The missing piece... Embrace the past, embrace the contrasts
Abstract.. The aim of this project is mainly affected by the current content of Fort. The traces of the passage of time are revealed in every part of the building. What’s should be the role of architecture regarding the fragileness and pureness of this Historic Building ? What does the Fort ask you to do ?
Table of Contents..
In the process of listening the voice of Fort, the initial and personal interpretation relies on the continuous sense of ‘the missing piece’. The curiosity to ‘look beyond what is in front of your eyes’ (Littlefield & Lewis, 2007, p.69) has turned to be the concept of this project. “Embrace the contrasts, embrace the past”
Personal Interpretation | 03-07 Introduction | 08-21 Line of Inquiry | 22 Practice-based Research | 23-45 Practice-based Research and Design | 46-79
The role of architecture is to reveal the authenticity of the building’s personality in a process of engaging individuals to reimagine the character of Fort in terms of its past. In that case, the motivation to engage users with the space is to stimulate their senses creating an emotional bond between body and building with the purpose to allow them interact passively with the Fort. Body is able to understand a space by moving in there, using senses such as touch, smell, hear and also regarding the body scale in the space. Materiality and movement are the key ideas to achieve a sensational experience for users. Contrasts enhance the feeling of curiosity thus any architectural suggestion is focused on altering the current palette of Fort [colors, textures, scale, light conditions] creating contrary spatial circumstances.
Despina Kyriakou_Up910468 Interior Practice_Unit 501 University of Portsmouth_2018-2019
The project is constructed and developed depending on a practice-based research method by evaluating some key references related with the concept and developing new ideas during the process of site’s spatial analysis. Figure 1. Contrasts [Author]
My journey... Collecting moments. “In my view, to be truly iconic, a building has to have a meaning, pose questions to the public, and challenge engrained habits.” “..memory is dynamic because it transforms past thoughts into a compass directed toward the present and the future” Daniel Libeskind
Personal Interpretation || Role of Architecture
Figure 2. Illustration of Jewish Museum Berlin [Author] 3
The missing piece... What’s hidden behind ? [Possible answers: a story, an object, a feeling, a sound, an image, a memory, a thought, a moment, an experience, a talk, a movie or…just nothing! ] Think about it… [Key words: ruination, time transformation, authenticity, fragile, fragments, narrative, thresholds, missing, traces of past, serenity, nature, defence, contrasts, presence and absence …]
Personal Interpretation || Voice of Fort Cumberland
Figure 3. Theatre Building [Author]
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“So silence can, according to the circumstances, speak!� (Littlefield & Lewis, 2007, p.9)
Personal Interpretation || Voice of Fort Cumberland
Figure 4. Theatre building. Sense of unfinished space [Author] 5
Listening... The ruin in every aspect of the building. New Interventions refill the missing old piece. Any kind of intervention reminds of the past. The meaning of ruin becomes more intensed, is still here.. There is a conflict between the past and the present. Human feelings are strangely indefinable because of that conflict. Steady shadows are coming in, breaking the old framed windows.. The shrillness of the windy sound, passing through the broken windows, does not remind anything of the great days in the cinema building. However, it makes me feel so small and alone in a space that should welcome and host happy moments. Shall I keep this fragile alive ? As a reminder of the old good moments? Sounds so paradoxical approach to represent the missing piece..
Personal Interpretation || Voice of Fort Cumberland
Figure 5. Theatre Building. New material. [Author]
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What does the Fort ask you to do ?
Personal Interpretation || What does the Fort ask you to do ?
Figure 6-7. Artist’s book [Author]
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“Paradoxically, the space is so potent and available for occupation because it is undefined by the architect.� (Hill, 1999, p.141)
Introduction || Aim
Figure 8. Casemates. [Author]
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Preserve the authenticity of the Fort by letting its current space to generate questions and encourage the users to “look beyond what is in front of their eyes”. (Littlefield & Lewis, 2007, p.69) Giving back to the building its voice means to reveal its personality and character with the purpose to redefine the value of Historic Buildings in the field of Architectural heritage. “It is rather, a matter of reimagining the building as a personality and asking, ‘if it could speak, what would it say? What would it sound like? Would it be worth listening to?’ “ (Littlefield & Lewis, 2007, p.9-10)
Introduction || Aim
Figure 9. Time transformation. [Author]
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Engage individuals to interact passively with the Fort.. “It is a process not only to identifying yourself with the past but of positioning yourself within the timeline of the building, of imagining yourself from the perspective of future generations, as part of the past to come. In this sense, you not only hear the voice of the building, but become part of it.” (Littlefield & Lewis, 2007, p.12) Which are the architectural intentions that could engage users to “listen” the voice of the Fort Cumberland ? What could be defined as “the missing piece” ?
Introduction || Objectives
Figure 10. Evidence of past occupants [Author]
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Embrace the past. Embrace the contrasts. Key ideas | Movement, Materiality, Body senses
Introduction || Practice-based Research
Figure 11. Fragile [Author]
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Time transformation As a contrast to the ruined spaces Soundproof / Non Soundproof Touch
Landmarks
Textures
Holticulture
Well-aged
Materials
Movement
Temporal Interventions Surfaces Nature
Holticulture
Pathways of exploration Find the missing piece
Textures
Body senses
Smell
Touch
Light / Dark
Sounds
Natural / Artificial
Noise / Silence
Introduction || Practice-based Research | Mind map of key ideas
Nature
Holticulture
Figure 12. Key ideas [Author]
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Focus on Research.. The practice-based research relies generally on the experimentation of creating contrasts. More specifically the creation of dynamic forms, the use of contrary or brighter colours than the existing ones, the different spatial scaling and the various light conditions using new materials and surfaces could reinforce the dialectical relationship between the past and present characteristics of Fort. The intention of developing contrasts is the motivation for users to explore the past upon the traces of present, thus to become part of the space.
Introduction || Practice-based Research
Figure 13. Dangerous [Author]
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The missing piece.. is everyone’s story in the Fort. Architecture could be defined as an object of exploration. Materiality encourages the exploration process using body as a sensory value. Movement is directly connected with body senses; therefore spatial conditions based on contrasts generate the feeling of exploration. Individuals will create their personal interpretation about the spatial architectural meaning of the space. There is a major importance to engage individuals in the process of architectural practice in order to evaluate the real meaning of Architectural as a mean of expression wider issues rather the functionality. By giving meaning to a space and creating conditions for individuals to integrate themselves in there, thus they will be able to appreciate the real meaning of architecture in their live. Architecture should be considered as interpretation of stories, history, and feelings and to host moments not just functional uses for people to live in.
Introduction || Practice-based Research
Figure 14. Fingerprints [Author]
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Pal-imp-sest: a parchment or tablet, reused after earlier writing has been erased (Oxford Dictionary)
Introduction || Methodology
Figure 15. Ruination [Author]
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Palimpsest... Why ? Everything is related with ‘the missing piece’. The presence of the absence. The concept of palimpsest reinforces the power of the absence in the current space/place/site/building. The idea of palimpsest is used as a memory of the Historic Past and as method of design based on ‘traces’ and ‘layering’. “Layering is used as a deliberate device of esthetic expression – the visible accumulation of overlapping traces from successive periods, each trace modifying and being modified by the new additions, to produce something like a collage of time. It is the sense of depth in an old city that is so intriguing. The remains uncovered imply the layers still hidden (…).” (Lynch, 1972, p.171) The procedure to lead revealing the past into the present content, is reinforced by creating and enhancing the contrasts upon different layers of spatial conditions. Contrasts refer to new and old materials, different light conditions, variety of textures to enhance the excite the senses for exploration; keep the authenticity of the unfinished spaces alive and so on.
Introduction || Methodology
Figure 16. The passage of time [Author]
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“Discover the present upon traces of Past” (Littlefield & Lewis, 2007)
Intervention in the archaeological site of the Castle of San Jorge Architects : João Luís Carrilho da Graça Location : Archaeological site of Praça Nova, Lisbon
Figure 17. Intervention in the archaeological site of the Castle of San Jorge [Márquez, 2018] 17
Palimpsest.. something reused or altered but still bearing visible traces of its earlier form sensory value dimensions, scale
defence
light conditions
meaning
nodes
contrasts
Palimpsest
pathways
forms, surfaces
Traces of time
landmarks
materials, colors
past occupants memory, relationships
Introduction || Key references
Figure 18. Mind map of ‘Palimpsest’ [Author]
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As method of design... contrasts of materiality. Combination of old and new materials | Architectural dialogue within existing building and new surfaces | “I wanted to preserve the originality, the character of every room [...]” (McCarter & Scarpa, 2013, p.147)
Castelvecchio Museum Architect : Carlo Scarpa Location : Verona, Italy Year : 1957-1975
Figure 19. Castelvecchio Museum [McCarter & Scarpa, 2013]
Figure 20. Castelvecchio Museum [“Museo di Castelvecchio”, n.d.]
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As method of desing.. layering. | Lines, Points, Surfaces | Overlapping activities | Nodes and Pathways | The method of layering allows to users to react and interact with the space by adding their own interpretation on the site. Indeed, palimpsest is a combination of layers.
Parc de la Villette Status : Competition Architect : Bernard Tschumi Architects Location : Paris, France Client : City of Paris Year : 1982
Figure 21. Parc de la Villette [“Bernard Tschumi Architects”, n.d.]
Figure 22. Parc de la Villette [“AD Classics: Parc de la Villette / Bernard Tschumi Architects”, 2011]
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As memory of historic past.. | Visual dialogue between New and the Old | Layering of past and present | Re-writing history upon the traces of past | Acropolis Museum includes every aspect of palimpsest. There is an obvious relation with the history visually and practically.
New Acropolis Museum Status : Competition Architect : Bernard Tschumi Architects Location : Acropolis, Athens, Greece Year : 2009
Figure 23-24. Acropolis Museum, Athens, Greece [“New Acropolis Museum / Bernard Tschumi Architects�, 2010]
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Line of Inquiry. Key Ideas | Materials | Movements, Pathways, Nodes | Body senses | Spatial experience | Key words (expressing feelings, conditions, purposes) | Defence | Serenity | Fragility | Ruination |
Architecture | What defines architecture ? | Meaning? Experience? Senses? Mind? Function? Materials? Dimensions? Flexibility? History? Occupants? Social Impact? Environment? Architect? User? Human’s expectations? Technology? | People make architecture or architecture makes peoples? Photography | Documenting others movements/approaches around the Fort | Users’ photographic records as evidence of human’s perception about the content of Fort |
Palimpsest | As a memory of the historic past | As method of design | Overlapping patterns of use, materials, textures, light conditions, spatial dimensions, body scale etc | Using the spatial traces of 1st Fort in order to create a space or pathway or nodes to be explored by new occupants/users in the present |
“Two experiences: that of the observed subject and that of the subject observed” (Barthes & Howard, 1981) Camera Lucida : reflections on photography | Roland Barthes ; translated by Richard Howard “Discover the present upon traces of Past” By keeping alive the traces of past occupants “people are encouraged to look beyond what is in front of their eyes” (Littlefield & Lewis, 2007) Architectural Voices : Listening to old buildings | David Littlefield, Saskia Lewis.
Practise-based research on | Forms | Materials | Traces of time | Colors | Light Conditions | Absence Presence | Overlayering | Contrasts | Spatial Concept | Enhancing the contrasts between past and present, absence and presence, materials and textures, light and dark, interior and exterior, temporal and permanent conditions | Contrasts make space of questions | Contrasts keep the past alive | Why? When? How? | Figure 25. Casemate 38 [Author]
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“One of the key aesthetic qualities was the process of colonization and decay of the man-made by nature.� Curated Decay. Heritage Beyond Saving | Caitlin DeSilvey
Figure 26. Casemate 35 [Author]
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Present Ruination
Past
Defence / Army / Enemy forces
Authenticity
Temporal intervention
Time transformed materials
Well-aged materials
Nature as the new occupant
Engaging body senses / users
Serenity / Fragility
Movement / Route / Pathways
Practice-based Research || Mind map of overlapping
The missing piece (missed occupants)
Past & Present
Build your own story in the Fort
What does the Fort Ask you to do ?
Figure 27. Mind map of overlapping [Author]
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“The building was already a palimpsest when we came to it� (Littlefield & Lewis, 2007, p.65)
Practice-based Research || Area of Investigation
Figure 28. Fort Cumberland plan [P. A.,1992]
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Practice-based Research || Area of Investigation
Figure 29. Fort Cumberland plan [P. A.,1992]
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Theatre Building. Casemate 34. Key features | No audience | The missing piece | Contrasts Key features | Ruination | Emptiness | Fulness | Brightness| Darkness | | Silence | Windy sounds | Natural light | Fragile | Traces of Time transformation | Nature | Evidence of past | No occupants | Framed time | Turguoise | Scale | view | Minimal |
Practice-based Research || Area of Investigation
Figure 30-31. Theatre building and Casemate 35 [Author] 27
Practice-based Research || Area of Investigation | Spatial Design Strategies
Figure 32. Spatial Design Strategies [Author]
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Practice-based Research || Area of Investigation | Design Intentions
Figure 33. Design Intentions [Author]
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Practice-based Research || Area of Investigation | Nodes and Visual Connectivity
Figure 34. Nodes and Visual Connectivity [Author]
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“The rooms we live in are collages, constructed conservations between the past and the present. […] In fact, the story of memory always begins with a room, or at least it begins with the end of one.” (Hollis, 2014)
Figure 35. Ruination [Author]
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Practice-based Research || Modelling | Dynamic Forms, Movements, Materiality
Figure 36. Dynamic Forms [Author]
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Practice-based Research || Modelling | Surfaces, Colours, Nodes, Pathways
Figure 37. Pathways, nodes and colours [Author]
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Practice-based Research || Modelling | Past and Present, Materiality
Figure 38. Absence and Presence [Author]
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Practice-based Research || Collages | Puzzle of moments and materiality, Photography, Colour Combination
Figure 39. Collage [Author]
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Practice-based Research || Collages | Contrary colouring palette
Figure 40. Collage [Author]
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Practice-based Research || Collages | Colour Palette of the Fort’s content
Figure 41. Collage [Author]
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Practice-based Research || Collages | Experimentation and selection of the addition of ‘new’ materials in the content of Fort
Figure 42. Collage [Author]
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Fragments of time.. The feeling of that something is missing is mainly connected with the History of Fort Cumberland. The beginning of Fort’s history was the construction of the first starshaped Fort Cumberland. In the present space of Fort, How can be defined that missing piece ? As presence or as absence ? The answer derives from the concept of “Discovering the present upon the traced of past”.. Thus.. it is important to ‘re-construct’ the absent part by making it visible and available for exploration..
Practice-based Research || Diagrams | Define the space as ‘Absence’ or ‘Presence’
Figure 43. Absence and Presence [Author]
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Revealing.. The design scope refers to the concept of revealing the past through the present space. Instinctively the combination of both geometries of the First and Second Fort’s plans, represent the sense of the passage of time into the current spatial conditions of Fort Cumberland.
Practice-based Research || Diagrams | Lines_Method of approaching design process
Figure 44-46 . Lines [Author]
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Revealing.. Geometries.. Therefore, the intention to extend lines based on the geometries of both Fort’s plans relies to the creation of sensuous connection between Past and Present. The extension of these lines is also focused on ‘constructing’ space within the gaps of lines’ crossing.
Practice-based Research || Diagrams | Lines_Method of approaching design process
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Revealing.. Geometries.. Lines.. The method of extending lines based on the geometries of Fort’s plans determines the continuity of researching process. The intermediate spaces created by the extended lines can be used with the purpose to create a sensational journey in the Fort for the users to explore the spatial personality of Fort Cumberland. The sensational journey is depended on the initial key ideas of developing contrasts regarding the movements, the body senses and the new materiality to be added in the Fort.
Practice-based Research || Diagrams | Lines_Method of approaching design process
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Second Fort plan.. Lines extended from Current Fort’s geometry crossing through Theatre building and space of ‘“Fragments of time”
Practice-based Research || Modelling | Lines_Method of approaching design process
Figure 47-49 . Models experimenting lines [Author]
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First Fort plan.. Lines extended from the First Fort plan creating dialectical relation with the “Casemates 34-35�.
Practice-based Research || Modelling | Lines_Method of approaching design process
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Both Fort plans.. The combination of lines are related to my chosen areas, in order to generate some pathways and movements, walking through the created landmark nodes by overlapping both layers of lines extension.
Practice-based Research || Modelling | Lines_Method of approaching design process
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General Design Intentions.. The space is generally described as a complex of layers and contrasts. As the purpose is to reveal the past and reimagining the present, therefore the focus is to enhance and evaluate the meaning of contrasts between absence and presence, past and present.. The main design intention is to take the advantage of the existing diversity of content by using contemporary strategies. The strategies relate to the addition of new materials, the creation of pathways based on ‘land art’ approach and to represent the ‘fragments of time’. The process of layering creates a combination of experiences regarding the key ideas of ‘movements, materiality and body senses’. All of these strategies rely to the use of Palimpsest as the main design principle.
Practice-based Research ||Diagrams | General Spatial Design Intentions
Figure 50 . General Design Intentions [Author]
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Experimenting with Surfaces.. “Surface belongs to material and its manipulation for spatial effect is at the core of design activity... In this way I am underscoring ...sense of procedure and highlighting an exchange between the body and that, which is made in the process of building.� (Preston, 2009)
Practice-based Research ||Diagrams | Spatial Conditions | Surfaces, Light Conditions, Scale, Framing Views
Figure 51 . Surfaces [Author]
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Fonte Da Luz Architects : José António Barbosa, Pedro Lopes Guimarães Location : Porto, Portugal Category : Renovation
Figure 52 . Fonte Da Luz [“Fonte Da Luz/Barbosa & Guimarães”, 2011]
La Muralla Roja Architect : Ricardo Bofill Location : Calpe, Alicante, SPAIN Category : Apartments
Figure 53 . General Design Intentions [“Nacho Alegre Captures Views of Ricardo Bofill’s La Muralla Roja”, n.d.]
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Casemates 34-35.. The significance of Casemates’ identity determines the design intentions for these spaces. The spatial characteristics of the Casemates formulate the concept of the ‘unfinished’ and the ‘passage of time’. This is the main reason that there will not be any new architectural intervention. The authenticity of the fragile spaces, the contrasts of light while passing from the first casemate to the other could simulate the body senses of user’s.
Practice-based Research || Casemate 34-35 |
Figure 54 . Casemates 34-35 [Author]
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Casemates 34-35.. The combination of ‘absence and presence’ is revealed by just entering these Casemates. The emptiness and fullness, the fingerprints of past occupants are still on the door, the prevailing of nature is everywhere. As the first stage of user’s journey of exploration in the Fort, they will develop a motivation for a sensational experience.
Practice-based Research || Casemate 34-35 | Spatial Features
Figure 55 . Spatial Features [Author]
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Figure 56-57 . Current conditions of casemates 34-35 [Author]
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Map your senses.. The initial approach is a fundamental collection of user’s ‘story’ in the Fort. After visiting and experiencing the content of the Casemates, users would have the opportunity to map their senses around the area of Fort. The given ‘map of senses’ achieves to guide unconsciously individuals to explore, collect and build their own story in the Fort. The tools of documenting and recording their journey will be the use of photography. The scope is to identify individuals’ role as the objects to explore and to be explored by others on how they act and perceive the character of Fort. “Two experiences: that of the observed subject and that of the subject observed” (Barthes, 2010, p.10) ‘What does the Fort ask you to do?’ The authenticity of Fort’s character is the key to answer this question..
Practice-based Research || Casemate 34-35 | Map of senses
Figure 58 . Map of senses [Author]
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Landscape.. The landscape area of the Fort can be defined as the mediator between the different spaces that I am focusing to develop the idea of the journey, such as the Casemates, the “Fragments of time� and the Theatre building.
Practice-based Research || Landscape |
Figure 59 . Landscape [Author]
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Landscape.. The design intention is mainly affected by the experimentation with lines extended from the geometry of both Fort plans [1st star shaped geometry, Current Fort]. The overlap of the extended lines creates some pathways and nodes in the area. Their role is to guide visually the users in the space on which pathway might want to follow for their exploration. Furthering, they generate the feeling of continuity within the spaces by enhancing the curiosity of user’s senses.
Practice-based Research || Landscape | Complexity of patterns and surfaces
Figure 60 . Patterns [Author]
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Landscape.. The curiosity is depended on the materiality of different patterns on the ground surfaces (concrete and corten steel) and on the creation of vertical corten steel walls. The choice of this kind of materials on both surfaces (ground and walls) indicates the passage of time. Concrete and steel have the privilege to reveal the ‘passage of time’ in their texture and materiality characters.
Practice-based Research || Landscape | Complexity of patterns and surfaces | Materiality
Figure 61 . Materiality [Author]
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Practice-based Research || Landscape | Model | Patterns and Pathways
Figure 62 . Patterns and pathways [Author]
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“Fragments of time”.. This space is generated from the traces of the 1st built Fort. It intends to indicate the presence of the absence. As for the architectural design, this space is a new intervention in the content of the Fort with the purpose to represent the ‘Past’ using the trace and position of the geometry of the 1st Fort.
Practice-based Research || “Fragments of time” |
Figure 63 . Fragments of time [Author]
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“Fragments of time”.. The design of this space refers to the idea of creating spatial conditions for the users to explore the “past” using their body senses. In order to motivate the spatial experience, architectural intentions are focused on the key idea of Contrasts. The materiality, the textures, the spatial scale, the sunlight conditions could enhance the feeling of exploration and body integration with the space.
Practice-based Research || Landscape | Design Intentions
Figure 64 . Design Intentions [Author]
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Figure 65 . Experimenting with Surfaces [Author]
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Practice-based Research || ‘Fragments of time’ | Final model
Figure 66 . ‘Fragments of time’ final model [Author]
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Practice-based Research || Landscape and ‘Fragments of time’ | Final model
Figure 67 . Landscape and Fragments of time model [Author]
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“Fragments of time”.. Considering the orientation of site, the new constructions are formulated in a way to take the advantage of sunlight. Therefore, the design of these structures are formulated with the purpose to let the sunlight interact with them creating sensational experience for users. The chosen material for these structures is mainly concrete as it can metaphorically define the initial role of Fort, to guard the Langstone Harbour of Portsmouth. The texture of concrete stimulates the sense of touch enhancing users’ spatial experience.
Practice-based Research || ‘Fragments of time’ | Final model
Figure 68-71. ‘Fragments of time‘ final model [Author]
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Theatre Building.. The Theatre building, is the final stage of this journey of stories. The content of this space will be unfinished in order to let the users interpret their own perspective about the character of the Fort. The current spatial characteristics of the Theatre Building are mainly described by the definition of “unfinished�. However, the role of architecture is to create some spatial motivations for the users with the purpose to build their own story and represent it [using their documentation of photographs or sketches around the Fort] as a gallery for future users.
Practice-based Research || Theatre Building
Figure 72 . Theatre Building [Author]
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Theatre Building.. Therefore, the concept is depended on user’s story in the Fort. The spatial motivations will be informed by the extended lines of the geometry of both Fort plans, in order to suggest an architectural dialogue within past and present, absence and presence. The idea of contrasts is applied on the construction of different forms of wall surfaces around the interior content of building in order to develop a spatial experience for users. This experiences is informed by the sunlight conditions, the human scale, the shaded areas and also on the movement in the space.
Practice-based Research || Theatre Building | Desing Intentions
Figure 73 . Theatre Building [Author]
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Sensing Spaces Installation, Architecture Reimagined Architect : Grafton Architects Location : Royal Academy of Arts, London, UK Category : Exhibition
https://www.royalacademy.org.uk/exhibition/ sensing-spaces#gallery
Figure 74 . Sensing Spaces Installation [“Sensing Spaces | Exhibition | Royal Academy of Arts”, n.d.] 67
Practice-based Research || Theatre Building | Spatial experimentation models_A
Figure 75-82 . Spatial experimentation models [Author]
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Practice-based Research || Theatre Building | Spatial experimentation models_B
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Practice-based Research || Theatre Building | Spatial experimentation models_C
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Practice-based Research || Theatre Building | Spatial experimentation models_D
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Practice-based Research || Theatre Building | Spatial Atmosphere
B’
A’
B
A
First Floor plan Figure 83-84 . Spatial Atmosphere [Author]
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Section AA’
Practice-based Research || Theatre Building | Spatial Atmosphere
Section BB’
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Practice-based Research || Theatre Building | Final model
Figure 85-86 . Theatre building final model [Author]
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“There are two occupations of architecture: the activities of the architect and the actions of the user. The architect and user both produce architecture, the former by design, the latter by use. As architecture is experienced, it is made by the user as much as the architect. Neither are the two terms mutually exclusive. They exist within each other. Just as the architect is also a user, the user can be an illegal architect.� Occupying Architecture. Between the Architect and the User| Jonathan Hill
Figure 87 . Painting of personal interpretation [Author]
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Figure List.. Figure 1. Contrasts [Author] Figure 2. Illustration of Jewish Museum Berlin [Author] Figure 3. Theatre Building [Author] Figure 4. Theatre building. Sense of unfinished space [Author] Figure 5. Theatre Building. New material. [Author] Figure 6-7. Artist’s book [Author] Figure 8. Casemates. [Author] Figure 9. Time transformation. [Author] Figure 10. Evidence of past occupants [Author] Figure 11. Fragile [Author] Figure 12. Key ideas [Author] Figure 13. Dangerous [Author] Figure 14. Fingerprints [Author] Figure 15. Ruination [Author] Figure 16. The passage of time [Author] Figure 17. Intervention in the archaeological site of the Castle of San Jorge [Márquez, 2018] Figure 18.Mind map of ‘Palimpsest’ [Author] Figure 19. Castelvecchio Museum [McCarter & Scarpa, 2013] Figure 20. Castelvecchio Museum [“Museo di Castelvecchio”, n.d.] Figure 21. Parc de la Villette [“Bernard Tschumi Architects”, n.d.] Figure 22. Parc de la Villette [“AD Classics: Parc de la Villette / Bernard Tschumi Architects”, 2011] Figure 23-24. Acropolis Museum, Athens, Greece [“New Acropolis Museum / Bernard Tschumi Architects”, 2010] Figure 25. Casemate 38 [Author] Figure 26. Casemate 35 [Author] Figure 27. Mind map of overlapping [Author] Figure 28. Fort Cumberland plan [P. A.,1992] Figure 29. Fort Cumberland plan [P. A.,1992] Figure 30-31. Theatre building and Casemate 35 [Author] Figure 32. Spatial Design Strategies [Author] Figure 33. Design Intentions [Author] Figure 34. Nodes and Visual Connectivity [Author] Figure 35. Ruination [Author] Figure 36. Dynamic Forms [Author] Figure 37. Pathways, nodes and colours [Author]
Figure 38. Absence and Presence [Author] Figure 39. Collage [Author] Figure 40. Collage [Author] Figure 41. Collage [Author] Figure 42. Collage [Author] Figure 43. Absence and Presence [Author] Figure 44-46. Lines [Author] Figure 47-49. Models experimenting lines [Author] Figure 50. General Design Intentions [Author] Figure 51. Surfaces [Author] Figure 52. Fonte Da Luz [“Fonte Da Luz/Barbosa & Guimarães”, 2011] Figure 53. General Design Intentions [“Nacho Alegre Captures Views of Ricardo Bofill’s La Muralla Roja”, n.d.] Figure 54. Casemates 34-35 [Author] Figure 55. Spatial Features [Author] Figure 56-57. Current conditions of casemates 34-35 [Author] Figure 58. Map of senses [Author] Figure 59. Landscape [Author] Figure 60. Patterns [Author] Figure 61. Materiality [Author] Figure 62. Patterns and pathways [Author] Figure 63. Fragments of time [Author] Figure 64. Design Intentions [Author] Figure 65. Experimenting with Surfaces [Author] Figure 66. ‘Fragments of time’ final model [Author] Figure 67. Landscape and Fragments of time model [Author] Figure 68-71. ‘Fragments of time‘ final model [Author] Figure 72. Theatre Building [Author] Figure 73. Theatre Building [Author] Figure 74. Sensing Spaces Installation [“Sensing Spaces | Exhibition | Royal Academy of Arts”, n.d.] Figure 75-82. Spatial experimentation models [Author] Figure 83-84. Spatial Atmosphere [Author] Figure 85-86. Theatre building final model [Author] Figure 87. Painting of personal interpretation [Author]
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