with the pavement and the other half rises above it. We took the oportunity and made the entrance at the level where the road peels down, revealing a corner in which the public can enter into the lobby and access the public parts of the building. This way, the entrance is clear enough to those who are new to the building but remains quite subtle.
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Cones - Position and Function
The cones are certainly one of the biggest part of the design so we set out to decide on the numbers, position, size and function of cones. Originally the proposed idea was that all function should be tucked away is partitioned spaces or inside the cones. Therefore all activities such as printing spaces, workshop, lecture theather, library et cetera would be hidden inside the cones. But that left for almost no void inside the cones. No hollow cones were planned except for the lecture theater and no hollowness inside the cones would reduce the idea of depth as it would just feel like a slanted circular room trapped within floor plates.
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8 cones Of which the library cone is completely hollow, the two lecture theaters are partially hollow, and the crit spaces have a gap to maintain visual continuity between first and second floor. In order to vary the experience within them, the library cone is made out of a different material than the rest. In the Casual lecture cone, the double height is interupted by a bridge going across that gap.
The cones are classified into four categories: Main cones which house large gathering events such as library, lecture theater and the casual lectures. Crit cones The circulation cones The lift cone.
Inner diameter 6m Outer diameter 8m
Inner diameter 3.8m Outer diameter 5.8
Inner diameter 3m Outer diameter 5m
Inner diameter 3.478m Outer diameter 5.478m
The average thickness of each cone is 1m to allow them to act as structural support for the building as well. The sizes of every cone is decided according to the function and the gathering sizes, where there is a large gathering, there is a larger cone. The biggest gathering we expect is around 120 people in the same place at a same time, so we designed the larger cones to be able to accomodate them, such as the lecture theater cone.
inner diameter 20m outer diameter 22m
Main cones Library Lecture Theater Casual Lecture
Inner diameter 15m Outer diameter 17m
Crit cones
Inner diameter 6m Outer diameter 8m
Lift cone
Inner diameter 12m Outer diameter 14m
Circulation cone
Scale 1:250
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Crit Cones The crit cones are small gathering places where pin-up happens. Usually all crits would happen at the same time so in order to not only maintain visual continuity and the feeling of the cone, a lisp shaped gap was created to allow users of the crit cone to be aware of the exhibition that is happening underneath them as well. The crit room on the second floor would be flooded with light while the one on the first floor would have a moodier atmosphere, giving the building distinct atmospheres as one would move through its spaces. (Doors to crit rooms are sliding doors that goes into the wall thickness.)
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Circulation Cones Circulation cones are meant for poeple who know the building well, mostly staff and students. It is a private access to the building that goes from the roof to the ground floor. The openings on top are half glass wall half concrete to maximize daylight intake since this cone is quite narrow. They are positioned at the back of the building near the cliff.
Casual lecture Cone The casual lecture cone is a more informal version of the lecture cone that allow students and staff to come and go as they please. It acts as a common space, gathering space for events. This cone is particular on its own because of the bridge that spans across the void of its double height, which interrupts the flow of light in to the space. People from the bridge can look into the lecture but the lecturers and audience are not interrupted by them.
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We are all circling around a central void, a kind of vacuum core that acts as a strange attractor.� - Slavoj Zizek
The Library Cone 38
The library cone is a void cone around which the public visitors circulate round in order to get to the libary. It is a central void that attracts people down as Slavoj Zizek said. It allows the public to experience the mass and feeling of the cones and the depth of the void as they circulate to get to either the library or the lecture theater. It is originally separated by floor plates but then turned into a light gathering void for the library that is situated below.
On the Right: Delft University Library, by Mecanoo, Netherlands
It is modeled after the library at the Delft University Library but instead of having study spaces arounf the cone, this one is only concerned with circulation. This cone is meant to have some translucent panelling at eye level so that users in the library can see the movement of people circling around the cone.
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The Lecture Theater
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Meant to be the largest gathering space of the all the cones, the lecture theater has a complex circulation pattern going within the thickness of the cone and outside it in order to separate public and private passages, thereby preventing circulation from disrupting the lectures being given as well. This is perhaps the most prominent cone because in order to get access to it, the users must pass on light weight bridges that allow them to fully experience the void and the collection of cones that are spread through out the building. If one intends to join the lecture theater, one must go inside the thickness of the cone, allowing for a transitional moment between the gaping void outside of it and the enclosing mass that is inside the cone.
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Floor Slabs, Circulation and Organisation Development
Sketch by Do Park
The cones in the beginning were treated as precious objects that should not be touched by floor plates but only with delicate lightweight bridges. Then as the design process goes by, we realize that there is more potential to floor plates encompassing some cones rather than bridging to every single cones. So the process required some shifting of cones and functions in order to accomodate everything.
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Diagrams above: studies made to test void and floor plate.
Circulation study that shows possible entrances from the roof top.
Circulation study in the beginning where red is private, blue is public and green is outdoor.
Accomodating every functions of a building turns out to pose a challenge for this design. We struggled to find out where to locate restrooms and storage spaces. In one of the attempts we made a locating these service spaces, we proposed that the restrooms should also take the shape of a cone. Finding that too complicated to organize and make it truly useful, we decided to head in another direction.
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Moving from a bridged design to non-bridged
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The original approach with bridged design shows that there is a lot of overlapping elements over the void that could portentially block the light coming from the roof lights. Another concern was that by leaving them all open in the void, it does not feel like a negative space puncturing a positive space anymore but as a positive mass going through a negative emptiness. According to Shaun’s diagram of positive and negative spaces , we were looking more towards having the cones encompassing an empty space so powerful it punctures the floor plates. Thus we started migrating towards a less bridged design.
Bridged Design where all functions are inside cones and only studios are located on a floor plate
Non bridged design where the diagram is more relaxed, computer area starts becoming more free plan. There is more open plan spaces that allow flexibility to organise gatherings and events. Only the major cone(s) are bridged, such as the lecture theater cone. We considered having a change in level between the studios to create an interesting visual relationship among these studio spaces but refrained for we felt that it would not contribute much into the design but rather, it would complicate it
The building was originally designed to have three floors, where second and first floors do not span the entire space, creating the void. The ground floor is infact a basement/ground floor where it’s sunken 1.5 meters down into the earth.
Shaun’s negative - positive spaces diagram
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Study of corridor spaces and shape of studios Although we started to relax our diagrams/scheme, the studio spaces looked quite incongruous with the rest of the building for they were quite angular and clinical, sadly influenced by the current studio that we’re in. So another move was to make the studio spaces more fluid and harmonious with the building. Which means that a study of circulation and corridors were introduced as well. At the end of the day we decided on corridors that mimic the form of the cones and as you enter into the studio areas, you are faced with indentations of the glass facade as “ice cracks” that filter the studio years away from each other.
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On the left: Toyo Ito’s Sendai Mediatheque, Japan - Precedent Originally, the concept was to have the cones being seen through the building from the outside. Yet after contemplation we decided that it is best hidden away from outside view and reserve its experience once you enter the building. Moving away from Toyo Ito’s building, which was one of the precedent we started with, we decided to use the studio spaces and the staff spaces to mask the masses of the cones rather than letting it be visible as Ito’s Mediatheque design. And by putting the studios there, the activities of the studios would strengthen the masking abilities of the space.
Firgure on the bottom leftmost: Activity spaces are occupied and form a wrapping mask. Firgure on the middle: Diagram shwoing cones punching through the floor slabs and the facade acts a a wrapping skin. Figure on the bottom right: Allocation of studio years
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Development to the Staff spaces The Staff spaces experienced the same problem as the studios for they were too angular and seemed out of place with the curvacious building. We decided to move away from partitioned spaces and allow the staff an area to become something that was as open as the studios, with access outside to the private garden. Originally we were letting perhaps three people sharing one office, so we thought: Rather than having three people sharing their offices in the same room, why shouldn’t we let every one share one offices?
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Development to the Computer Spaces The computer spaces experienced a recurring problem in our design, that it was to rigid and not flexible enough, therefore it seemes unbalanced with the curved building. So we opened it more, made it free plan. Where we wanted it to be shieled from the circulation cones, we turn the circulation cone entrance away or used the bathrooms as a shielding elements. The toilets and bathrooms were quite a challenge to put in but we found that if we continue with the curve of the conves and project it out, we can make it work within a space. At the eastern end of the building and on the ground/basement floor we put the toilets in the cliff as I did in my original design.
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Creating the s
What is a comfortable wor At home, cosy but small and narrow
Designing the table for work Basing on the tables at studio we decided that a curved table allow for more space that can be used in reaching rage, creating a comfortable working environemtn. Perhaps standing desks would be helpful as well.
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studio spaces
orking “personal bubble?� In studio, ample space but clinical and uncomfortable Determining the minimum space per person We based off the space we have in our studio as the minimum personal space a student should have when working in the studio with their studio mates. I found that the most comfortable free space around a person is approximately 2m by 4.5m based on a comparison between my home working space and my studio working space.
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Studio years are divided by cracks and expressed on the facade.
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The low ceiling overhang on the ground floor exterior create a looming effect. It allows viewers to see the crack going through the entire height of the building behind the screen. Entrance on ground floor a large curved sliding door to maintain the cone’s form.
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Screening system Here you can see the screening system spanning not just the building but also shielding off the end gardens to create close intimate gardern that is accessible only to the school. The longer garden has access to king’s stables road nonethelss. The shielding system was put in place not only to cover the garderns, but also to contribute to the masking effect the studio has on the cones. Moreover, it allows students some sense of privacy
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Screening material Stainless Steel
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Landscape Strategy The landscape strategy is to maintain parts of the trees that were already on site, leveling off parts of the green space to create resting space next to the trees. Shield away from King’s Stables but still maintaining access to that road as well as all floor levels. On the other side of the site, the ground is punched down wards creating a flat garden with walls for possibilities of vertical garden that is also shielded away from public view, only accessible on ground floor. On the right is a fabric of the building according to site. Here the building is representing the concept of icebergs and icy environemnt.
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2nd floor
Final Proposal
1st floor D
E
F
Studios
G H
C B
Crit rooms
A Ground/Basement Floor D F C G H
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B A
E
The organisation of the plan was fluctuating between strict diagram and open plan, it is hard to organisr the function in such a sculptural design but with careful considerations, this organisation should work well, with the cafe on top floor as an informal entrance. The toilets hidden away in the cliffside. The ground floor houses the shop, library, gallery and workshop where the bookshelves are also embedded into the cliffside and double as a curtain wall to the entrance to the bathrooms. Meanwhile the roof allows for market to organize itself freely every week and allow an unobstructed view of the castle.
Roof view/ Castle Terrace pavement view.
The roof of the building also has skylights in the form similar to the ice cracks on the facade to allow some light into the void while maintaining the dim atmosphere of the space; which is necessary to recreate an underwater lighting.
Reflection
In some ways the final design is similar to my intial concept. They both make use of openings on the roof to introduce a specific atmosphere, they both use the roof as a public space and encourage openess and the public. Without the screening system on the facade of the final design, the two buildings look quite similar in elevation. Certainly the final group proposal was better thought out and was more sculptural - and yet did not lack the functionality of each spaces - than my original design. In hindsight I find this building managed to resolve all the problems that I have encountered during my inital design process. Moreover, in terms of plans and organization it ended up being quite similar too.
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1:500 short section through library cone - AA 1:500 short section through lecture cone -BB
1:500 short section through crit co
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ones - CC 1:500 short section through casual lecture - DD 1:500 short section through computer spaces. - EE
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Section through Studios 1:500 -FF
Section through circulation 1:500 - GG
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Section through most cones 1:500 - HH
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Elevation on Castle Terrace - Subtle entrance protrudes out as the road peels down. 1:500
Elevation on Kings’s Stables 1:500
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Circulation plan Green: public Red: private
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Material
Translucent concrete
Timber (for details)
Glass
Stainless Steel
Mainly White concrete - Beton Brut
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Physical Model by Herman Cheng.
Rendering, Perspectives, Model the building as an object. 72
Rhino model by Shaun Leung
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Physical Model by Herman Cheng This project was a challenging one, not only because of the scale of the building but also because it is very relatable to me as an architecture student. Many lessons were learned but the most important lesson for next time is to have a concept and work the concept throughout the entire design but also knowing when to relax the scheme a bit. Designing in team can be hard but it is very helpful to have multiple opinions inform the design for it to reach a decent level of thought and complexity/simplicity.
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References and Sources All images referencable (all images aside stock images) are sourced. Unless otherwise stated or sourced, all images used are mine and/or the group’s.
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Group Members Do Park Shaun Leung Herman Cheng Cecile Ngoc Suong Perdu
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