eby. Inspiration and Process in Architecture
Lord, I give thanks for the opportunities and the trials. From the bottom of my heart, thank you for your grace. The journey has been nothing short but beautiful. My sincerest gratitude to my supervisors - thank you for your support, guidance, and encouragement. Amara Iglesias and Dan Kerr Maria Mitsoula and James Perry Claire Harper and Christos Kakalis To Nathan, Sean, Ed, and Mark, I don’t know what I would have done without you. You each such talented craftsmen, thank you for teaching me so much and letting me make a mess in the workshop! I have only gotten this far by standing on the shoulders of giants. To the professional mentors, thank you for inspiring me and for all the conversations. Thank you for sharing your knowledge. Forbes Massie and Team - Forbes Massie Studio Pedro - Arqui9 Visualisations Julien Nolin
Design Projects
Chapter One: Leith Tides
P 2. 3. 2
Chapter Two: Algae Farm Cooperative
P 2. 3. 3 | P 2. 3. 4
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Chapter Three: Notes on Blindness
P 2. 4
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Chapter Four: Rosemary Stone Archive
P 2. 5 | P 2. 6
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Chapter Five: A Day in the Life
P 2. 1
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Chapter Six: Study Type
P 2. 3. 1
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Chapter Seven: Crafting Architecture
P 2. 2
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Chapter Eight: Charrette
P 2. 0
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Supporting Design Work
Competitions
Chapter Nine: 48 Hours
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Chapter Ten: Non Architecture
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Personal Projects
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Chapter Eleven: Forbes Massie Goals
Non Design Work
Technology Report
ARC 2009
Technology and Environment Report
ARC 2009 | ARC 2010
Dissertation Explorations
ARC 2020
design projects
Inspiration and Process in Architecture
CHAPTER ONE
leith tides Leith Tides proposes that the ocean should dictate the rhythms and cycles of a post industrialized Leith. Its
interesting to study the remnants of the dock infrastructure and the railway infrastructure. They almost feel like the skeletons of a once healthy body or place. Perhaps the tide could rejuvenate the urban fabric and reduce urban blight. We propose cutting canals and digging tide pools across Leith, turning disused industrial properties in waterfront prime real estate. The rising and falling of the tide will create thresholds
and boundaries, it will create rhythms of space and time in the community. Roads could shut off with the rising tide, creating pedestrian only zones. Or canals could drain with the receding tide, creating open public spaces to gather at.
[above] Abandoned Port Infrastructure, an Opportunity?
Urban Decay and Urban Blight can be seen an opportunity for an intervention. But perhaps a more bespoke form of capitalistic gentrification is required.
It may sound infeasible, but the cost of digging a canal would quickly be offset by the rising real estate value of the area. The industrial properties will quickly become warehouse conversations to residential waterfront properties. And the scheme could be replicated all along the Leith port area, creating a large economy of scale, making this scheme actually quite plausible.
[across] A Population Shaped by Trains and Tides
A deindustrialized city, Leith has signs of extensive railworks and dockworks. These infratstructure almost feel like the skeletal remains of a once healthy city.
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Chapter 1: Leith
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Inspiration and Process in Architecture
[above] Unequal Distribution of Gentrif ication Conventional gentrification has already occurred, but it isolated around a single bay. Property prices go up, and the rich live in a little bubble.
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[above] The New Old High Street Return the significance of the high street as a communal place - return the significance of the civic life.
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Inspiration and Process in Architecture
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[spread] Tidal Pools and Towers We propose a development that uses a series of canals and tidal pools to kickstart controlled gentrification of disused industrial buildings. We propose cutting canals and digging tide pools across Leith, turning disused industrial properties in waterfront prime real estate. The rising and falling of the tide will create thresholds and boundaries, it will create rhythms of space and time in the community. Roads could shut off with the rising tide, creating pedestrian only zones. Or canals could drain with the receding tide, creating open public spaces to gather at.
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Inspiration and Process in Architecture
[above] Leith is but a shadow of its former glory Every industrial building can be seen as an asset, currently valued rather cheaply. The perfect opportunity for the capitalistic economy.
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[above] A City Shaped by Tides Cutitng of canals will convert the industrial buildings into waterfront properties, making them sought after prime real estate.
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Inspiration and Process in Architecture
CHAPTER T WO
algae farm cooperative This Urban Algae Farm explores how architecture can be used as a catalyst for economy and social change. We’d often associate this relationship to the wealthy land banking, and causing real estate prices to inflate in a bubble. This leads to large social divides between the rich and the poor. Can we have an architecture that is more altruistic than that. The Urban Algae Farm is a warehouse conversation, and is run as a cooperative. Land owners convert the site into a residential property with a farm. The residents live as property guardians, neither owning the land, nor are they
architecture of social change.
considered tenants. They are active stewards of the property. An architecture that demands its inhabitants to be actively involved in the social well-being of others. In this sense, the sense of authority between land owner and worker is also abolished.
The principles can be applied to most industrial buildings, and its conversion to these algae farm cooperatives would be bespoke and unique, allowing them to conserve the port heritage of Leith. When enough of these schemes get built, the algae biofuel economy will grow in economies of scale. Leith could become an oil producing city. Leith would also have the advantage of being an agglomeration of this kind of new agricultural residential district, but is close enough to the financial districts of Edinburgh.
This architecture would also have the capacity to empower the poor. Property guardians live on the property, and help to grow algae modules as cash crops. They can start by growing it for the cooperative, and get paid a wage. As they save up, they can purchase their own investments of algae modules. This empowers the less fortunate by offering them both the dignity of shelter and work. An
By creating the shell structure and basic shell services and
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infrastructure, the developers would be encouraging more farmers, or property guardians to come and go, depending on their season of life and circumstance. The local workers would be the ones self building and self growing Walter Segal styled homes in this community within the shell structure. In summary, an architecture that shelters the marginalized, it offers them a job, it offers them investments, and it allows the lowly skilled to be retrained to enter the petrochemical industry.
Chapter 2: Algae Farm
[across] A City Shaped by A lgae
Algae Modules growing in algae farm cooperatives, where farmers are not workers, but rather property guardians.
[above] Shell Structure that invites Self Build Self Grow
Basic services that allowing for a Walter Segal style of construction, while offering the residents a job.
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Inspiration and Process in Architecture
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Inspiration and Process in Architecture
[page 13] 1:100 Plan of Warehouse Conversion
[page 14] 1:50 Plan of Individual Houses
1:100 Plan of the Warehouse Conversion, allowing for up to 8 Walter Segal Houses to be built, accommodating 16 families. Note the distribution of agricultural spaces and residential spaces, creating a descriptive language.
1:50 Plan of house, allowing two families moving into each half of the house. All spaces met London Space Standard Study.
[page 13] 1:100 Section of A lgae Farm
[page 14] 1:50 Section of Individual Houses
Note the proximity between neighbouring houses, and the relationship between Segal Houses and the shell structure.
Note program of rooms being converted to agricultural spaces. E.g. different families may have differing agendas, some may want more income before they have children.
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Chapter 2: Algae Farm
[above] 1:100 Elevation of A lgae Farm Refurbishment
Shell structure sits in relation to the rest of Site A. Note that Site A is right by the coast, therefore a more elaborate weatherproofing and insulation strategy will need to be developed.
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Inspiration and Process in Architecture
[above] Communal Cash Crops Communal Cash Crops but sold to individuals, allowing the individuals to take ownership of their own investments, empowering them with decision making.
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Chapter 2: Algae Farm
[above] Construction Program of Self Build Self Grow Timber Frame structure allows for rapid expansion, refurbishment, or demolition of houses. The construction strategy allows the architecture to be adaptable and resillient to change. Site is also served by two main roads, allowing for the access of heavy goods vehicles, allowing construction material to be readily brought in or removed.
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Inspiration and Process in Architecture
[above] 1:200 Expression of Site Development
Mastered AutoCad and the Laser Cutter. Its an amazing tool to mass produce and design through iteration.
[across] 1:5 Expression of Structural Joint Detail
Expression of wood juxtaposed against Leith’s grey hues would create a softer, warmer atmosphere.
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Chapter 2: Algae Farm
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Inspiration and Process in Architecture
[above] 1:50 Structural Strateg y
Walter Segal Style Self Build construction techniques. Note how there are only 3 different component dimensions, allowing for greater flexibility and availability of resources,
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Chapter 2: Algae Farm
[above] 1:50 Relationship between New Structural Strateg y and Existing Stone Facade
Program of homes slot in quite quickly and readily in the proposed design.
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Inspiration and Process in Architecture
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[across] Initial Sketch of Intervention in site’s existing Urban Fabric
Repetition of breaks in the stone wall creates an dynamic language that is accessible from two sides.
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[above] 1:50 Study of Materials and Weathering
Wood and the steel frame shell with ETFE roofing may not weather well in Leith’s coastal environment. Look for mitigating strategies to prevent structural damage.
Inspiration and Process in Architecture
[above] Initial A lgae Cash Crop Sketch
Initial Sketch of Algae Modules as cash crops, study of their size to create a rather ergonomic module.
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Chapter 2: Algae Farm
[above] Digital and A nalogue Mixed Media Sketch
Note on the technique, it allowed me to tackle the design from several points of view simultaneously - a useful method of approach.
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Inspiration and Process in Architecture
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Chapter 2: Algae Farm
[spread] Assimilation of Technolog y to Push Design Process through Iteration
Mastered AutoCad and the Laser Cutter. Its an amazing tool to mass produce and design through iteration.
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Inspiration and Process in Architecture
improvements z re flections There were major shortcomings in my work-flow. This takes the biggest priority and I need to figure out and improve on immediately. I had built a really detailed 3D model, but polygon modelling produces inaccurate plans, sections, elevations from the model. As a result, I had to hand draw plans, sections, and elevations in the last minute. It all worked out in the end, but this work-flow and the choice of programs are not suited for architectural design.
amazing details and free play in design - you are only limited by your creativity. This makes it especially useful for the digital environment, mainly rendering software and visualizations. At the time of the project, I had enough mastery of the software to make what I wanted to make. However, I now know that these software have their weaknesses, and the work-flow may not be well suited for me.
[above] Doing work twice due
Had to remake the model with great difficult in Sketchup. It caused a lot of anxiety to have to rush everything out in time for the pin up, I resorted to hand drawing all my plans, sections, elevations.
[across] Strengths and Limitations of Polygonal Modelling
Polygon modelling shines when it comes to rendering and architectural visualizations, but its not accurate when attempting to make shop drawings.
After more studying, I’ve learnt that Cinema 4D and 3Ds Max are polygon modelling tools. Polygon modelling and sub object modelling allows for extremely
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Chapter 2: Algae Farm
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Inspiration and Process in Architecture
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Chapter 2: Algae Farm
[across top] Thoughts on Mariusz Becker’s Octane Rendering Technique
The scientific background makes this easier to understand for me. But there is a lot of technical knowledge to learn and I’ve barely scratched the surface [across bottom] Comparison against Technique
A rqui9’s
Matte
Painting
Arqui9’s matte painting technique is a lot more hand drawn that I had expected. I don’t have the art background to do it as well. [above] Combination of Both Techniques
A combination of both seems too confusing for me to work out now at the moment. I’m trying to simplify the process.
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[spread] Finals Thoughts on my own Style
I’ve come to understand the theory behind modelling and rendering, now all I have to do is keep practicing. I’ve explored different methods, and soon I’ ll be able to develop my own work-flow. Hopefully I’ve learnt enough this year to prepare myself for Stage 3.
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Inspiration and Process in Architecture
CHAPTER THREE
notes on blindness A film about a man losing his sight, and he records his world through a memoir of audio diaries. There were many themes explored in this movie. Group E3 aimed to investigate and interpret three of these themes. The motif of curtains, the sense of loss of senses, and the idea of being trapped in our project. These themes are recurring throughout the film and have been analysed and investigated through models and reinterpreted through film in our work. We tackled the project from the experiential perspective first. What was it like to have a loss of one of our senses. Textures offered a good starting
to be experienced in all five senses, and that it shouldn’t simply be just a film. The maquette and the film had to work in unison. Thus, we did both maquette and film at the same time. Aiming to get scenes and model to compliment and contradict each other. Its relationship was the medium of our experience, aimed to confuse the audience. Just in the same way someone who has to deal with a loss of sense would experience.
point. The investigations on the left attempt to recreate how a partially blind audience would experience these textures. Even if you can’t see the texture, it still gives you a sense of warmth, grain, smoothness, hardness. How can we convey these experiences across and get the audience to focus less on seeing with their eyes, and focus on seeing with their other senses. “The elements of architecture are not visual units or gestalt; they are encounters, confrontations that interact with memory.” Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses
Visual, audio, and tactile stimuli don’t add up into a cohesive understanding of the environment. The audience is confronted with a situation and is forced to make a decision - accept the situation that he’s in and
This exercise helped us to understand that the experience had
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attempt to come to terms with it, or reject the situation and attempt to flee his circumstances. As a whole, we found the relationship between the film and the maquette to have been successful. We should have made a better attempt at making the film a more successful standalone piece. It had expressed the visual aspect of our project, but had failed to represent the project as a whole concept. More improvements will be made in time for the final portfolio. Perhaps the focus could be on presenting the film on the internet.
Chapter 3: Notes on Blindness
[across] Expression of a Blind Man’s Sonar
[above] Exploration of “Sonar” in LIDA R Surveying
Inspired by concept art done by the Daredevil movie.
Lidar Data creates point clouds which almost reflect the rain drops falling on textures and masses.
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Inspiration and Process in Architecture
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Chapter 3: Notes on Blindness
[across] Storyboarding Blindness�
Interpretation
of
“Notes
on
We aimed to create a movie of emotions, rather than just telling a narrative. The roller coaster of emotions would help you create your own narrative.
[above] Dirty Modelling for Maquette
Experimentation of different ideas for the exhibition.
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Inspiration and Process in Architecture
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Chapter 3: Notes on Blindness
[across] A xonometric of Final Maquette
Diagram of final maquette to best explore what textures we’ d want to fill the bags with. Also helped to calculate how much material we needed to get.
[above] Maquette and Film on Display
Expression of maquette and film working in conjunction to mess your senses up.
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Chapter 4: Rosemary Stone Archive
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Inspiration and Process in Architecture
CHAPTER FOUR
rosemary stones archive This project proposes to consolidate, catalogue, and preserve Dr Rosemary Cramp’s Anglo Saxon Stone Collection in a bespoke architecture. It was inspired by the process of working stone, from quarry to final product. I wanted to learn the nature of stone through the process of making.
windows, creating flexible and permeable thresholds. All this was in line was the history of Durham stonemasons, who through Gothic architecture, pushed what was conventionally known as a heavy material, and created atmospheres of light and air out of it. Its a contemporary proposal, but guided by tradition.
“Light doesn’t shine from behind the stone, nor does it reflect off the stone, it almost seems to glow from within” Lustre is the contemporary design language that I proposed for this project. My language of lustre is changing the geometry and structure of stone at different scales to create plays of light and shadows. The resultant form was the perforated screen. These screens were integrated into
Subtraction. I realised soon enough that working with stone is all about subtraction. The nature of stone is destructive, and you constantly take material away from the raw block. To sculpt a block, one has to visualise the positive massing that he wants, but then understand the negative masses that he will remove. He can only get the positive by first completely understanding the negatives.
This was a huge challenge for me personally, because stone was such a foreign material to work with, and it never ever works in addition. Carlo Scarpa’s theory of Humble Material and Precious Material. He argues that materials have relationships in a similar vein to warm and cold colours. It isn’t the material that is interesting, but the relationships between the humble and the precious - the dynamics that arise from their juxtaposition. From the city’s urban fabric, I chose two materials Durham sandstone, and concrete to work from. My intervention speaks two languages, it speaks to the old Durham, the sandstone cathedral and the castle. But it also speaks the language of concrete. It mediates between an 45
old world and a progressive world. However, if you asked me which was the humble and which was the precious material, I still have no idea. They are both simultaneously humble and precious, one or the other, but never both at the same time. The last key focus for this project, and a personal response to the criticism from the Leith project, was to develop the bulk of this project through drawings, Carlo Scarpa style. And to also better express the architecture through drawings (my previous drawings were just weak). So I developed this Rhino workflow, which allowed me to tackle drawings, modelling, diagrams, and atmospheric expressions in a more efficient manner.
[page 41] Spatial Distribution of County Durham’s Quarries and their respective Geological Characteristics
County Durham’s long history with mining and coal.
[page 42] 1:1500 Spatial Distribution of A nglo Sa xon Stones across Durham
[page 44] Proposal of St Cuthbert Pilgrimage
St Cuthbert Pilgrimage - an act of penance and healing, the cleansing of your sins through God.
[above spread] 1:100ish Sectional Perspective of Rosemary Stone A rchive on Site
Project Declaration of my program and proposal Anglo Saxon Stones were so banal in this region, they had become part of their context or architecture.
[page 43] Relationship between St Cuthbert’s Pilgrimage and Dr Rosemary Cramp
Working with stone requires almost a meditative state. A meditative space will serve many communities and activities - the Cathedral, and the University.
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[spread] 1:100 Ground Floor Plan
Note the large open air outdoor workshop area. Note that the covered spaces are nearly entirely for services for the workshop. E.g. - ventilator pumps which prevent the build-up of harmful substances in enclosed spaces.
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Inspiration and Process in Architecture
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[spread] 1:100 First Floor Plan
The entrance to the archive is through the boathouse, and follows a subtraction gesture derived from I. M. Pei’s Lourve Entrance. Note that the First floor contains a smaller indoor carving workshop.
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[spread] 1:100 Second Floor Plan
Open plan gallery space on second floor with grid to allow for the use of partition walls. Note the relationship between the gravity retaining wall, the screen, and the indoor space. The outdoor structure becomes almost indoors, and a traditionally indoor structure becomes outdoor. The screen blurs the threshold between the spaces.
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Inspiration and Process in Architecture
[above] Screen becomes the Gallery
Mastered AutoCad and the Laser Cutter. Its an amazing tool to mass produce and design through iteration.
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Chapter 4: Rosemary Stone Archive
[above] Expression of A rchive’s 5th Elevation - Roof
The views from the Kingsgate Bridge opens up a completely new elevation - the roof becomes a new elevation on its own, and in this regard, gains significance. Note that the atmospheric isn’t the most convincing piece of work. It’s one of those things that seems to talk a lot, but doesn’t say anything important. Go improve on it.
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[spread] Integrated Strategies throughout intervention and site
From top left: Anglo Saxon Stone Collection in its new sculpture park on the retaining walls Roof exploded to show Structural Strategy Accessibility through the complex Main Load Bearing Structures Gravity Retaining Wall Structure Diagram of overall complex Screen Facade and its Secondary Structure Services Strategy for Electrical, Water, Hydraulics, Dust Extractor Plants
Inspiration and Process in Architecture
[above] 1:100 Final Model
A reminder that despite all the drawings you made, it was really obvious that the final crit lacked a model. It’s really obvious.
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Chapter 4: Rosemary Stone Archive
[above] Lustre of Light pouring out from within the archive
The views from the Kingsgate Bridge opens up a completely new elevation - the roof becomes a new elevation on its own, and in this regard, gains significance. Note that the atmospheric isn’t the most convincing piece of work. It’s one of those things that seems to talk a lot, but doesn’t say anything important. Go improve on it.
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Inspiration and Process in Architecture
[above] 1:100 Model of Boathouse
Stone Rendered over blue foam. It was simply sand mixed with white paint, rendered over to look like stone. It was surprisingly successful and convincing. What this be considered an engineered stone product then?
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Chapter 4: Rosemary Stone Archive
[above] 1:100 Model of Flood Proof Barrier and Gravity Retaining Wall Structure
If you really think about it, the design effectively creates a swimming pool. What are my flooding counter measures?
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Chapter 4: Rosemary Stone Archive
[across] Expression of Window System in Use
Diagram of full range of motion of windows in use. Had originally intended it to work as a gif.
[above] Exploration of Lustre through Screens
Material testing of lustre to create glows and shadows. Relatively small scale and felt like a wind chime, but it was a successful proof of concept.
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Inspiration and Process in Architecture
[above] 1:20 Model of Slate Cutting and Processing
Processing of Slate Blocks into thin tiles was quite challenging. Splitting of the rock could be guided, but ultimately cannot be controlled. There was quite a lot of random results or results where the whole piece just shattered. Was also very surprised that I was able to saw slate with a hacksaw, it is a very soft stone.
[across] 1:20 Detail of Window Detail and Mechanism
Full open tilt window of screen and glass. Inspired by Sir John Soanne museum’s room of paintings hung into window brackets.
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Chapter 4: Rosemary Stone Archive
Slate Protection Screen Turn-and-tilt-lift window Bafle plate 8mm toughened glass 180mm ventilated intersititial space
60mm ceramic cladding 40mm ventilation cavity 180mm rockwool insulation with glass-fibre foil 250mm reinforced concrete
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Motor and control unit Opening for crank for manual operation Carraige
Inspiration and Process in Architecture
[across] Expression of Lustre through Final Model
Study of lustre coming from within the architecture. The architecture was processed as a stone, quarried and processed. And finally it shines and sparkles like a gem.
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Chapter 4: Rosemary Stone Archive
[above] Initial Sketch of Lustre through Screens
An investigation as to how the language of screens will sit on the slope of the site.
[next spread] Expression of Screens Playing with Light
Expression of stone playing with light, which plays back on stone.
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Chapter 4: Rosemary Stone Archive
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Inspiration and Process in Architecture
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PLASTER MODEL
[spread] Positive - Negative - Postive - Negative - Positive
Created a Positive Site Model, which was then used to make a negative plastic cast. The original positive site model had to then be carved out and destroyed. So the negative plaster cast could then be filled with plaster. The plaster was left to set. And then the negative plastic cast had to be destroyed with a heat gun. Finally resulting in the positive plaster cast. My final expression of stone. But it was the five stage process of producing this piece that really taught me the stone’s subtractive nature.
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Inspiration and Process in Architecture
[above] 1:200 Expression of Subtraction
Final expression of the subtraction. Also an expression of how the process is in many ways, more valuable than the end result.
[across] Precedence of I.M Pei’s Lourve Entrace - a Study of the Void Created through Subtraction
Initial Sketch and analysis of the subtractive gesture in real practice, and how the circulation of people almost becomes like water eroding at the void.
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Chapter 4: Rosemary Stone Archive
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Inspiration and Process in Architecture
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Chapter 4: Rosemary Stone Archive
[across] 1:200 Development of Design through Subtraction
Half section of models helped to inspire the making of the sectional perspective drawing.
[above] In Praise of Shadow
Initial Sketch and exploration of the atmospherics that could be achieved through monumental stone. Reminded me of Tado Ando’s heavy concrete.
[next] Zen through Subtraction
The final end result of quarrying into the site to house all of the Anglo Saxon Stones.
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Inspiration and Process in Architecture
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Chapter 4: Rosemary Stone Archive
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Inspiration and Process in Architecture
[top left] Relationship between Plaster and Cement
Exploring the Mechanical Joint between Plaster and Cement, expressed as a river of cement flowing through.
[top right] Relationship between Plaster and Cement
Exploring the resultant form of altering the “micro structure� of the surface of one substance with another.
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Chapter 4: Rosemary Stone Archive
[top left] Relationship between Plaster and Concrete
Exploring the chemical composition of said materials, and an attempt to transform a simply material into something beautiful and precious.
[top right] Relationship between Plaster and Concrete
Developing the “microstructure� of a simple material, creating something even more beautiful and precious. The result is a wafer texture and highly polished concrete.
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Inspiration and Process in Architecture
[page 79] Initial Gesture of Massing
Carlo Scarpa Study of Drawing and thinking about his forms and spaces.
[page 80] Initial Gesture of Accessibility through Erosion
Carlo Scarpa Study of Drawing and thinking about his forms and spaces.
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Chapter 4: Rosemary Stone Archive
[across] Carlo Scarpa Study - Development of a Humble Material into a Precious Material
Processing of simple slate into something very precisely cut and highly polished. Redifining the nature of conventionally associated prcious material.
[above] 1:100 Maquette - Gesture of Material and Structural Strateg y
Carlo Scarpa Study on the relationship between concrete, slate, and the metal structural straegy. Which is the humble material, which is the precious material? Why?
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Inspiration and Process in Architecture
improvements z re flections I’m satisfied with the improvements that I’ve made since semester one with regards to my work-flow. I had set targets and had met them. But the work never stops, a lot more improvements can be made with regards to time management, doing portfolio consistently throughout the year, and with my oral presentation. Summer will be spent perfectly the work-flow, and preparing it for the intensity of stage 3. For example, more improvements can be made to my V-ray techniques, and I should look at more cross disciplinary arts to improve my portfolio. Perhaps even a website? Also as a community, our
studio should conduct internal crits. We are learning so much more through peer learning already, we might as well organize internal crits or roasts to push each other even harder so that we may all rise up together.
[above] NUR BS modelling study
I’ve learnt a lot, but the more you learn, the more you realise that you don’t know even more things. I need to find master students as mentors.
It’ll also be really useful to get masters students to come for these roasts, and to hear their feedback.The more exposed I can be now, the better. Exposed to new techniques, to different opinions, to a wider school of thought. It’ll be great to look for a mentor to push me harder than I can push myself.
[side] Final Pin Up
Note to add more colour in in the next project.
And I really need to dilligently do portfolio next year.
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Chapter 4: Rosemary Stone Archive
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supporting design work
Inspiration and Process in Architecture
CHAPTER FIVE
concept My intent of “The Day in the Life” exercise was to stretch my design vocabulary. I rarely ever use colour in my design process or final output. Very often I use the excuse that “I have never taken art in school”. I’m starting to see how a strong foundation of colour theory can be an effective tool in composition. As such, I wanted to force myself to jump into it, to stop making excuses, and to just try it. The results exceeded my expectations. I took inspiration from studying the colour combinations used by matte painters from movie concept art. And aimed for bold gestures before going into detail. These simple rules
[above] Perception of Light and Colour 001
and techniques helped me get quite comfortable with experimenting with colour. I found it particularly interesting that the less I tried to photorealistically represent the colours, the healthier the image felt. It seems to be more about the relationships between colours than the precision of colours.
Exploration of the perception of light and colour at dawn. Sketched and digitally matte painted my room.
[across top] Perception of Light and Colour 002
In relation to music, this concept appears similar to how harmonics work. Its all about the relationships between warm and cools, lights and darks. And once I got my head around it, I really enjoyed working with colour, and can say that I have tried to incorporate these principles mainly into the concept drafting phase of design.
Exploration of the perception of light and colour at noon. Sketched and digitally matte painted my room.
[across bottom] Perception of Light and Colour 003
Exploration of the perception of light and colour at dusk. Sketched and digitally matte painted my room.
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Inspiration and Process in Architecture
NEWCASTLE UNIVERSITY. ARCHITECTURE, PLANNING & LANDSCAPE STAGE 2. 17/18. SEMESTER. 1. ARC2001
Urban Context
Residential Commercial Community School New Ground Co Housing
New Ground Co Housing is a modern interpretation of the traditional English mew. The urban plan shows the development to be tucked away from the main high streets. However, residents are still able to access circulation routes. This allows a walking micro city to be created within the neighbourhood.
NEW GRO UND CO HO US ING
The demongraphics of its immediate surroundings also show a diverse group of communities. This allows residents to be exposed to a range of social situations. Microspaces along these circulation routes allow for interesting scenarios to play out.
1:1250 Location
CHAPTER SIX
precedence study Precedence Study was insightful in declaring the function and program of the building. A formalised approach allowed for many buildings to be cross referenced against the database that was set up in the corridor. It also showed us how to look for appropriate sources.
a visually more interesting way. I have yet to work on that. But overall, it taught us a few handy tricks.
[above] Urban Context of Neighbourhood
Spatial Distribution of Mews around neighbourhood, and Newground Co Housing’s relationship to them.
[across top] Local Description of Site
It was particularly useful to learn about Planning Portal and how to extract plans, sections, and elevations of existing buildings. Cross referring that to Digimaps and Google maps, can create a convincing report.
Interaction between domestic private spaces and the communal outdoor space.
[across bottom] Inhabitation and Detail of Balcony Key Space
Perhaps something that was a struggle is figuring out how to represent a rather dry report in
Key balcony space serves as threshold between communal and private.
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Chapter 6: Study Type
Garden Microcity
Garden Microcity
Main entry route Circulation routes
This housing is internally focused. People gather in the garden which has a impoortant role of being a strong community. In this house, garden is a medium of connecting all dwellers and each f lats. The face of the each houses is towards to the garden, which allows communication and focused the sense of community
Individual Dwellings
The garden is surrounded by the building, so it is hard to intergrate with outside. However, for dwellers, it is more important to live collaboratively with themselves. And this is key point for cohousing to make strong and efficient community in the house.
This elevation is representative of the collective. Shown in the drawing are examples of the two story f lats, car park and communal spaces within the building. Each f lat is designated a balcony or view onto the main garden where access into the ground f loor communal house can be achieved.
1:500 Massing
1:200 Collective
Construction Detail The model shows the window and balcony detail of one of the apartments at 1:5 scale. This highlights the threshold between inside and out, the boundary between private and communal. The balcony provides a place for both relaxation and communication, whilst overlooking the heart of the co-housing, the communal garden a space for activity and socialising.
At first glance, the spaces appear to be random. Upon closer inspection, they follow a standard layout. This allows for a degree of playfulness to be executed in a controlled manner. This also creates depths between the balconies, allowing to interact with each other. The interiors also face the setting sun, creating well lit ambient spaces in the evening.
1:50 Dwelling
1:5 Detail
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CHAPTER SEVEN
mapping context Abstract mapping seems to achieve a better read of the qualities and characteristics of the site. Tangible mapping techniques are important aspects to consider, but they fail to tell the key narrative of the site and space. As such, I have made it a point to attempt to tell a narrative through my site analysis and mapping. It can be so much more than just a map with a sun path.
This particular exercise was an exploration and expression of the area around the civic centre, right in the heart of the city. The life in and around the site was so much more interesting than just the static information. I attempted to
record the interactions between the crowd, and how does interactions were informed by the spaces that they were in. The textures of the landscape appeared to strongly influence their gait, stride, pace, posture. By comparing the variety of activities, and the distribution of textures, I can propose that textures have a strong influence on people’s ergonomics. It creates a link between materials and activities, and this in return adds another layer to the palimpsest of information that the site has to offer.
[above] Mapping of Activities every 100 Steps
Mapping of activities around civic centre over a duration of 1.5 hours.
[across] Mapping of Textures every 100 Steps
Having a narrative behind one’s site analysis is really helpful in opening up discussions. It is such a powerful tool.
Mapping of textures along same path around civic centre.
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CHAPTER SEVEN
dirty modelling Modelling has always been a more intuitive way to help me understand a space or form. It has been my primary means of design iteration and development, and I’ve gotten rather efficient at dirty modelling. I call it dirty modelling because its sketchy and more often than not, its made of scraps or whatever I can find lying around.
modelling more during the earlier stages of design. I should also focus on developing a really high quality final models for final crit. Also, more integration between digital modelling and physical modelling needs to be expressed. Perhaps I could show a mixed media model of high tech and low tech processes. It needs to be read as a labour of love.
[above] Dirty Modelling and iterations
A combination of laser cutting modules and repetitive parts, and then just doing the rest by hand.
[above] A ll the Models I made this year
I use a mixture of digital tools like CAD and the laser cutters, and analogue tools like the workshop machinery, and that has served me well up to now. I was rather disappointed that I was unable to produce a final high quality model in time for the final crit for semester 2. After reflecting, I use
Slightly more than 4 shelves full
[across] Large Scale Modelling
Large scale modelling with heavy machinery.
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CHAPTER SEVEN
diagrams The diagram workshop was actually really useful. Seeing the relationships between the diagrams highlighted several aspects that I would never have considered. It goes back to how Maria Mitsoula has been encouraging us to tackle architecture: work through many mediums and through many scales. When you get bored or stuck on one, move on to another, you’d work your way through the project more effectively by tackling it from many angles.
By laying out all the iterations and strategies, I was able to draw connections and create new relationships between the design decsions that I had made. The evolution of design was
your project, and has many pros of diagrams, contextualised site analysis, and it shows the spaces being inhabited, creating an atmosphere. Its a useful jack of all trades initial drawing.
also interesting to compare. By comparing my process work between the two terms, it feels like I tend to explore diagrams, and even diagrammatic maquettes towards the later stages of the design phase. I appear to use these tools to develop specific details. Moving forward, perhaps I should aim to utilize them earlier on and perhaps all throughout the design process.
To express these drawings, I found Julien Nolin’s rhino workflow to be the most efficient. Section Tools and Make 2D are the most used commands, and setting an interesting camera point of view is key as well. A combination of render and shadow outputs create a useful distribution of values, opening up possibilities for early concept sketching.
Perhaps the most useful diagrammatic strategy that I found this year was the utilization of the Sectional Perspective. These were inspired by the book “Manual of Section” by D. Lewis. He argues that sectional perspectives are extremely useful in introducing
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[across] Palimpsest of Strategies Mastered AutoCad and the Laser Cutter. Its an amazing tool to mass produce and design through iteration.
[above] Diagrams of Design Iteration Mastered AutoCad and the Laser Cutter. Its an amazing tool to mass produce and design through iteration.
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CHAPTER SEVEN
detailing Detail Magazine is probably the most used techonology magazine for our entire course. I have noticed that many people in the course, myself included, are not well versed with structural engineering or construction. We don’t actually know how a building stands up. I really struggled in this aspect of the project. I will endevour to improve on this over the summer. A conversation I had with a practicing architect, and a graduate from Bath University also highlighted this. The practicing architect mentioned that most of the time, their designs derive from the application of structural
systems and construction techniques. In this sense, architecture is always subserveant to construction. Similarly, the Bath graduate mentioned that he was trained to make a building that could actually stand up, not an artsy fartsy exhibition.
[above] Plein Air Detail Study When was the last time you got out of the studio and really looked at architecture. Not just see, but actually looked and studyed. [across] Structural Details in Design
I neither am for nor against their points, I’m simply agreeing that I am not well versed enough, and there’s lots of work to do to improve in this aspect.
Study of Structural Details for Rosemary Cramp Archive Proposal; Clockwise from Top Left: Massing of Retaining Wall Study, Gravity Retaining wall and Soil Nailing Combination, Calculations of optimal facade dimensions, Building as a Buttress
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Inspiration and Process in Architecture
CHAPTER EIGHT
magspace Charrette run by Steve Parnell aimed to build a library of architectural journals in a week. Just some light work for the first week of school.
“How do you consume your architecture?” - Steve Parnell. His statement has stuck with me for a while now. And it really challenged me to move away from pinterest and archdaily, it challenged me to hunt for the experts and listen to what they had to say. The key feature of the magspace was meant to be the large wooden joint counter top. The process of making it was relatively straightforward - cut beams into strips, glue and clamp the beams,
sand the plank smooth.
[above] Magspace done and dusted
“We are now turning towards the old materials that we have been neglecting. People now feel that wood is better than plastic because these traditional materials provide warmth. Embracing the traditional provides warmth and softness.” Sol Yi-Hwan
One week of intense woordworking and catalouging culminates in the opening of the mag space. Most populat magainze is easily DETAIL magazine.
[across] Food for Thought
It was also rather poetic that both the message (the paper from the magazines), and the vehicle (the wood from the bookshelves) both come from the wood. Wood is able to retain a residual warmth even in death, and working with wood almost felt like speaking to the soul of the forest.
“How do you consume your architecture” -Steve Parnell
[next] Carpentry Glue laminating, sanding, and a quick glaze of lacquer.
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Chapter 8: Charrette
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competitions
Inspiration and Process in Architecture
CHAPTER NINE
4 8 hours Construct - 48 hour Design Challenge was a competition jointly organised between Newcastle and Northumbria University’s architecture departments. The brief was to design a bandstand installation for a park in Ouseburn Valley.
I participated with Zhang Xue Qing, Michael Huang, Tobias Himawan, and Vito Sugianto. It was a really enjoyable 48 hour challenge, we pushed hard and barely slept. The most surprising thing was the amount of work we actually produced in 48 hours. It exceeded our expectations. Perhaps my biggest takeaway from this competition was that
there isn’t a right or wrong answer, and there’ll never be a perfect project. Architecture is inherently subjective and biased - there are aspects that I was particularly proud of, but I’d now change without a moment’s notice. Perhaps the key thing to focus on would be the rigour of my investigations. Producing both quality and quantity in my work. This competition happened early on in the academic year, and it helped to set the tone and pace of my work ethics this year. As for the project itself, our design was to create a flexible circular stage that could change its form and function. This would support a variety of user groups -
couples might use it as a seating area, whereas a group of children might use it as a playground. For larger groups, its curves would fold into a shell shape and amplify the acoustics of a performance. The design calls for the upcycling of plastic PET bottles to create our wall panels. This fits in the context of the scrapyards in Ouseburn Valley, and compliments the night program of bars in the area. We had also positioned the bandstand in the middle of the arches. The arches support the train line running across the valley. The arches create amazing acoustics. Our intervention would create acoustics that would compliment
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or even antagonize the acoustics of the space. Performers would create atmospherics from this play and conflict of acoustics. As a whole, the project had shortcomings in terms of its structural strategy. We had thought about it, but expressed it poorly in our final pin up. That was a reminder for me to strive for a robust design and a comprehensive proposal.
[across] Team Members from right to left
Michael Huang Edward Yan Tobias Himawan Zhang Xueqing Vito Benjamin [above] Certif icate of 2nd Place
“I’m an award winning architect” - jokes
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“Calling all artists, Ouseburn's open!'' 11/11/17 109
Opening gig - tickets going fast
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OH! Its made of recycled bottles!
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08/01/18 8
ITS TIME TO GO?
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Inspiration and Process in Architecture
CHAPTER TEN
non architecture A more conceptual design competition titled - Dancing. The brief was to design a design for the future of dancing. I had participated in this competition with Kenny Tam, and Tobias Himawan.
Our proposal called for a wearable architecture that responded to drinking and dancing. Alcohol is a social lubricant, and dancing is the
expression of that lubricant becoming fluid and flowing through the space. We left many things about it abstract so the audience can fill up its program with their imagination. this project felt more playful and like it was there to raise curiousity rather than create a design solution to address a hard issue. The biggest challenge was that three of us had completely different
representation styles, and it was honestly a struggle to bring it all together. It created a bit of friction, but we completed it in the end. It was a good lesson to learn amongst friends now. We might have the same ambition and drive, but the expression and execution of the work might create more tension than what its actually worth. In this sense, its also important to identify your working style and find complimentary individuals.
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The uncanny part was that another participating group submitted quite literally an identical submission, and sadly, we did not win anything.
[spread] “Presentation” - Kenny Tam Mastered AutoCad and the Laser Cutter. Its an amazing tool to mass produce and design through iteration.
“Technical” - Edward Yan Mastered AutoCad and the Laser Cutter. Its an amazing tool to mass produce and design through iteration.
“Conceptual” - Tobias Himawan Mastered AutoCad and the Laser Cutter. Its an amazing tool to mass produce and design through iteration.
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personal projects
Inspiration and Process in Architecture
CHAPTER ELEVEN
forbes massie goals Everything in the following pages are 3D modelled in either Rhino 3D, or Cinema 4D. Then rendered in either V-ray or Octane renderer.
I have developed a keen interest in the Architectural Visualization industry - the portrayal of architecture through 3D modelling and rendering. It really grew on me over the years. One of my biggest inspiration is the work from Forbes Massie Studio. They focus on atmospheric, painterly like architectural visualizations. The behind the scenes work is just as impressive. The team regularly studies art and galleries, photography and composition. What I’ve taken away from them
is that its not just about technique or settings. There’s a lot of art going on being and in conjunction with the science. Another strong inspiration comes from the Visual Effects Industry. Particularly, Industrial Light and Magic, the group responsible for the CGI in Star Wars and Marvel, and just about every other sci-fi/ fantasy movie ever made. VFX is so similar to architecture in so many ways, its both an art and a science. There’s so much technical knowledge to learn - physics, computer systems. But also just as much artistic knowledge to develop - composition, lighting, colour
theory. There are so many different work-flows and approaches to this as well. A more artistic work-flow would be the Matte Painting techniques used by Dylan Cole and the Arqui9 team. I’ve tried to explore this - it’s useful in concept sketching, and blocking out large gestures. But honestly, I’m not very good at matte painting, especially the detail work. It requires a really strong foundation of art, and I haven’t had the years of training in art school to develop the artistic eye. My preferred work-flow would have to be 3D modelling, Unbiased Rendering, and Post Processing. I am naturally more inclined to model, and can better
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conceptualise and work with a 3D form. Overall, I have a stronger affinity for 3D modelling and that has helped me develop similar skills, techniques, and work-flows that push my design projects forward. I explored Polygonal Modelling software in 3Ds Max and Cinema 4D. Cinema 4D was especially fun because of its physics simulators. But I’ve learnt that a NURBS based modelling software has the most robust workflow for architecture projects. I can quite confidentially say that I am at the moment, rather strong at Rhino3D, and am confident of being able to figure out how to model anything.
Chapter 11: Forbes Massie Goals
[across] Improving my techniques
NUR BS
based
modelling
Analysis and study of Boolean operations and using them in combindation.
[above] Improving my techniques
NUR BS
based
modelling
Analysis and study of Loft operations, and using them in combination.
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[above] Improving my techniques
NUR BS
based
modelling
Combination of a variety of basic and complex commands in sequence. Drawing Curves, Extrusion, Scaling, Loft, Boolean Operations, Section Tools.
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[above] Challenge: Modelling Tensile Structures with basic parametric modelling in Grasshopper Exercise was kind of successful, but note that 3D model was a bad model. There were many unresolved subobjects.
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[above] Expression of Blown Glass Work based on tutorial by Nikolaus Schatz. Modelled in Cinema 4D, rendered in Octane Render. First test of ultra high settings on octane - GPU rendering for 8 hours with a fan cooling the whole system. This taught me how to not kill my CPU, installed BES CPU limiter as a response.
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[Above] Expression of Glass Waves Exploration was inspired by Ben Young’s Glass Wave Sculptures. Possible use in site analysis.
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[above] Expression of Bamboo and Concrete Span Trying to explore something actually quite structural, this was quite challenging to model.
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[above] Microscopic Bokeh World Study of depth of field and bokeh effect in 3DA rendering. Note that it requires rather intensive CPU processing. Place CPU limiters when doing this. GPU will not help.
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[above] Exploration of Foster’s Gherkin This was really a test of modelling skill. It showed the benchmark that I had achieved. Consolidation and application of Nikolaus Schatz’ modelling techniques. The cap was particularly difficult to model. A lot of dirty lofting was used, and final model was broken in several places. Showed the difference between Polygonal Modelling and NURBS modelling.
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[above] Exploration of Tensile Structures with real world physics in 3Ds Ma x A lot of follow through and array commands were used. Ropes in Tension were created using a third party script created by a member of the forum. You can learn anything through forums, youtube, and the internet.
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[spread] Pills in Pills Introduction to real world physic simulations in Cinema 4D. For example, gravity was simulated to allow inner balls to drop and settle into their place within the pill. Spent a long time trying to figure out the specular maps and settings for the outer pill’s transparent plastic casing. Note, gravity simulation is an intensive CPU process as well. However, can be useful in architectural renderings -
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for example, ETFE roofing in Leith’s Algae Farm project was created using these principles in a gravity simulator. Gravity simulator was applied to Cloth Object, allow folds and creases of the ETFE roofing to be modelled and rendered. This render also introduced the idea of rendering BIG. Shrinking the render to a smaller size makes it sharper and clearer. Principles can be applied to other visualisation techniques.
Inspiration and Process in Architecture
[above] 3D Modelling of Mountains and Simulation of Snow Particles Real world simulation of particles in Cinema 4D, elephants were photoshopped in just to be playful. Physical simulation really challenges the way one would conventionally model. The 3D model is no longer static, it’s dynamic and the results can really surprise you. There’s also a new element of timelines to play with. The amount of time that allows the snow to fall for can be precisely dictated, and that influences the total amount of snow on the mountains. e.g the time influences the resultant form. You are modelling both space and time now, and that’s rather exciting.
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[above] Wireframe for Site Analysis? It started with a back to basics training session with GreyScaleGorilla for this 3D model. But it led to an exploration of non conventional forms of expression for possible site analysis studies. Contours look complex to make, but are actually surprisingly simple to do.
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[above] 3D Modelling and Matte Painting Sketch Recreation of the “Lighting of the Beacons” scene from the Lord of the Rings. This was just attempt in combining both 3D modelling with matte painting for early concept development. I’m not very good with my colour theory, so my workaround is that I create matte painting gestures in grayscale. This helps me block out gestures, and sets values and composition for the scene. Its a sketch and it works well in my work-flow.
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[above] Edinburgh University Main Library Building Failed to submit an entry to a competition title “Edinburgh University Library Refurbishment Competition”. I had joined it with a friend who studies in Edinburgh. The task served two purposes - firstly, to challenge my competency at NURBS modelling. And secondly, it was an exploration titled “A contemporary reponse to Brutalism”. I didn’t submit the entry because I felt like it wasn’t good enough. In hindsight, I should have just submitted it anyway. The process of growth is as important as the end result.
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non design work
DESIGN SUMMARY
Plan of Site A, not to scale 1 Buildings in blue are existing buildings 2 Building in brown is the proposed intervention, an addition and alteration to an existing warehouse, with aims of conversion to a mixed use residential and agricultural complex
Plan of Proposed Intervention 1 Existing walls to be retained 2 Addition of timber frame structures 3 Addition of agricultural infrastructure
DESIGN SUMMARY
Elevation of Proposed complex, not to scale 1 ETFE canopy 2 Metal truss of existing warehouse 3 Proposed timber frame residential structures 4 Exisiting walls to be retained, reinforced, and fenestrated 5 Agricultural areas and infrastructure to be installed
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Plan of Proposed Housing 1 Ground floor of 2 houses 2 First floor of 2 houses 3 Second floor of 2 houses
DESIGN SUMMARY
Section of Proposed Complex, not to scale 1 ETFE canopy 2 Metal truss of existing warehouse 3 Proposed timber frame residential structures 4 Exisiting walls to be retained, reinforced, and fenestrated 5 Agricultural areas and infrastructure to be installed
Model of Residential Timber Frame Structures, not to scale 1 Proposed timber frame residential structures 2 Proposed residential partition walls 3 Exisiting walls to be retained, reinforced, and fenestrated
DESIGN SUMMARY
Model of Proposed Complex, not to scale 1 Existing metal truss of warehouse 2 Proposed timber frame residential structures 3 Exisiting walls to be retained, reinforced, and fenestrated
Timber Joint Construction Model, not to scale 1 Glu-laminated columns 2 Glu-laminated beams 3 Threaded rod with hex nut and washer
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DESIGN SUMMARY
Street View of Proposed Complex, not to scale 1 ETFE canopy 2 Metal truss of existing warehouse 3 Proposed timber frame residential structures 4 Exisiting walls to be retained, reinforced, and fenestrated 5 Agricultural areas and infrastructure to be installed
PRECEDENT STUDY
Mima House Mima House uses a prefabricated timber frame. The structure can be quickly assembled, yet remains modular and adaptable. Partition walls slid along a metal grid, creating changeable spaces and partitions depending on the inhabitants and the occasion. The simplicity of the grid system would be an appropriate response to the challenge of self build self grow. Stud walls and cold deck are extremely susceptible to many forms of weathering. They are easily repairable, but may potentially cause the in-
habitants a lot of hassle. As a result, the project may come across as been poorly or cheaply built, and habitants may incur significant costs in the long run. The installation of an ETFE canopy would create a microclimate within the complex, and that might mitigate the extent of weathering to the timber structure. This would allow the inhabitants to focus on the agriculture and economics of the scheme first. Also, more research should be done on the specifications of real world brands and products, to determine the most cost effective solution.
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Mima House Precedent Study 1 Construction of Mima House 2 Expansion of Mima house 3 Grid System 4 Partition System 3 Section of Mima House
CONSTRUCTION EVALUATION
Improvements It may appear that the design and chosen construction method are largely well rated in the Green Guide. However, there are rather alarming ratings that can be improved upon.
site has been exposed to contaminants and pollutants, and may be already considered “ecotoxic�. The introduction of this product would magnify the problem and its associated health risks. It would certainly be disadvantageous to use this product in an agricultural complex.
My chosen stone wool insulation is well rated in many aspects, except that it is extremely ecotoxic to land. Considering that the design intends to use it in bulk and in all stud walls and floors, there would be a lot of hazardous material around the site. Furthermore, the site is a brownfield site. The
Mineral wool insulation in my chosen stud partition walls are also considered ecotoxic to water. The most immediate, and viable remedy would be to replace stone wool and mineral wool with straw bale. Straw bale insulation is organic, and non ecotoxic to land or water. It could also be multi-
functional, and useful for agricultural purposes. Perhaps a more local crop could be used instead of straw bale. Bundles of dried seaweed insulation perhaps?
Lastly, the other question raised that is my construction uses a lot of easily combustible material. These safety hazards will be have to be readdressed in my design.
CONSTRUCTION DECLARATION
Axonometric of Intervention, not to scale 1 ETFE canopy 2 Metal truss of existing warehouse 3 Proposed timber frame residential structures 4 Exisiting walls to be retained, reinforced, and fenestrated 5 Agricultural areas and infrastructure to be installed
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FOUNDATIONS
Column Base Axonometric, not to scale 1 JJI glu-laminated columns 150 x 150mm 2 19mm threaded rod with 19mm hex nut and washer 3 Damp proof course 4 Steel fitting bracket to angled column assembly 5 40mm lean concrete blinding 6 Reinforced concrete pile cap on footing over short bore pile 7 300mm diameter short bore pile of 2000mm depth
Column Base Fitting and Pile Foundation Detail, not to scale 1 Steel fitting bracket to angled column assembly 2 Damp proof course 3 40mm lean concrete blinding 4 Reinforced concrete pile cap on footing over short bore pile 5 300mm diameter short bore pile of 2000mm depth
GROUND FLOOR
Ground Floor Suspended Timber Structure Axonometric, not to scale 1 20mm recyeled veneered plywood panels 2 20mm aluminium channel grid for partition wall assembly 3 40mm lean concrete blinding 4 Damp proof membrane 5 Kingspan Thermafloor TF70 insulation blocks 6 JJI 300 b+ engineered joists at 400 centres 7 JJI glu-laminated B-J beams 65x300mm
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Ground Floor Suspended Timber Structure Detail, not to scale 1 Existing stone wall supported with Ancon Teplo wall ties at 600 centres 2 20mm recyeled veneered plywood panels 3 20mm aluminium channel grid for partition wall assembly 4 40mm lean concrete blinding 5 Damp proof membrane 6 Kingspan Thermafloor TF70 insulation blocks 7 JJI 300 b+ engineered joists at 400 centres 8 JJI glu-laminated B-J beams 65x300mm
SEPARATING FLOOR
Separating Floor with Suspended Ceiling Axonometric, not to scale 1 JJI glu-laminated columns 150 x 150mm 2 20mm aluminium channel grid for partition wall assembly 3 19mm threaded rod with 19mm hex nut and washer 4 5mm galvanised steel hanging brackets 5 JJI 300 b+ engineered joists at 400 centres 6 JJI glu-laminated B-J beams 65x300mm
Separating Floor with Suspended Ceiling Detail, not to scale 1 20mm recycled veneered plywood panels 2 20mm aluminium channel grid for partition wall assembly 3 40mm lean concrete blinding 4 Damp proof membrane 5 Kingspan Thermafloor TF70 insulation blocks 6 JJI 300 b+ engineered joists at 400 centres 7 JJI glu-laminated B-J beams 65x300mm 8 5mm galvanised steel hanging brackets with service void
ROOF
Cold Deck Detail, not to scale 1 Gravel layer 2 Bauder Thermofol waterproof covering 3 Sheet metal cap slopped to drain roof side 4 JJI 20mm OSB/3 structural decking 5 Ventilation gap 6 Kingspan Thermafloor TF70 insulation blocks 7 JJI 300 b+ engineered joists at 400 centres 8 JJI glu-laminated B-J beams 65x300mm
ETFE Canopy Axonometric, not to scale 1 ETFE cushions 2 Support for ETFE cusion 100/170mm steel flat at 800-1000mm intervals 3 Existing warehouse truss 4 Existing warehouse connection plate assembly 5 Existing warehouse I beam columns
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EXTERNAL WALL
External Stud Wall Axonometric, not to scale 1 12.5mm Plasterboard 2 Softwood Batten 38 x 25mm with air gap 3 Vapour barrier 4 JJI 9mm OSB/3 board 5 Kingspan Thermafloor TF70 insulation blocks 6 JJI stud frame 7 JJI 9mm OSB/3 board 8 Breather Membrane
External Stud Wall in Timber Frame Structure Detail, not to scale 1 JJI glu-laminated columns 150 x 150mm 2 JJI glu-laminated B-J beams 65x300mm 3 JJI external stud wall with cladding
9 Softwood Batten 38 x 25mm with air gap 10 22x150mm recycled, treated timber cladding
OPENINGS
External Stud Wall Axonometric, not to scale 1 12.5mm Plasterboard 2 Softwood Batten 38 x 25mm with air gap 3 Vapour barrier 4 JJI 9mm OSB/3 board 5 Kingspan Thermafloor TF70 insulation blocks 6 JJI stud frame 7 Double glaze window assembly 8 Door assembly
9 JJI 9mm OSB/3 board 10 Breather Membrane 11 Softwood Batten 38 x 25mm with air gap 12 22x150mm recycled, treated timber cladding
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TECTONIC INTENT
Self Build Self Grow In a Walter Segal fashion, this project calls on its clients to assist in its construction. Residents are also encouraged to do additions and alterations in the building’s lifespan. With this in mind, the project has to obey a grid framework, and should only use simple and standard types of construction elements. In summary, the design has created a modular grid that encourages residents to truly inhabit and grow their dwellings.
both softening and celebrating the industrial. The strong wooden elements contrasts the industrial nature of the site, and adds an organic warmth to the coldness of metal. This softens the site, making it more inhabitable. At the same time, the mechanical joints of industrial typology have informed the joints of the timber structure. The brackettings, nuts and bolts used reflect and celebrates the industrial, just expressed in a different form, allowing the intervention to remain respectful and connected to the site.
I have chosen to express the wood as much as I can, with the intention of
The timber frame of each housing unit also acts as a scaffolding to the
BIBLIOGRAPHY Chudley, R. and Greeno, R. (2010). Building Construction Handbook. 8th ed. Oxford: BH, pp 230-247, 404-405, 658-659, 726-727. Jji-joists.co.uk, (2017). JJI-Joists’ Technical Manual [online] Available at http:// www.haldane-fisher.com/fs/doc/timber/I-Joist_Tech_Manual.pdf/ [Accessed 1 Nov. 2017] McLeod,V. (2010). Detail in Contemporary Timber Architecture. London: Laurence King Publishing, pp.10-13, 146-149, 204-207. Schittich, C. (2014). Holz = Wood: best of Detail. Munchen: Edition Deatil, pp 114-119, 164-167, 186-187. Images from: Schittich, C. (2014). Holz = Wood: best of Detail. Munchen: Edition Deatil, pp 164-167.
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original stone walls of the warehouse. It almost feels as if the site is being deconstructed, and the plants and algae are allowed to grow through the construction site.
GIANTS’ CAUSEWAY VISITOR CENTRE
| CASE STUDY
CASE STUDY
| GIANTS’ CAUSEWAY VISITOR CENTRE
County Antrim, Northern Ireland
HENEGHAN PENG ARCHITECTS
Fig 1 - Parti Plan Diagram
Fig 2 - Parti Sectional Diagram
UNI ID: 160011395
UNI ID: 160011395
ARC2009 / ARC2010 Semester 2 Assessment
ARC2009 / ARC2010 Semester 2 Assessment
BIBLIOGRAPHY
| GIANT’S CAUSEWAY VISITOR CENTRE
Architects Journal, Heneghan Peng’s Giant’s Causeway scheme finally opens doors, viewed 6 April 2018, < https://www.nexis.com/results/enhdocview.do?docLinkInd=true&ersKey=23_T27469568900&format=GNBFI&startDocNo=26&resultsUrlKey=0_T27469568912&backKey=20_T27469568913&csi=355394&docNo=37> Heneghan Peng Architects, ‘Giant’s Causeway Visitor Centre’, DETAIL Magazine, 3/2016, pp. 168-171. Heneghan Peng Architects, Giant’s causeway visitor centre, viewed 29 March 2018, <http://www.hparc.com/work/giants-causeway-visitors-centre/>. Heneghan Peng Architects, ‘On Politics and Lava Stone’, DETAIL magazine 1/2 2002, pp. 160-164.
ILLUSTRATIONS
| GIANT’S CAUSEWAY VISITOR CENTRE
http://www.hparc.com/images/works/CF003063_BW.jpg
http://www.hparc.com/images/works/wGCW_1256-12C_G6P_THROUGH. jpg https://www.architectsjournal.co.uk/buildings/stirling-shortlist-giantscauseway-visitor-centre-by-heneghan-peng/8653304.articlev https://erinexplores.com/2013/11/29/the-horrible-giants-causewayvisitors-centre/comment-page-2/
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SITE SUMMARY
| GIANT’S CAUSEWAY VISITOR CENTRE North
Fig 3 – Site Analysis Plan
Fig 4 – Site Section
The project serves as the gateway to the Giant’s Causeway natural heritage site, Northern Ireland. The architecture is heavily inspired by the site, and aims to blend itself into the landscape. Its form is similar to that of a hill, allowing circulation over its roof. The facade is a contemporary interpretation of the Giant’s causeway rock formations. By complimenting it, rather than dominating it, the architecture conserves, and even exaggerates, the beauty of the coastal landscape. 22
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| SPATIAL SUMMARY
ENVIRONMENTAL DESIGN
| GIANT’S CAUSEWAY VISITOR CENTRE U value (W/mK): Basalt Cladding: 3.98 60mm Xtratherm PIR Rigid Insulation Board: 0.022 Dense concrete 2100kg/m3: 1.40
U value of wall = 1/(R1+R2+R3+R4+...), Where R= Thickness (m) / Conductivity R1+R2+R3+R4 = 3x (0.2/3.98) + (0.06/0.022) = 2.8780 U Value = 1/2.8780
Fig 5a - Ground Floor Plans
= 0.347
Fig 5b - First Floor Plans
soil 200mm basalt column cladding
Fig 6 – Key Section
stainless-steel dowel sealing layer 60mm rigid foam insulation 500mm reinforced concrete 50mm screed with basalt chips, polished
Fig 9 – Massing Diagram Exterior Wall Section
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SPATIAL SUMMARY
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Section of ground heat collectors under carpark
Fig 7 - Photograph
Fig 8 -Photograph
Plan of ground heat collectors under carpark
Diagram of ground heat collector network with brine to water heat pump, connected to building’s ventilation system
Fig 11 – Additive Subtractive Diagram
Fig 10 – Plan to Section Diagram
Fig 12 – Symmetry & Balance Diagram
Diagram of ventilation system facilitating stack effect in building
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| PROGRAMME SUMMARY
ENVIRONMENTAL DESIGN
| GIANT’S CAUSEWAY VISITOR CENTRE Latitude: 55.2408073 Longitude: -6.5115554
The program of the project asks for a vistor centre with spaces for exhibition. The architect proposes an elegant solution, calling for all spaces to work together. There are distinctions between indoor and outdoor spaces, each having distinct roles, but as seen in the diagrammatic perspective above, they work as equals.
Winter Solstice
21 June 2018
21 Dec 2018
12:00
12:00
Angle: 57.78
Angle: 11.24
Note that site sits in immediate vicinity to the coast, suggesting the pressence of diurnal wind patterns, resulting more intensive exposure, heat loss, damages from weathering.
From the “Circulation to Use” Diagram, we see a clear distinction between indoor and outdoor spaces. It shows a linear progression through the site, with both paths converging at the open air roof (depicted in yellow). This suggests that the architect aims for all audience to view first hand 147 the beauty of the coastal landscape. Allowing his intervention to compliment the landscape.
Environmental Design Illustrations
Heat loss form factor = Heat loss area/ Treated floor area = 3290.17/ 1101.5
Fig 13 – Circulation To Use Diagram
Summer Solstice
= 2.98
Fig 14 – Hierarchy Diagram
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Heat loss form factor may appear relatively high, but note that 3 out of 5 large surface areas are sunk into the ground. These faces would experience more insulation and less exposure. Remaining 2 surfaces are oriented to maximise direct sunlight. This suggests that in practice, the design would likely have a lower heat loss form factor.
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PROGRAMME SUMMARY
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The building may not have met passifhaus standards, but its principles had been employed to considerable effect. Firstly, to compensate for its relatively large form factor, the building is recessed into the earth. Doing so mitigates significant exposure of costal weathering to the building, while insulating the spaces with compact earth.
Yellow - Green Open Air Roof
The project then employs passive solar heating to regulate its ventilation systems. The volumetric strategy of the indoor spaces work against effective ventilation strategies. To overcome this, the project uses its carpark as a heat sink.
Red - Visitor Centre Indoor Space
With respect to its U-Value analysis, exact details of the products used in its construction could not be determined. Therefore, calculations were kept conservative by factoring in lower grade products. Considering that total project costs £18.5m, higher quality materials would probably have been used, and the U value would likely be less than 0.347.
Blue - Ramp to Giant’s Causeway
Altogether, the analysis finds that the project was able to achieve both a meaningful expression of its design language, without compromising on its environmental responsibilities.
Green - Carpark
Linework - Plan Fig - Volumetric Strategy and Facade work against effective ventilation
Fig 15 - Programme Analysis Diagrams
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STRUCTURE
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With the intention of celebrating the site, the architect chose to interpret and develop the geometry of the Giant’s Causeway stones. The stone’s hexagonal shapes are unique, and this form was abstracted and repeated. The result is a facade that reflects both the coastal hills and the rock formation, allowing the building to seemlessly sit in the site. The key detail in question are the stone columns. At a distance, They appear to support the load of the roof structure, with the stone actually working in compression. Deconstruction of the stone column however, shows a composite construction method. The columns are made up of steel square hollow sections, insulation material, and the stone simply serves as a cladding element. The load bearing sturcture is therefore the steel.
Secondary Structure - Concrete slab and steel beam composite roof
From the diagrams, an angular plan, a form that is associated with quarries, can be seen. The stone columns create a convincing vertical pattern of rock strata at eye level. Together, the facade is successful at expressing the micro and macro structure of the rock formations. Tertiary Structure - Window Frames with double glazed glass panels
Fig 13 – Parti Diagram
Secondary Structure - Columns to support Mechanically Stablised Earth
Primary Structure - Load Bearing Columns to support roof structure
Fig 14 – Geometry Diagram
Structure Illustrations
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ARC2009 FOCUS
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Note the light sockets flushed seemless in the concrete slab, suggesting the use of precast concrete slabs, where the slabs can be made to precision, and mass produced. Note the use of glass panes as a structural element. Similarly, annealed glass would be factory made to precision. Both of these results suggest the a predominant reliance on CAD in the design and construction phase of the project. This project shows how technology influences design decisions.
Multiple railings must be installed to keep width of institutional stairs no greater than 2m
We can also note that the balustrades are also used to visually divide the large indoor space into three distinct exhbition spaces. A single architectural element serves several prposes, making it a rather elegant solution to several problems.
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LANGUAGE SUMMARY
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From the language study, we find that the building is primarily supported by steel columns. The roof is also constructed of a concrete steel composite slab. In this manner, the building is fairly straightforward in its construction. The interesting aspect of its structural system is the mechanically stabilised earth under the large ramp, and surrounding the building. Mechanically stabilised earth is employed to recreate natural hills and retaining structures. The two diagrams below compare the scale of structure required. With this in mind, more time, effort, and resources were spent in preparing the site even before construction actually started on the building itself.1
Abstraction of a unique feature of the site into a convincing structural language
Column elements are repeated to unique
Fig 13 – Structure Diagram
Fig 13 – Mechanically Stabilised Earth Diagram
Fig 13 – Unit To Whole Diagram
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Fig 14 – Repetitive to Unique Diagram
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DESIGN INTEGRATION
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Note the absence of a designated foot path with slip resistant surfaces. Grass gets wet and slippery, Especially on a site that is situated right beside the coast.
Seemlessness and precision of precast parts
The ramps in the indoor spaces are more successful in their function. Note how there are almost too many balustrades to overcome a difference in level of 450mm. Ramps with balustrades on both sides also allow wheelchair users to move through the space on their own, empowering themselves.
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ARC2009 FOCUS
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The intent of the project was to serve as a gateway for the site to all visitors, including those who would normally have difficulty in walking across rugged terrain. The project uses a series of ramps to effectively tame the terrain. Diagrams on the left show the transition of the site from one only accessible by hiking, to one that is wheelchair friendly. Diagrams below calculate the largest angle of the ramps to be 4.1%, acceptable in the UK for outdoor slope for pedestrians (up to 5%). The scale of the outdoor ramp was also considered, and its angle was further reduced to accommodate the exhaustion of crossing the whole length of the ramp. However, the photo depicts the large outdoor ramp to be laid with a grass carpet, without a desginated footpath. The grass carpet makes surface of the ramp slippery, and makes pushing a wheelchair up quite hard. In comparison, functional ramps today are often finished with slip resistant surfaces. This error in the design undermines the very intent of the project, resulting in an architecture that in theory, looks to be accessible for all, but in reality, is just as difficult as the original site.
The use of ramps allow a natural lanscape and a man made landscape blend together harmoniously.
The project uses ramps to recreate aspects of the site in a more accessible friendly manner.
Max of 4.1% incline on ramps
ARC2009 Focus Illustrations
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Inspiration and Process in Architecture
CHAPTER EIGHT
essays Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nam posuere mollis velit, et aliquam velit tincidunt quis. Fusce pellentesque pretium condimentum. Sed rhoncus vestibulum risus, maximus sagittis ligula imperdiet eu. Nullam ultricies, justo nec pellentesque porta, nisl justo auctor felis, eu dapibus nisi lacus ac sem. Curabitur vestibulum sapien et sem elementum cursus. Sed mi felis, interdum eu scelerisque non, vulputate at velit. Phasellus tincidunt augue ut faucibus bibendum. Integer elementum lorem leo, eget commodo mauris rhoncus eget. Phasellus sodales finibus
finibus. Curabitur gravida urna at commodo elementum. Ut consectetur, dui id lacinia volutpat, enim enim tempus tellus, id ornare magna mi vel odio. Nulla porttitor leo est, at volutpat turpis luctus ut. Suspendisse quis euismod ex. Nunc sit amet quam in ex mattis congue. Etiam congue accumsan feugiat. Vestibulum in libero tempor, fringilla lorem vitae, laoreet mi. Nullam at massa non urna eleifend porta non eget orci. Cras dui enim, convallis a suscipit id, maximus dapibus ipsum. Proin quis odio a dui porta tristique. Etiam ultricies vel felis et posuere. Sed ullamcorper dolor in ligula tempus
dignissim. Duis nec mauris sed nulla pellentesque lacinia et vel eros. Quisque mi leo, sodales ut est nec, elementum rhoncus turpis. Aliquam erat volutpat. Etiam maximus porta tortor sit amet iaculis. Morbi facilisis pellentesque mauris, et tempor ligula luctus vel. Sed ut tortor vitae mauris porttitor lacinia. Aenean scelerisque ultricies eleifend. Etiam vitae vehicula ante. Nulla non libero nec urna lobortis pretium vel eget dolor. Nam ut dui turpis. Cras consequat velit eget
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The U NC A NNY
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GROUP WORK
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Forensic Architecture - Eyal Weizman
METIS - Mark Dorrian 153
Chapter 4: Displaced Practices
Cartography | Cacography
References of Photos:
References:
Forensic Architecture Towards an Investigative Aesthetics
The tortoise, the scorpoion and the horse - partial notes on architectural research/ teaching/ practice Mark Dorrian, Adrian Hawker Metis and Department of Architecture, University of Edinburgh, UK
Museu dâ&#x20AC;&#x2122;Art Contemporani de Barcelona (MACBA) http://www.e-flux.com/announcements/93328/forensic-architecturetowards-an-investigative-aesthetics/
Drawing research Jonathan Hill The Bartlett School of Architecture, University College London, UK
https://www.flickr.com/photos/james_goodchild/7002370264
Forensic Architecture Eyal Weizman Hollow Land - Israelâ&#x20AC;&#x2122;s Architecture of Occupation Eyal Weizman
http://journals.openedition.org/belgeo/11935
Deterritorialisations... Revisioning Landscapes and Politics Mark Dorrian, Gillian Rose Metis - Urban Cartographies Mark Dorrian, Adrian Hawker Writing on the Image - Architecture, the City, and the politics of Representation Mark Dorrian
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Cartography, Origami, Power Dynamics Origami of Contested Cartography - an Exploration of power dynamics between Israel and Palestine This research aims to investigate the dynamics and relationships of power between parties involved in the Israel and Palestinian conflict. I will do so by recreating a body of maps with origami. The process and final form of the origami will reflect and project the complexities of the issues, and hopefully create new insights on the matter. Specifically, I will be investigating the maps from the neighbourhood scale, and then upwards to the regional and national scale. Preferably, I am interested in the Silwan neighbourhood in the city of Jerusalem. However, this might change depending on the availability of quality maps. There is a relationship between origami and cartography. Cartography is the projection and reflection of power. Changes to the map over time reflect shifting dynamics between Israel and Palestine, where contested land is both the cause and result of these powerplays. Cartography is the abstraction and simplification of complex 3D landscapes into 2D. Whereas Origami is the manipulation of a 2D plane into a 3D form and space. In this sense, they are opposite processes in representation techniques. Perhaps the origami of the Israel-Palestinian cartography could lead to new insights into underlying factors that influence power dynamics, or at least shine light on aspects of the conflict that are not effectively conveyed through datasheets, lines, or formal words. Perhaps origami sculpture and form will be a better medium to convey the intangible and more qualitative perspectives and messages from the conflict. Opinions that arise as direct result from power dynamics as expressed through cartography. Most of the research conducted will be through secondary sources. I will use several bodies of maps published from several authors. This will allow for the cross examination of perspectives, resulting in credibility in the cartography. I have yet to find a credible source for the maps, but have placed an order for a publication through Newcastle Library. I have organised my preliminary readings into three themes. The first theme explores Mark Dorrian’s work as the basis of my investigation. The second theme explores the relationship between maps and power. The last theme explores the origami and cartography techniques i’ll be using to pursue my project.
Mark Dorrian’s work in “Metis Urban Cartographies”, “Deterritorialisations… Revisioning Landscapes and Politics”, and “Writing on the image: Architecture, the City, and the Politics of Representation” Dorrian’s work in METIS serves as the primary precedence that this research will build upon. He studies mapping, architectural representation techniques, and urban fabrics. All three themes are extremely relatable to the context of my research - the urban distribution and typology of the Israeli Settlements in the Palestinian State. Dorrian’s main argument
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demonstrates how representation of design is always loaded with agenda. He uses more abstract representation techniques to demonstrate how meaning can be emphasized or hidden. Dorrian also shows the similarities between architect’s work and cartographer’s work - both work on the representation of their subject, more often than on the subject itself. His work is precedence and shows the merit of mapping urban fabrics. He legitimizes the link between these two disciplines, setting the basis of my investigation. The breadth and depth of the author’s work - both design and published work, creates a convincing argument. His arguments are well woven into the content of his design, putting the theory into practice. His credentials as a professor in the University of Edinburgh and a researcher in METIS, also adds so his authority. As a result, his work directs the focus of my research to find stronger links between architecture, space, and the relationships and dynamics between parties. It then challenges conventional ways of representing this data, and invites me to look at more experimental ways of arguing. Hence the interest in origami - translating the 2D map into form and space.
Dennis Wood’s work in “ Rethinking the Power of Maps”, J.B. Harley’s work in “Maps, Knowledge, and Power”, James Corner’s work in “The Agency of Mapping: Speculation, Critique, and Invention”, and Eyal Weizman’s work in “Forensic Architecture”. These essays have helped to establish the purpose and nature of maps. Across the board, these text agree upon two defining characteristics of maps. Firstly, maps are a tool used to find one’s direction to a destination. Secondly, maps are a projection and reflection of one’s power and authority. These essays have set the boundaries of the research, suggesting that my research should focus on the dynamics and relationships of power in the Israeli-Palestinian conflict. This frame of mind will help me to identify the underlying factors that allow for hard power and soft power to be exercised. However, it also creates an optimistic tone for the output of my dissertation project. The origami produced, and the process of creating them, could serve as a tool that facilitates the navigation of complex issues in the conflict. The authors resonate in similar tones, collectively form a convincing argument. It is particularly apparent in Weizman’s work. His “Forensic Architecture” shows the application of maps and power in a legal court case, putting theory into practice It highlights the urgency to better understand the definitions, expression, and manipulation of power. These sources hint at further investigation into the philosophical, psychological, and sociological understanding of power - Foucault or Machiavelli perhaps? And to contextualize these understandings of powerplay into the Israeli-Palestinian contested landscapes.
“The Map as Art” by Katherine Harmon, “Cartographies of Time” by Rosenberg and Grafton, “The Art of the Map” by Reinhatz, “Folding Paper: the infinite possibilities of origami” by Robert J. Lang, and Tomohiro Tachi’s research in the University of Tokyo. These works have helped me to understand the forms of expression in cartography and origami. This gives me a basic understanding of how to amalgamate the disciplines in my project output. They explore many forms of expression, and perhaps the main point of all this is to fully understand the nature and nuances of the topic before attempting to find a form or
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style of expression. The boldness of experimentation gave me the confidence to explore the combination of origami and cartography. It also supports the logic that origami is able to return aspects of character back to 2D representation, which allows for more meaningful dialogue. The diversity of authors shown in these publications creates an interesting sphere of influence. A mixture of artists, scientists, activists, and social science academics are interested in the development of maps to challenge social issues. It's interesting to note that most of the academics involved in origami research are actually based in MIT’s architecture department, and they have strong links to maths and engineering colleagues. This reiterates the complexity of our discipline, and that gives me the confidence to explore this topic through the rather unusual medium of cartography and origami. This group or work also helped me to realize that I should consider both the representation of time and space. “Cartographies of Time” was particularly insightful. The changes across time, and the rate of change would be useful in exploring the dynamics of power.
Bibliography: Dorrian, M. (2015). Writing on the image. London: I.B. Tauris. Dorrian, M. and Hawker, A. (2002). Metis. [London]: [Black Dog]. Dorrian, M. and Rose, G. (2003). Deterritorialisations ... revisioning. London: Black Dog. Harmon, K. and Clemans, G. (2009). The map as art. New York: Princeton Architectural Press. Lang, R. (2017). ORIGAMI DESIGN SECRETS. [S.l.]: CRC PRESS. Reinhartz, D. and Wilford, J. (2012). The art of the map. New York: Sterling. Rosenberg, D. and Grafton, A. (2013). Cartographies of time. New York: Princeton Architectural Press. Weizman, E. (2012). Forensic architecture. Ostfildern: Hatje Cantz. Wood, D., Fels, J. and Krygier, J. (2010). Rethinking the power of maps. New York: Guilford Press.
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Warfare and Displacement I served two years of military service in Singapore. In those two years, I was first in the infantry, and then a junior logistics officer in a battle planning group. I learnt to see conflict from two perspectives on the ground action, and as data on large scale maps. Large scale displacement often occurs as the result of open conflict. It has happened in the past, is happening now, and will continue to happen in the future. I believe that it is important to study the process of warfare and to investigate the processes that cause displacement. I find the Israeli occupation of the Palestine very interesting. There are many layers of relationships and dynamics to unpack, and there are many architectural aspects to discuss. I will not take a stand for or against either party involved, nor will I attempt to justify their actions. Warfare always leads to losses on both sides. I propose to investigate the relationship between military operations and the displacement of peoples. Eyal Weizman, in an Al Jazeera documentary “The Architecture of Violence”, explores the Israeli Palestinian conflict from an architect’s perspectives. He talks about the many different elements of boundaries, and their specific effects in the systematic segregation and occupation of Palestinian communities. He describes the architecture itself to be a slow act of warfare. My interests are built upon his observations and arguments. I am however struggling with how I can link his observations to the process of displaced peoples? Listed below are a few of his observations: “Occupation is a (built) environment conceived to strangulate Palestinian communities. Architecture as a weapon. Trees, terraces, houses, claddings are tactical tools in the architecture occupation. A living wall. Architecture principle of Israeli occupation is maintaining separation and exercising control.” “Jewish colonies built on hilltops overlooking Palestinian settlements in the valleys. Hilltops are always locations of strategic value, allows the ones in control to dominate the surroundings. Houses all look outwards over the valleys, creating a sense of tactical surveillance. “ “When we think of a borders and walls, we think of a single instrument that separates Israelis and Palestinians on two sides of the map. But in reality, in the Israeli - Palestine frontier, the border is splintered into various border devices. Eg: fences around settlements, blockades around Palestinian cities, highways operate as borders, checkpoints, sterile areas, and all sorts of other border devices that shrink and expand the terrain at will. “ “To control a space, you need a create differentiating speeds in movement. When you put Israeli colonies on highways, you accelerate movement through the space. Palestinians will encounter twists and turns, a border, a fence, a valley that they cannot cross. Turnstyles in Israel are the most important checkpoint. The arms of the turnstiles are shortened to press against the body. So cruel and degrading to reduce Palestinians to nothing more than bodies.” “What is cruel about the design of the tower is that it is designed to hide the presence of the army, so you always assume that there is someone looking at you.” “Invading the cities… Jenin Refugee Camp - the IDF decided to enter the city by first using bulldozers. The way they did it was the designed destruction of the city. They literally cut new streets through the urban fabric in order to allow the tanks to come in. The resistance retreated into the core of the city, and the end of the battle, the bulldozers effectively collapsed the heart of the city on those fighters.
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“The city of Nablus became the laboratory of a new type of urban warfare; Israelis were studying how cities operate. They understood that to occupy a city, they had to move in the city in a different manner. The tactics were very architectural. “By following the structure of the street, I’m giving my unit away on a silver platter. We leave the street empty, and enter buildings by drilling holes in the walls. They are actually turning private and public space upside down. The private space becomes the space of circulation (for the IDF), and the public space becomes the spaces where the resistance are being killed.” The Architecture of Violence “https://www.youtube.com/watch?v=ybwJaCeeA9o”. Eyal Weizman
Palimpsest | Collective Memory | Borders | Mapping | Process Geography As for a creative output; perhaps an online open source palimpsest about the conflict. Individuals and communities can in real time give updates about memories, opinions, voices, and perspectives on events. Thresholds, boundaries, movements, and actions can also be represented visually. This creates a layered database of collective truth. Truth is always relative and subjective. Instead of arguing about whose “truth” is right or wrong, perhaps it will be more useful to superimpose many truths, allowing members of both sides to develop a more educated understanding of the same situation. This tree of layered data will allow for deeper study. The individual data entries can be compared for similarities and differences. These relationships and dynamics will produce patterns. In the long run, the analysis of these patterns might allow for the development of a better response to future conflicts. Eyal Weizman’s investigation of forensic architecture is also of interest. It is a technique and procedure that has a concrete impact in the world, and helping to explore its capabilities would be an interesting topic. I am familiar with Lidar scanning and relatively good with digital modeling. However, Newcastle University may not have the right equipment or expertise. Similarly, how do I link forensic architectural data with the topics of displacement: liminality, rituals, borders, mapping, process geography, etc. What am I not interested in doing: 1. A historical analysis with conclusions that are open to debate. 2. An investigation into religion 3. A 8000 word essay on my own country - I want to learn about the world. What I want to do: 1. Coming up with solutions, fixing problems 2. Making something that others can use 3. Creative output I don’t want to write an essay that has no real conclusion, or that is open to debate, or writing something just to broaden perspectives. I am not a historian, nor do I speak with flowery artsy fartsy language, nor am I an architecture theorist or critic. I am a doer, I am a maker, I am a problem solver. I want my project to have a real result or impact.
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Space is a part of structuring of society. Spaces accommodate some people, activities and ideas, while excluding and controlling others. Looking closely at the work of at least two different architects, discuss to what extent and in what ways, their texts, projects and/or ways of working challenge dominant ideas, experiences and/or uses of space. You should draw on one of the seminar texts to inform your argument. Intro: In 1998, Koolhaas writes that junkspace is the residue of mankind, a virus, continuous, and cannot be remembered. He suggests that junkspace is the byproduct of the modern capitalistic society, and at the same time, a part of its structure. Junkspace is ubiquitous in all urban fabrics, and suggests that we all have persistent interaction with junkspace. Koolhaas is both an academic and practicing architect; he is the principle of OMA, and holds teaching positions at various institutes. His works and publications challenge established conventions, and his success makes him highly influential amongst practitioners and students. The idea of junkspace echoes past concepts like Marc Auge’s non places, but it remains significant in contemporary architecture theory because it is exceptionally accurate in its contextualization to the narratives of contemporary society and everyday life. A deceptively innocent description that carries nuances of capitalism, consumerism, rapid expansion and urbanisation, the development of the generic city and international style. Junkspace | Servant space | Everyday space There are many aspects of junkspace that we can address, but perhaps the most useful place to start is in its context. The publication of Junkspace was Koolhaas’ response to consumerism. He suggests that the proliferation of junkspaces was induced by capitalism, and this phenomenon indicates a deterioration in the quality of architecture. Capitalism appears to promotes relationships with power dynamics that are similar to Louis Kahn’s description of served spaces, and servant spaces. This raises a line of enquiry about the way understand junkspace. From an urban scale, would junkspace become the servant spaces of our urban fabric, while the iconic and the monumental become the served spaces? Koolhaas’ description of junkspace also sound like the description of the architecture and space of the everyday. At a local scale, does this suggest that the architecture of the everyday is junk, and inferior to that of purist architecture? Koolhaas explains that: “Junkspace is the residue mankind leaves on the planet…” "Continuity is the essence of Junkspace; it exploits any invention that enables expansion, deploys the infrastructure of seamlessness” Junkspace is a virus, contagious and rampant. “Junkspace cannot be remembered.. it is flamboyant yet unmemorable, like a screensaver.” Koolhaas’ has stated that his publication of Junkspace aims to be seen as a diagnosis of the city. The word diagnosis implies a level of professionalism, and that the conclusions should aim to remain neutral. The four lines above probably summarize Koolhaas’ stand on junkspaces. Koolhaas’ tone in the Junkspace is almost that of lamentation, suggesting a rather pessimistic view on junkspaces. Koolhaas also uses words with obvious negative connotations to describe junkspace. Neil Leach writes that architecture is intrinsically linked with politics, and therefore agendas and ulterior motives. Leach has “come to think that no work of art or culture can set out to be political… for there can never be any guarantee it will be used the way it demands”. He therefore warns us to be more critical of the presentation of the art, than the art itself. (Leach, ) Koolhaas’ work isn’t bad - it’s an accurate identification and description of the phenomenon and on the nature of junkspace. The criticism isn’t about his work, but is rather on the presentation of his work. Koolhaas has presented junkspaces in a condescending manner, and his status and influence has led a generation to share
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similar views. The term “junkspace” has been devalued and have not been well understood. Considering the pressing socio economic issues of our times, architects today are in need of fresh perspectives on the economy and architecture. It might be more useful to acknowledge the inert qualities of junkspace, and emphasize its potential value to architecture. Junkspace could be everyday spaces, and the space of every day opportunity. Junkspace does not necessarily have to be a bad thing. This essay wants to challenge the context of junkspace, and aims to change its negative connotation to an optimistic one. This essay will look at architects who contest the idea of junkspace,
Lo-fi Architecture - a direct response to junkspace Lo-fi architecture will be the intervention of choice to address junkspaces. Till builds on Lefebvre’s work, and proposes that “the everyday is not merely ordinary; rather, it is the site that contains the extraordinary within the ordinary”. (reference) To be able to extract this extraordinary, Till uses an anecdote of Costello to suggests guidelines for an architecture that challenges the conventions of current architectural practice. “After recording a song, I get engineers to play it back through a cheap radio. I need to hear how it sounds in real life. How it sounds over the noise of a breakfast table”. There he would be, in a recording studio... polishing the nuances of the twenty-four tracks… with the technical complexity of an aircraft cockpit. Perfected sound. But what really counted for Costello was the sound coming out of the cheap little transistor radio on the kitchen table to accompany the crunch of cornflakes. Lo-fi sound. The analogy is direct. The architect in the studio, cut off from the world. Creating hi-fi architecture on high-end equipment… dreaming of that perfected delivery in the polished aura of blue skies and happy people. When in fact they should be dealing with the cheap radio end of things, imagining the moments of occupation… of maybe sad people. Lo-fi architecture. (reference) Till’s Lo-fi architecture: 1. Is not an object or the aesthetics, it is a complex set of relationships. 2. Is the product of by a collective through negotiations 3. Is an intentional hybrid, which transgresses conventional boundaries. 4. Will always be sensitive to the complexities of its context. (reference) Referring back to Till, Lo-fi architecture demands an architect who “design(s) to their highest ability and, at the same time, be acutely conscious of the conditions which that design will finally encounter.” (reference) Lacaton and Vassal are a French architecture studio, whose practices resonant with a strong sense of social, cultural and ethical accountability. Their design philosophy answers Till’s call for Lo-fi architecture. Judging from their awards and attention in media, they remain relevant and influential in European practice. We will look at how two of their projects - the Torre Bois-le-Prêtre, and the Nantes School of Architecture, challenge the phenomenon of French junkspace. The Torre Bois-le-Prêtre project was a radical upgrading of a group of neglected 1960s apartment blocks. Housing condition in Paris were poor, and the 2003 French administration had called for the demolition of many aging blocks - what they had considered to be residential junkspace. Lacaton and Vassal’s intervention was less expensive than the demolition and rebuild proposal, faster, and took place without dislodging its residents. From photos, they had used materials that reflected the working
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class nature of its inhabitants. The project created more generous inhabitable areas, improved circulation routes, a 50% reduction in energy consumption and noise nuisance, and a significant increase in light levels within the homes. Also, 80% of the original residents are still living in the tower today. (reference) The significance of Lacaton and Vassal’s approach was that it was in direct opposition to the then popular Bilbaon method of gentrification. Vassal explains that the project addresses the city as a constant site of improvement, rather than a graveyard of failed attempts. “A city is a thing that can rehabilitate, be continually improved and calibrated into something that works.” This project demonstrates statistically quantifiable improvements to these junkspaces. Lacaton and Vassal have repeated this line of inquiry in at least twelve other residential projects across France, justifying its versatility in various physical contexts. Lacaton and Vassal have elevated junkspace to high quality architecture that benefits ordinary people. The From an interview with 032c magazine, Lacaton and Vassal promotes a theory of architecture that sees a city not for what it currently is, but for what it could be. It is an architecture that creates social systems that influence, and hopefully benefit, the occupants and their ordinary lives. Lacaton says, “the strengths should not come from the form or the complexity of the architecture, but much more from the capacity the space can produce for life, for relationships.” Prof. Dr. Philip Ursprung proposes that the structure of the spaces embodies the complex relationships between junkspace, infrastructure and the city. It also facilitates the relationship between students, teachers, events, and programs. The school’s open ended adaptability also reflects architecture’s framework as a social system.
Theory in practice makes Till and L&V’s combined argument a persuasive one. Till leverages on his credibility as an academic, while L&V’s strong track record of successful interventions speak for itself. The successes have presented lo-fi architecture to be a feasible solution, and has thus inspired a new wave of architects to tackle similar junkspace issues in other geopolitical situations. For example, studio H Arquitectes; addressing spanish ghost towns and its associated socio economic conditions, and META-Projects; championing local architects to discover and respond to the unusual socio/cultural potential in Chinese cities.
What influences how one perceives the architecture? For lo-fi architecture to be an effective challenge to junkspace, we will first have to understand the factors that influences how one experiences this architecture. Namely, the emotivist society of present day, the ambiguity of contemporary architecture, and the characteristics of its audience. A combination of these factors may result in a bias in towards or against lo-fi architecture, and must be addressed. Factors that affect the relationship between architecture and its intended audience. That is to say, the factors that influence the relationship between lo-fi architecture, and its audience of passive readers. On the emotivist society, Phillip Bess writes that “we find ourselves today is in a social setting in which specific disagreements about ethics and aesthetics... are incapable of rational resolution. Hence since modern societies lack a general agreement about such issues, opinion about them is increasingly and
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necessarily left to individual taste - to how individuals feel about such matters rather than what they think about them. this is not to say that individuals are unable to offer reasons for their opinions. It is rather to observe that an emotivist society is one in which there is no consensus about either a common good or the nature of reason itself. Consequently, (discourse) inevitably come down to the contestants feeling strongly about the matters in question but unable to reach rational consensus”. Also on the ambiguity of architecture, Bess quotes Joseph Valerio’s understanding that architecture “is purposely ambiguous because ambiguity is, after all, a symbol of modern times… (The architecture) is successful as a mechanism for tapping people’s emotions. This emotional connection signals a more modern way of understanding a building... emotions may be the only way to understand buildings in modern times.” On the characteristics of the audience, Leach proposes that of all arts demand some level of active reading, whereas “architecture can be lived in, be moved around in, and simultaneously ignored”. This implies that there are active readers of architecture, and passive readers. Active readers are those who have some degree of architectural understanding, are sensitive to architectural phenomenology, and can draw their own conclusions about certain architectures. Passive readers conversely are those who have no or little architectural training, and who would not be interested in reading more into the subject. The latter will likely to make up the majority of the participants of everyday architecture. Architecture to the passive reader is architecture spelt with a small a, and simply the bokeh background environment of their lives. Using these three observations, one can propose that architecture today can generally described as sensual, evocative, ambiguous, and open to interpretation. Qualities similar to those normally associated with abstract art. Architecture would probably be appreciated as abstract art. Thus, when exposed to an art or architecture that is vague, one would likely to assume that the layman or the passive reader would likely remain indifferent and oblivious, or worse, they might draw various conclusions that contradict or misinterpret the designer’s intention. In response, let us refine our requirements of a lo-fi architecture. Adorno postulates that one’s mental attitudes come ahead of his political views (political view referring to any form of agenda). He recognized that primary obstacle to social progress are cultural and psychological, rather than political or economic. Adopting this model, for the lo-fi architect to make a more significant impactful on the passive audience, the architecture must first connect with the audience’s mental attitudes. The form of the architecture may still remain open to interpretation, but its spaces ought connect with its audience in a personal and intimate way. These interventions should strive to create explicit atmospheres that evoke precise emotions, creating clear and empathetic narratives for its passive participants. Only then can it even consider addressing and challenging socio political concerns. The architect must first master phenomenology and atmospheres. Thus, lo-fi architecture needs to incorporate a stronger use of phenomenology, creating narrated spaces for its passive readers. phenomenology and atmospheres. Narrated experiences | Libeskind Libeskind’s cultural projects demonstrate narrated experiences that project social and political agendas. Specifically, we look at his design the interior spaces of the Jewish Museum in Berlin. Regarding his spaces, Libeskind said that “in itself, the space, the light, its proportions, how it is formed, structured, has to be able to tell something.” During its first ‘empty’ year, 350,000 people visited the museum, seeing it exactly how Libeskind had intended: “They weren’t puzzled, they understood something just through walking and the experience of being in the building.” (Reference)
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The stylistic elements of the interior spaces can almost be seen as an abstraction of the mechanical, infrastructural, or consumeristic elements found in junkspace. It suggests a distillation of junkspace into its most basic geometric forms and voids. Libeskind’s disregards the details of the chaotic everyday, but focuses on cold materiality, little light, echoing sounds to complete the melancholic atmosphere. He takes the passive reader through the space, and uses a straightforward but understable atmospheres to guide the audiences’ emotions to that of despair. Finally, the exhibitions that the museums houses offer evidence of the Holocaust to the passive reader. Altogether, the passive reader experiences the atrocities of the Holocaust in a personal and psychological way. Libeskind’s credentials are comparable to that of Koolhaas’. Both are academics and have achieved comparable influence as starchitects. At face value, Libeskind’s work is far from the everyday, and could be considered monumental. His iconic projects would naturally undermine his credibility as an advocate of the architecture of the everyday. But we have to acknowledge the effectiveness of his narrated spaces. The possibility of using it at different scales makes it relevant to the development to lo-fi architecture.
To conclude, this essay finds Koolhaas’ interpretation of junkspace to be unhelpful in addressing current societal issues. Lacaton and Vassal’s work challenge our perception of junkspaces, and show how we can turn them into valuable architectural resources. Furthermore, Libeskind's work shows us how we can inject a narrated personal experience into this lo-fi architecture, making it more readable to a wider audience. It concludes that Personally, if I had to give a sketch of this ideal response, its form would likely be a hybrid of Lacaton and Vassal’s everyday mindedness and Peter Zumthor’s envelope and atmosphere. (Reference) Everyday spaces are not as simplistic as they seem, and they have the potential to become quite profound places. As a final note and in accordance with Till’s musical anecdotes: Many listeners don’t love music for the way it is structured or theoreticized. The passive audience loves music for its content and for the way it makes them feel. However, the artist still needs to have a strong understanding of the theory and mechanics behind his music. Ghiraardo disapproves of the division between architectural theory and architectural practice. She reminds us that by neglecting to respond to or even acknowledge “the relationship between political intentions, social realities, and building,” architects avoid social responsibility (racism, social segregation of suburbia, and the exploitative manipulation of land development to benefit a power elite). The net result of what Ghiraardo sees as an abdication of responsibility (from both camps) is the narrowing of the sphere of architecture to a superficial fashion. If I have learnt anything from this study of junkspace, it is that there is an urgent need for strong relationships between a theory in practice movement.
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Phillip Bess - Communitarianism and emotivism. two rival views of ethics and architecture. phillip bess. page 377 the architecture of deceit, diane ghirardo page 385 Rethinking Architecture: A Reader in Cultural Theory. Neil Leach page 245 Jeremy Till. Architecture Depends Rem Koolhaas. Junkspace Peter Zumthor. Thinking architecture https://032c.com/2013/o-architects-where-art-thou-game-changer-lacaton-vassal/ 032c issue #23 http://www.e-flux.com/journal/64/60867/out-of-bologna-lacaton-and-vassal-s-nantes-school-of-architec ture/ Prof. Dr. Philip Ursprung is Chair of the History of Art and Architecture, Institute for the History and Theory of Architecture, ETH Zurich. Š 2015 e-flux and the author
Alex Croll Alex met Daniel at the Daniel Libeskind Charity Lecture 2-3.30pm, Friday 23 October 2015 at LJMU School Of Art And Design; raising money for the Red Cross for Syrian Children, and the Talia Trust for Children http://www.thedoublenegative.co.uk/2015/11/it-doesnt-interest-me-just-to-build-buildings-the-big-interv iew-daniel-libeskind/
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