INTE R BUIL IORS D CITI INGS ES
2019
PROJ E CT JOURNA L
inĂŠs fernĂĄndez hernando bk tu delft 2019
MSC1 Susanne Pietsch, Leontine de Wit, Catherine Visser, Ruurd Kuijlenburg
I N DE X 1 .
Reflections- first thoughts
2 .
Lectures
3 .
Future scenarios
4 .
References
5 .
Drawing references
6 .
Project
7 .
Reflections- final
1.
REFLE C TION S
INFO DATE
fundamentals
22/03/2019
TOPIC
first thoughts
Choosing Interior Buildings Cities for this exchange semester is something very challenging for me. Using models as the main tool to investigate and develop your project is something I am not very used to, because I usually see models as final products of a project. Also, the fact of designing in different scales, from the smallest detail of construction, to the landscape intervention, going through the furniture and color used in the building, was something really appealing to me. It reminded me to the term of a “complete artwork” of some architects of the 20th century, and is something I would really like to investigate more during this semester. Fundamentals tries to be a supportive and an additional subject to the studio, with the idea of complementing our designs with research, analysis, and investigations. I am not very sure how this is going to be done, but I feel that having a Fundamentals’ tutor can also give you more perspective when developing your design. During the first weeks we’ve been asked to bring references from our hometowns to show different approaches from different cultures, to same programs (hub, museum, co-working…). Also after Mark Pimlott’s lecture about context we’ve been asked to find a project that shows this concept, so this is a way of really understanding what a lecture is about, and applying the ideas that we extracted from it to find the proper reference. The aim of this course is to analyze one of the buildings proposed by the tutor, choosing it based on your preferences, your own interests… In my case I chose the SESC Pompeia by Lina Bo Bardi, and I analyzed it with my group mate Winnie Chiu. I chose this building because I had heard about Lina’s drawings and I was very interested in understanding her design process, from those sketches to the final product. Let’s see what conclusions I can get from it after the whole research, and how I can apply it to my project.
2.
LECT U RE S
BY MAR K PIM L OTT
INFO DATE
T HE INTIMATE
CITY
lecture 1
22/03/2019
TOPIC
intimate city
As architects, but also as human beings, is important to understand the implications and meanings of past actions in the present and how they will affect the unknown future. Fundamentals is about setting the bases for how to consider a subject in an specific context surrouded by those actions. There are obligations and responsabilities that should be part of an architect’s work. In this way, to be able to engage our work with the “material culture”, is important to have a particular approach to people and things, and to understand the conditions that constitute a situation. To adress this concerns, a series of lectures is taking place with Mark Pimlott. The first one is called “The Intimate city”, and is a very good starting point to understand how individuals find themselves in public, when they are in contact with other people, objects, buildings, topography... city’s constructed facts. This idea of “Intimate” refers to the effects of the city and architecture upon the individuals, and they are the subject of these affects in a complicit way (they are part of them) but also as resistants, as they have the control of their own subjectivity. So basically, in this way, the City is able to create subjectivities. The spaces provided in this city, people are conscious of others and themselves amongst others, and they are perceived as public interiors. They implicate the individual to take part of them and articulate relations between the self and others. They constitute conditions to produce subjectivity responses rather than the enclosed and private spaces. The interior now is part of this concept of Intimate. However, how we perceive this interior spaces has changed through time. In the begginings it used to be an extension of public life, private concept didn’t exist at all. But with Modernity, people start to use this interiors as a place to be safe, to be themselves, with comfortable clothing, is basically its comfort zone. In the 19th century these interiors are even perceived as places of revelation to open up. George Simmel states that these familiar and interior spaces can be too intimate and produce claustrophobia on the indivuals.That’s the reason why individuals decide to take the city, the public space, to place their private selves. This new exposure of the individual towards the city can create an overstimulation that means real subjectivity within the individual, he can experience more freedom than inside. With this relation between the individual and the city, now he takes part in the urbanisation process, and becomes subject of it. In the development of Paris, Haussman proposes new routes, streets and avenues that fits with new ways of understanding the city and the relationship between it and the subject. Haussmann’s plan creates a visible and knowable area to control individuals , it was a system that demanded agreement in behaviour, and that was used to instruct its citizens. The incorporation of technological improvements such as the electric light helped to make interior spaces out of the streets, so people could feel part of them, offering them anonymity and a place to shape themselves. Because the Intimate City is part of the subject, and the subject takes part in the conformation of the Intimate City.
INFO DATE lecture 2
26/03/2019
TOPIC
attention
THE MA T T E R
OF
AT T E N T N O I
This lecture focuses on the notion of the human body, how it takes part in architecture, and how our attitude towards our own body and others body is. Looking in a certain way to the body, focusing our attention on it, takes us to the art of looking as a tool for understanding what surrounds us, as a basis to approach the subject. For that is important to be aware of what we are looking to, and who is looking, because different subjects can obtain different meanings of a same object, different interpretations. The way in which Mark Pimlott illustrates this need of attention is through painting, photography and architecture. The picture taken by Elliott Erwitt shows exactly the different ways of seeing, depending on your gender, your age, your cultural background... That picture shows two paints by Francisco de Goya, one of them a nude, and the other one a dressed woman; the former with a male public, and the latter with a female public. Why is that? Are nudes a way of showing male power over women? It seems that one’s look can be transformed into an act of possession of the object, so then, are women used as objects of desire for these subjects, even since the beginning of art? As John Berger says in its book Ways of Seeing, the nude is a naked woman seen from a male perspective, a man who stands in the place of the painter, and makes the woman feels that her being is just completed by the act of looking, the one of the man’s gaze, what means being possessed by him. So it is clear that through the gaze, relations of power are established between the subject and the object, and in painting we can see that the painter is in control of the situation, and he’s the one that decides who is the subject by choosing the object itself. These previous examples are from a distant period, but Berger points out also how this power through gaze is also present in a not-so-distant past, advertising agencies that designed product campaigns with and already way of seeing inculcated, because the male gaze is assumed to be the dominant one, so the object of desire is still the woman. Some artists such as Cindy Sherman criticizes these conventionalisms about appearances and the power of man in society’s gazing. Also Pistoletto situates the viewer and the piece of art as the subject of attention of the viewer, creating a situation of uncertainty where the subject is object at the same time. Talking about reflects, we ended with the photographer Dan Graham, who was interested in photographing architecture, and glass buildings in particular, understanding architecture as a framework for relations between people and as a medium for seeing. We can clearly see this idea in the Philip Johnson’s glass house and in Ludwig Mies van der Rohe’s Haus Tugendhat. In the latter, the subject can feel owner of the surroundings during the day because he has everything under his feet, he possesses all he sees. And then, during the night, his reflection on every glass surface makes him to confront his own reality. In the case of Philip Johnson’s night reflections are avoided thanks to a very specific lighting system, what makes the subject never to confront himself, and increases his feeling of power. So, to conclude, we could confirm how the way we look at objects make us to possess them or not, and how painting and photography could reinforce this control feeling, either over people or over territories.
INFO DATE
CONTEXT( S)
lecture 3
02/04/2019
TOPIC
contexts
The focus of this third lecture is on the conditions in which objects and buildings are found, events take place or cities and societies develop; this means, contexts. The term context is understood as the attritbutes that result from the accummulations of physical presences, cultural and historical circumstances, social and political issues and the environment. When we land to a context, we don’t know everything about its past history, and also about what can happen there in the future. The idea that we get from that place is incomplete, because we need from a context to fully understand it. Based on catholic tradition, first place on Earth was Paradise, and to make a place out of it, it was necessary to name the elements that composed it. Language is a tool to identify places and objects, to give them an identity. However, words itself are not enough, with them we articulate representations of our thoughts that are incomplete, because it is not the same the signifier than the signified, as the second one includes intentions from the subject. Thus, buildings, places and artefacts are utterances, so they are also incomplete, and need to be found amongst other elements, to be dependant upon their context. They exist in relation to other buildings, territories and artefacts, demanding our interpretation through our attention, our point of view. And how this relates to architecture? Architecture should be understood as a political act, where the architect is responsible of its actions and its consequences for the environment, taking into account the context where the project developes. However, when some architects takes its practice as an instrument of power and control, they tend to create icons that assume its autonomy. It is, basically, a-contextual architecture that represents the ideology of despotism or neoliberal capitalism. On the other hand, finding value on what has happended before takes us to the notion of historical consciousness, by associating the present with the glorious past, forming a context. It can be seen in Modernist architecture, with the postwar reconstructions that created artefacts of the historical city, a kind of “historicism” that also takes us to iconographic elements. Architecture should be thought as part of a city’s tradition, an aspect of its culture, and as TS Eliot states about tradition, it does not mean imitation, it is about engage with the city through the new architecture and articulations with the past. In this way, addressing architecture and context we change this architecture and this context; we alterate the tradition and its identity, renewing and rediscovering it instead of erasing it. To conclude, Mark presents three examples of architecture that shows the ideas about context and tradition developed through the lecture. La Scala, a stair that connects all the buildings and elements that are part of the Piazza complex, reconciling past and present engaging the project with patterns of use already present. Lisson Gallery, an extension of an earlier building whose architectural forms continuate the forms of its context, and whose users establish relations with neighborhood users, occupying common spaces. Finally, Matosinhos pools, a public and natural pools’ complex that integrates with its surrounding context, making its buildings almost invisible from the road, as they merge with the existing docks. Then, the complex opens completely to the ocean landscape and the pools emerge from the rocks, making users being part of this nature context.In these projects the architect acts, transforms and makes visible the contexts that constitute the environment. Because the architect has to carry the responsability of acting in pro of the social, cultural and political.
INFO DATE lecture 4
16/04/2019
TOPIC
experiences
COM PLE X I T Y OF
EXP E E I R N C E
Architecture should contribute to people’s feeling of control and agency within society, and that’s why architecture carries a political character. To make it possible, during these last lectures, we, as future architects, have been encouraged to create environments that are involved and related to its context, and that they generate an effect in our society, an effect of control and consciousness. But this effect should enable citizens to act freely, not as subjects manipulated by capitalism. An architecture in which consciousness is central. This led us to two concepts of experience, the phenomena, which focusses on the experience of materials, spaces, atmospheres, the direct experience… and context of the experience, the human actions through material culture. Phenomenology vs Praxeology. Notion of experience attached to physical elements such as material, light… but it should be open to all kind of influences and perceptions, so they can coexist and allow to know more about all their aspects. The philosopher Martin Heidegger explains the idea of the experience as a phenomena, in a sense that we’re conscious of our “being in the world”. His theories had an influence on architects such as NorbergSchulz in his ideas of dwelling and architecture, where “being in the world” means “being in a place that represents the world”, which means the experience of a world through material culture and people communication. He considers the built environment as an expression of human nature. Phenomenological paradigm as justification for a particular kind of architectural making. Experience as a result of the relationship between people and architecture, how architecture shapes images of life and produces conditions of subjects, which means subjectivity. Architects can speculate about the experience, anticipating and proposing conditions and environments to be experienced. The experience of architecture is also influenced by the culture itself, ant its expression in materialization. That is what we call the “material culture”, and refers to the knowledge of a culture that is embedded in objects. Experience can be understood as the way in which the subject interacts with the world trough things, through this material culture. Navigation through and with things is useful in considering how one experiences the world, and for the architects to know how to build up the elements that are part of it. So what we, as architects, add to the world, we add it too to the context, and to the material culture.
3.
FUT U RE SCENARIO S
INFO DATE
first ideas
04/04/2019
TOPIC
future visions
Prinsenkwartier defines itself as an incubator of Delft, a “creative meeting place of Delft and for Delft”. But is it really working like this? Does its physical organization help them to achieve this goal? Is that goal what Delft needs? Or maybe it should be more ambitious? St. Agathaklooster is, without doubts, a historical landmark in Delft. Founded in the 14th century, the building is the only convent remaining in Delft after 7 centuries. The complex has been constantly reinterpreted over time. From monastery to museum, passing through Princess’ dwelling and barracks, the complex has had always the ability to adapt to these new uses. But even if we’re focusing on the southern wing of the old monastery is important to keep in mind how all its elements are connected between them, and affected by use changes; and how St. Agathaklooster opens or closes to the city depending on its use is crucial to make it work better. Next step should be question ourselves which its role is going to be in the future. How Prinsenkwartier can really make a change in Delft. For this is very important to create a place that has its own life, without need of having an exhibition or a lecture, the place can still living. Because when I’ve been there, it seems that if there isn’t an event, Prinsenkwartier freezes. Ground floor, with Bar/Baar, Kunstsuper and Kadmium exhibitions seems to be more active during the day, but still not enough. 1st floor seems to be only accessible if there’s an event going on there, and the quality of the space is not really appealing to attract new users. That’s why new uses as artist residence and, workshop for artists, a place to work in groups for students, or temporary workplaces to be rented for deadlines or short-time projects could be very useful for the city and could reactivate the building. The complex has really good qualities in terms of location, services, connections… but the southern wing itself doesn’t have a lot of interest in its interiors. So introducing new materials, colors, textures, lights, or temporary elements can make the spaces more suitable for more and new uses, and can be a reference for creativity and circularity, two very important issues in architecture and design nowadays, and a way to attract people. Two examples on how to combine and make the historical building and the new elements to coexist are MediaLab Prado in Madrid and Matadero Madrid (pictures below). However, the building itself is not the only point in the project. It needs to be connected with the city of Delft, and mainly with the university so students can bring new ideas and develop them here, and also to near cities as Rijswijk. For this purpose is important to create a nice place to stay, so to open the building more to the complex, to create a good relation between the southern wing and the garden. Now the garden looks like a very formal place, and not a place to stay and read even if it could be really nice, because of the quietness. Creating more opened entrances would attract people who is visiting Delft as tourists, as its location is just in front of Oude Kerk (one of the main landmarks in Delft), and also neighbors and students that live in the train station area so they have to go through it to get into the city.
INFO DATE midterm situation
03/05/2019
TOPIC
future visions
What I found interesting in the design was the simplicity of its structure, and how this simplicity allowed the building to be reused for centuries. That’s why the project bases on showing this simplicity by removing extraneous elements. Composing the space is understood as a game, playing with scales and relations between inside and outside, by creating circulations inside and outside of the building, activating the spaces that nowadays look poor and empty. These circulations are stimulated by the inclusion of certain pieces that make people act within the building, participating in it. Similar to the “route architectural”. First of all, the program is defined in stratums, starting with the public uses in the ground floor and having the private ones in the attic. In the first floor bar-baar is maintained in its current location due to the good connection with Phoenixstraat, which also helps to activate the building in general. Exhibition room and store are in the middle part of this floor, and are the biggest and main spaces here. The atmosphere tries to be fluid and non rigid. Also a small corner library is added to the program. In the first floor, two lectures spaces coexist in the same room, allowing two different topics or just a bigger one. A multifunctional space (exhibitions, dancing, concerts, performances...) can be found in this floor too. Students and artists can come to this floor to work on their projects, having group meetings or renting some desks for special occasions. In the attic, the most private space have the Prinsenhof offices and its partners’, with also changing rooms and lockers for workers, and storage space. In the attic some artists can live for short periods of times working on their projects and using a private workshop for them. Two different families of interventions can be recognized in the project: first of all, a substructure that organizes the space inside and outside of the building, creating a connection in the ensamble; and the activating elements that I mentioned before. The substructure has two purposes: first of all reinforcing the existing structure and then imposing a circulation sistem that also organices the uses and spaces. From this substructure the activating elements are hanged, so they help each other to coexist.
4.
REFE R ENCE S
INFO DATE
reference
20/03/2019
TOPIC
re-use
MEDIALAB PRADO LANGARITA-NAVARRO
BEFORE - old sawmill 20th century - one of the first fair-faced concrete buildings in Madrid - classicism style
AFTER - new space to create, users as active parts of the building - workshops. Flexible and open spaces. - new public space (squares, green areas) for the neighborhood - interaction between pedestrians, users and building (screen) - The Thing: new devices and services that updates the sawmill - different materials, colors and structural systems compared to the old sawmill. hanging steel structure VS concrete pillar structure
INFLUENCES TO MY PROJECT: The idea of having an element that supplies the existing building with facilities related to communications and circulations, storage, toilets, instalations... Make people interact with that element Introducing a steel structure Playing with colors and materials, so each function could be recognized by its color
INFO DATE reference
20/03/2019
TOPIC
re-use
INFO DATE
reference
20/03/2019
TOPIC
re-use
MATADERO MADRID
BEFORE - slaughterhouse 20th century - complex of multiple units AFTER - different interventions in each unit, with different purposes, all of them related with arts, creativity , workshops, culture and co-working. - respect the facade, structure and outside appearence of the industrial buildings
INFLUENCES TO MY PROJECT: Respect the existing structure as much as possible, avoiding removing beams to introduce stairs and other facilities Good and respectful interaction between the existing building and the new elements Introduce different levels/layers of intervention. All of these layers help each other to work without imposing one over the other
INFO DATE
TOPIC
INFO DATE
reference
20/03/2019
TOPIC
re-use
PC CARITAS BELGIUM
BEFORE - old, psychiatric clinic
AFTER - new way of clinic. re-thinking the concept - new place to meet and explore - respect the villa as it was found - introduce a new structure that holds up the existing one - create an in-between building. Everything is opened but from the outside looks like a common closed building
INFLUENCES TO MY PROJECT: Hold up the existing and damaged structure with a new one made of steel beams The new structure has a different and recognizable color, so the user can identify the intervention The disposition of these new beams is completely rational and has a reason to be there Create a very open and not divided space, where the user feels free to experience it and to take their own paths
INFO DATE reference
20/03/2019
TOPIC
re-use
INFO DATE
reference
24/04/2019
TOPIC
museum
MUSEUM ABDIJBERG HANS HOLLEIN
- walk-on building where the user discovers the space through new routes - the building is for public use, open for everyone and with outdoors exhibition space for open-air sculptures - complex architectural ensemble, with a sucession of a variety of white and neutral spaces in different configurations and light situations; different scenarios that can be reinterpreted by the different users - the configuration followed is more like a 3D matrix rather than a linear arrangement, in such a way that the viewer is a participant of the museum, he discovers it choosing the paths to follow - materials: marble combined with less elevated materials, such as brick or sandstone; reflective/ transparent glass; matching colors
INFLUENCES TO MY PROJECT: Take advantage of the neutral and basic shell of the existing building to have a neutral space where many interventions can be made. This means creating a subjective space with multiple interpretations by the users Consider the space as a scenario, thinking in the circulations and routines of the users, and introducing the new elements in such a way that they are part of those routines and help the user to experience the building
INFO DATE reference
24/04/2019
TOPIC
museum
INFO DATE
reference
22/05/2019
THE YELLOW HOUSE VALERIO OLGIATI
- old and family house restored as a museum and exhibition space - very thick walls made of stone with small windows - the whole building was completely emptied, removing the exsiting divisions of the rooms - a new structure is introduce in the old envelope. It is basically a central and big pilar made of wood with two beams that cross it and that cover the whole space - monumental appearance of the building as it is completely painted in white, so it becomes the principal element of the street catching viewers attention
TOPIC
re-use
INFO DATE reference
22/05/2019
TOPIC
re-use
INFO DATE
reference
22/05/2019
TOPIC
grids & structures
SPECIES OF SPACES MAIO ARCHITECTS
- transform a generic spaces into a particular one by adding a new grid - new dialogue between the square based grid and the circular room in a Richard Meier’s building (MACBA museum) - a new system of square rooms of identical dimensions re-define the existing space and reorganize it - create a labyrinthine perception for users, with a strict repetition of rationality and modularity
INFLUENCES TO MY PROJECT: How to integrate a new grid into a existing structure A lot of particularities and exceptions appear, and create a series of particular spots where the user can feel identify with Not hidding those singularities that result from the coexistence of two different elements, but embrace them and make them part of the whole project
INFO DATE reference
22/05/2019
TOPIC
grids & structures
5.
DRA W ING REFERENCE S
INFO DATE
infographics
whole semester
TOPIC
inspiration
INFO DATE infographics
whole semester
TOPIC
inspiration
6.
TH E PROJEC T
INFO DATE
research
22/03/2019
RESEARCH DOCUMENTATION
AND
During the first weeks, one of the groups is in charge of investigating about the history of the building where we’re going to work during the semester. I’m part of that group. Creating a timeline is fundamental to know what happended in Delft through those centuries, and how the Prinsenkwartier could felt affected by. A good way of really understanding what happened in the building is by drawing the different situations that it went through due to the former uses: monastery, princess’ dwelling, military hospital and museum
TOPIC
history
booklet contect
TOPIC INFO DATE 22/03/2019
research
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INFO DATE
research
22/03/2019
TOPIC
former uses
toilet
dining room
scriptorium kitchen warmth room
storage
speaking room
monastery
en
m ro ef nc tra
s
good
out house
vegetable garden
garden
courtyard
dining room
storage
cooking
kitchen storage
washing
storage & storage for monastery
great hall
lounge
dining
servant area
princess’ dwelling
city the
INFO DATE research
22/03/2019
TOPIC
former uses
military hospital
museum
INFO DATE
model
18/04/2019
TOPIC
design a stair
FIRST APPROACH
Designing the staircase as a piece of furniture that acts as a multifunctional element. Introducing materials and colors that give to the piece its own identity and can make the space to identify with it. The stair is conceived not just to communicate both levels, but also to communicate people between them and with the products developed by artists in the Prinsenkwartier. In this way, the stair creates a new space for socializing, and takes part into the whole process of creation. The stair hosts yellow pieces that can be used as stools, benches, exhibitors, showcases... and they can be moved by users. It gives them the “power� of designing the space themself according with their needs, and making them part of the design process.
INFO DATE model
18/04/2019
TOPIC
design a stair
INFO DATE
tutorial
26/04/2019
FIRST IDEAS BUILDING
TOPIC
loose elements
FOR
THE
Start introducing loose elements that create circulations in the space. For the ensamble, a non linear circulation is needed in order to avoid using the Prinsenkwartier just as a street. Creating a clear connection between the building and the garden can help in that.
FEEDBACK Clarify what you need to add and what you take out. Work with those pieces that activate the space, but not adding to many. Show in different colors the relation between old and new. Create a connection between the inside pieces and what happens outside. How to point the entrance?
INFO DATE tutorial
26/04/2019
TOPIC
loose elements
INFO DATE
approach to midterm
30/04/2019
TOPIC
yellow structure
DEVELOPING THE IDEA / APPLYING THE INPUT After last tutorial, and with regard to Midterm presentation, I introduce a new concept in my design. Previously I was just playing with loose pieces that activate the space, now I add a new element that helps merging all the pieces. This is a new steel structure that on the one hand helps the existing structure not to fall, holding it up, but also organises the space and the circulations. The beams have diferent directions that guide the user through the building and takes them to singular points of the building, such as stairs, showcases, services...
INFO DATE approach to midterm
30/04/2019
TOPIC
yellow structure
INFO DATE
presentation
03/05/2019
TOPIC
MIDTERM
- Erasing the existing elements that are not essential (no load bearing walls), and stairs whose location is not usefull for the circulations in the building -Adding the yellow structure and the stairs that are subject to its direction. -Adding movable elements such as curtains or divisors walls
FEEDBACK Find a structure that stabilizes the building: how does it really need to be to work propoerly? Consider the directions of the new beams as a second rhythm that is opposite to the existing one but that collaborates with it. Interesting dynamic between the scissor structure and the existing one. Scissors structure: how does it connect to the existing one? where does it have to be supported? does it touch the walls? It is a system that crosses along the space and that braces the wall. Analyze carfully the existing structure, find its exceptions and work with them Don’t focus on the existing use, create a structure that lasts longer than the uses, and it is suitable for multiple future scenarios. Technical questions have to be solved, that’s the base of the project. Introduce the aesthetics through this practical issue.
INFO DATE presentation
03/05/2019
TOPIC
process diagram
In red the elements that are erased Blue the new divisor elements Yellow represents the structure and the new stairs
INFO DATE
presentation
03/05/2019
TOPIC
floorplans
N
attic
N
1st floor
N
ground floor
INFO DATE presentation
03/05/2019
TOPIC
landscape
N
N
landscape intervention, based on the use of the diagonals as new directios to organize circulations of pedestrians in the square. people would feel attracted by the stairs in the corner that reminds to the one that used to be placed there in the 20’s, but also by the yellow beams that cross the facade. the current geometrical garden would be replaced by a lush one, combined with a big square for events.
INFO DATE
presentation
03/05/2019
TOPIC
model pictures
INFO DATE
tutorial
10/05/2019
TOPIC
after midterm
AFTER MIDTERM
with the idea of creating a very rationalized structure, I tried to carry out a specific analysis of the current situation that analysis would be the base for finding the exceptions that would take me to the most refined structure a system of circles with different radius (considering the biggest lenght of a steel beam) is proposed, also trying to hold up every old beam in two points in the roof trusses, a first idea of erasing one of the horizontal beams in order to be a more comfortable space where people would not bump their heads with
FEEDBACK Don’t focus that much on rationalizing the system and being that accurate. Simply try to find a nice grid that works properly, but without spending too much time in calculations. Create a catalogue of the elements I want to add, considering its dimensions and human body size. After that, overlap those layers and see the result. How do they relate to each other? This means developing several levels to work with: beams (principal and secondary), columns, joint mechanisms, objects (stairs, services...) How this intervention is reflected on the facade? Without being just an ornament?
INFO DATE tutorial
10/05/2019
TOPIC
structural sketches
INFO DATE
tutorial
17/05/2019
TOPIC
structure
STRUCTURE
i decide to be more practical and find a more generic structure that holds up properly the old beams. I try to avoid every single exception for that, and after analyzing different possibilities for the structure grid, I go for an almost perpendicular one, that orgaizes the beams but also the stairs. the new structure stands on a UPE profile on one end of it, and it’s attached to a double UPE pilar on the other. The pilars are separated from the wall 1,5 m aprox. and they are situated on both sided of the room alternatively, trying to enclose different areas between them.
FEEDBACK The disposition of the columns doesn’t leave a lot of free space, so the uses are quite restricted because of it Better to have all pilars in one side of the room instead of both. Decide wether having less beams and a clearer view of the ceiling and old beams, or doing the opposite and draw like a filigree of beams Try to create more defined spaces trough the locations of those pilars Make the stairs part of the system, not just by being parallel to the directions of the grid, but by being part of the beams.
INFO DATE tutorial
17/05/2019
TOPIC
grid analysis
INFO DATE
tutorial
17/05/2019
TOPIC
floorplan
ground floor
ground floor circulations
INFO DATE tutorial
17/05/2019
TOPIC
perspective views
INFO DATE
tutorial
diverse sketches show the different and specific situations that happen along th structure first thoughts about the way to attach the beam to the wall, or the enconunter of the steel beam with the corbel
17/05/2019
TOPIC
structure details
INFO DATE tutorial
17/05/2019
TOPIC
model pictures
INFO DATE
tutorial
28/05/2019
TOPIC
structure
CHOOSING A STRUCTURE
i decide to go for a structure in which the beams stand in the UPE profile on the window’s wall on one of their ends, and on a pilar on the other, leaving the closed wall free of these structural elements. the stairs are modified and try to fit better with the grid. a new element is added to the function: service’s rooms. They are located in the closed wall, using the space between the pilars and that wall
FEEDBACK Do not hide the service rooms. Now they are too narrow and not a nice place, so they don’t provide a good service at all that covers the users’ needs. Why don’t they interact with the diagonal grid? Why isn’t it a more complex element that is more dynamic? The stairs disagree with the whole concept of the project of protecting the structure. So look for a good design of them with which you don’t have to break the beams, so the stairs are completely part of the whole. Don’t forget to start developing the other floors Building Technology: think in how to build up the entrance archade, which profiles you need and how to avoid the cold bridges
INFO DATE tutorial
28/05/2019
TOPIC
sketches
INFO DATE
tutorial
28/05/2019
TOPIC
sketches
INFO DATE tutorial
28/05/2019
storage
TOPIC
floorplan
storage
start using colors for the different elements that are part of the project, identifying the yellow color with the steel beams and the the pink fot the comunication elements
INFO DATE
tutorial
28/07/2019
TOPIC
evolution diagrams
INFO DATE tutorial
28/05/2019
TOPIC
evolution diagrams
INFO DATE
tutorial
try different combinations of colors in order to express function of the elements to the users
28/05/2019
TOPIC
color
INFO DATE tutorial
without the services’ rooms
28/05/2019
TOPIC
perspective section
with the services’ rooms
INFO DATE
tutorial
07/06/2019
TOPIC
stairs
STAIRS
during this week I focus mainly in the stairs, how to fit them in both structures (the old and the new) without altering them it is such a challenge that means lots of sketches trying to find the perfect stair to avoid the very linear and narrow rooms that I had in the previous week, I start trying new shapes that relates better to the diagonal grid and make them part of a rhythm.
FEEDBACK Now seems that are too many objects working in the system: the structure, the stairs and the rooms. Try to make a single unit out of them, as they have the same purpose of offering a service to the users (communications, toilets, instalations) Focus on the ground and first floors and forget about the attic; don’t try to solve it because it would mean a disagreement with the concept of protecting the existing structure
INFO DATE tutorial
07/06/2019
TOPIC
sketches
INFO DATE
tutorial
07/06/2019
TOPIC
floorplans
lecture hall exhibition
storage
pa
nt ry
1st floor
lockers
storage
ground floor
INFO DATE tutorial
07/06/2019
TOPIC
attic
taking the directions of the yellow beams in the other floors to the attic, in order to solve the problem of bumping your head with the wooden structure
INFO DATE
tutorial
continue with the idea of a stair that stores objects, showcases, stools... and combine it with semi-transparent materials, such as metallic nets, that don’t block the views
07/06/2019
TOPIC
stairs
INFO DATE tutorial
07/06/2019
TOPIC
building technology
starting to solve joints in particular points of the structure starting to think about climate and ventilation issues
INFO DATE
tutorial
07/06/2019
TOPIC
model pictures
INFO DATE
tutorial
14/06/2019
TOPIC
units
UNITS
creating a single element composed of the stairs and the services to give this feeling of unit, I decide that the height of the rooms is determined by the stairs. So the stairs are conceived as blocks until that height, and then they become a light steel structure. not very clear how to divide the spaces
FEEDBACK The space does not have to be divided with physical partitions, this project had the concept of a very flexible and continuous space, so it makes sense to have flexible partitions too. Curtains, lighting systems, rugs... can be considered as this type of partitions. Play with its transparency, adding transparent fragments at a certain height, that allows seeing trhough it depending on your position (sitting or standing) Think about the handrails, are they a solid wall? or just a steel element? What happens in the facade? What do you see from the outside?
INFO DATE tutorial
14/06/2019
TOPIC
sketches
INFO DATE
tutorial
14/06/2019
TOPIC
floorplans
lecture hall exhibition
storage
pa
nt ry
1st floor
storage
ground floor
INFO DATE tutorial
14/06/2019
TOPIC
unit
INFO DATE
tutorial
fan-coil system included in the service rooms special piece designed to adjust the height needed to hold up properly the wooden beams
14/06/2019
TOPIC
building technology
INFO DATE
building technology
21/06/2019
CLIMATE PERFORMANCE IN HISTORIC BUILDINGS
Current situation: poor thermal insulation, high energy demand, insufficient thermal comfort Heat consumption for a typical brick building: 170 KWh(m2) to 280 KWh(m2) For a mild and humid coastal climate RH high + rainfall and mist from the sea 2 options for humidity control strategy in historic buildings: Conservation heating: RH stability depends on air infiltration and temperature control. It’s also necessary to heat up the building during the summer to mantain a moderate RH (this can be avoided if it has large windows facing the south). However, heating during the whole year is not a nice solution for climate control. We have to be conscious that even if the potential of improving thermal performance is very limited in a historic building, we have to look for an efficient energy source. Mechanical dehumification: it is an attractive alternative because heating is not needed. It can be done through two methods: absorption (air passes through a dessicant, that works in low temperatures; the device doesn’t need a drain, just ducts to release the warm humid air to the outside) and condensing (a fan drogs the air through a cooling unit and extracts moisture, which drips into a bucket; but the problem is that it does not work under 8oC) Thermal insulation in the ceiling reduces the heat loss in winter and the heat gain during the summer. Wooden ceilings and floors can be very leaky, so an air membrane should be installed (a layer of tar paper or a gypsum board, which also offers fire resistence) Windows: double glazing (inside)
TOPIC
research
INFO DATE building technology
21/06/2019
Warm air heating: air as a conveyor of heat to the rooms in a building. Warm air is distributed through ducts, that are connected to a unit with a fan to recirculate air through a heat exchanger. The problem is that those ducts need to be quite large, and also a large amount of air needs to be circulated in order to be enough heat for the room. Thermal mass: absorbs heat during the day and releases it during the night. External insulation is better when there’s a high thermal mass, because it means losing less heat, while having internal insulation implies losing the benefits of the thermal mass. Introducing materials that don’t mantain permeability can exacerbate existing problems (used in external walls can trap moisture), so avoid impermeable materials. Layers of an insulated solid wall should become more permeable from the interior to the exterior Thermal plaster can be considered as a good solution, as it is applied on the external wall, letting the thermal mass act, but also without disturbing the historic building appearance. It is made of insulating lime renders with expanded vermiculite
TOPIC
research
INFO DATE
building technology
21/06/2019
TOPIC
details
DETAILS
Start developing the details of the specific situations when the steel structure meets the existing walls, windows, beams... how to avoid cold bridges
FEEDBACK Avoid welding on site, so change the weldings in all the details, replacing them with specific pieces that are screwed. Use a wedge to adjust the height of the steel beams (easier and more effective) Add more insulation in the main entrance to avoid cold bridges Climate diagrams
INFO DATE building technolgy
21/06/2019
TOPIC
sketches
INFO DATE building technology
21/06/2019
TOPIC
details
INFO DATE
building technology
21/06/2019
TOPIC
details
INFO DATE
PRE final
21/06/2019
TOPIC
PRE FINAL
choosing the floorplans style: three options are proposed diagrams with the concept of how the new elements are introduced in the old system and which is its hierarchy rough version of the landscape intervention: keeping with the idea of the midterm of generating new areas in the courtyard following the directions of the diagonal grid. In that way the pedestrians would walk closer to the main facade so they woud feel attracted to it. The garden would be more lush too, without the regular pattern that exists now
FEEDBACK In the diagrams add just the previous situation, it’s not necessary to show the hierarchy of the system in all the floorplans, just in the ground floor is enough Explain the appearance of the curtains (its color, its transparencys and shapes) in the diagrams of the furniture, not in the model. Services’ rooms could be made of painted wood: explain in a detail the connection of the steel stair handrail with the wooden block, and how the lockers are inserted in the block. In the perspective section graduate the colors so they vanish at the end. Careful with lines’ thickness. Draw old beams, so anything is straight because it is an old building
INFO DATE PRE final
21/06/2019
TOPIC
floorplans aesthetics
INFO DATE
PRE final
21/06/2019
TOPIC
landscape intervention
INFO DATE PRE final
21/06/2019
TOPIC
perspective section
INFO DATE
PRE final
m
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21/06/2019
ts
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TOPIC
diagrams
INFO DATE PRE final
21/06/2019
TOPIC
furniture
INFO DATE
PRE final
21/06/2019
TOPIC
stair sketches
INFO DATE
final
02/07/2019
FINAL PRESENTATION
as a brief summary of the project: the initial idea comes from the combination of different layers/ elements that collaborate and merge each other the current situation of the prinsenkwartier offers good possibilities because of its good location, but also has several problems of communication: how the building communicate with people to inform them what is going on inside. The three entrances are confusing and the disposition of the stairs doesn’t let you explore the building and its activities to solve that several elements are added following a hierarchy: steel structure that holds up the existing one, diagonal directions that organize circulations, stairs that interact with users, service rooms and flexible divisors. the sum of these elements takes you to a very flexible but also tailor-made building that can be personalized by the users (Prinsenkwartier organization) depending on their programme of activies
TOPIC
INFO DATE final
02/07/2019
TOPIC
floorplans
INFO DATE
final
02/07/2019
TOPIC
climate
WINTER
supply
SUMMER
extract
As the Prinsenhof is an old building with more than 5 hundred years old, an intervention is needed in terms of climate performance, to make a more sustainable building that matches nowadays regulations. The absence of windows in one of the facades makes difficult the natural cross ventilation, so a mechanical one has to be added. The fan coil is the system chosen to do it. The existing windows are kept in the building, letting the air go through it. However, a second layer is added to take advantage of this air that comes inside. This is the Clima Win system, which consists in a window frame with a special mechanism that warms up or cools down the air that comes from the outside. In this way, the air is permanently renovated but avoiding the outside temperatures. The air that comes in is then absorbed by the fan coil, which cools it down or warm it up using water pipes that are filled with rainwater. The energy needed to provide heat or cold is provided by solar panels on the roof, and the energy is stored in an acquifer during the different seasons. The fan coils are situated in the “service� rooms that cover the wall without windows, and the disposition of the supplies and extraction points allows a good circulation of air through the building, as we can see in the diagrams, The building right now does not have insulation, so a lot of energy is needed to keep it warm during winter. The best way to insulate an historic building such as this one, with great thermal mass due to its thick walls, is by adding the insulation in the oustide, so we can still take advantage if the thermal mass. So due to this and in order to not destroy the appearance of the building, thermal plaster is used to cover the facade, reducing considerably its heat loss.
INFO DATE final
FRAGIL
02/07/2019
TOPIC
perspective section
INFO DATE
final
02/07/2019
TOPIC
model pictures
INFO DATE final
02/07/2019
TOPIC
model pictures
INFO DATE
final
02/07/2019
TOPIC
model pictures
INFO DATE final
02/07/2019
TOPIC
model pictures
INFO DATE final
m
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ru st
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ur
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di
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ts
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02/07/2019
TOPIC
diagrams
INFO DATE final
02/07/2019
TOPIC
diagrams
INFO DATE final
02/07/2019
TOPIC
elements
INFO DATE final
02/07/2019
TOPIC
elements
INFO DATE final
02/07/2019
TOPIC
elements
INFO DATE final
02/07/2019
TOPIC
final reflection
This project comes as a result of introducing new and different elements that collaborate between them and with the existing building. The Prinsenhof has a long history, starting more than five hundred years ago, and its use has changed through this time, being a very flexible and adaptive building. The main purpose of the intervention is to maintain the capacity of this building to change over time but adding an identity to it, without being too neutral. For achieving this, several elements were designed in such a way that they make the building work better, following a hierarchy of importance. It starts with a yellow steel structure whose main purpose is to hold up the old and not very stable wooden structure. The disposition of these beams follows a grid made of diagonals that have a technical reason after several calculations. These diagonals also organize the circulations and the use of the space, and determine the disposition of the other elements. After the structure, service elements are needed in order to make the building work properly. Stairs, storage rooms, restrooms and installations rooms are included in this pack. As the ambition of this project is having a very flexible and continuous space, no physical divisions are considered. So the different spaces are divided by lighter elements such as curtains, rugs, lighting systems, or walls coloring. Interaction between the building and people is one of the main goals of the project, and it can be understood trough these lighter elements, and also the stairs, as the user can configure the space with them, and personalize it depending on their purposes. The result of the intervention is a flexible space with its own identity that wants to bring students, entrepreneurs and Delft neighbors, together into a collaborative building.
7.
REFLE C TION S
INFO DATE
fundamentals
07/07/2019
TOPIC
final reflection
The research question that my partner Winnie and I chose after first weeks of investigation about the SESC Pompeia was: How does Lina integrate people and culture as participants in the design through process and through the experiences to create an inclusive building? We came up with that question when we read about her design process. Lina was an architect that wanted to integrate everyone in her projects, from the beginning to the end: workers, engineers, artists, neighbors, users (adults and kids)… and for that she had her own methods that we discovered during the research. The main tool for Lina was drawing, and through her quick and easy to understand sketches, she was able to communicate with everyone who was taking part on the design process, no matters their education or culture. As architects we all use sketches to think our ideas, to test them and show others which effect we want to create with our intervention. In the project journal most of the sketches I made are included, and in them I used very bright colors when I wanted to focus my attention in a specific topic. From the beginning of the project I used the yellow color to symbolize the structure, so in my perspective sketches I emphasized those diagonals directions using this bright color, in such a way that people could easily understand that those steel beams were a very important part of the project, with a specific purpose. While the project kept growing, I realized that the color I was using for the beams was representing its use, so for the other elements I was adding, I should also find its language, its color. That’s how the stairs, and the rooms, that are both service elements that help the building work properly, were painted in pink; and the curtains in a light blue, as a space divisor that offers flexibility to the user. So at the end, the result was a combination of elements, each of them represented by its own color depending on its function, but not just in the drawings, but also in the real life. With this strategy, the goal was to make users part of the building, so they can understand which elements are needed in that building, why some are different to the others, and which is the hierarchy that make the building work. I think that is the main point in which I felt identified with all the research we made about Lina previously. Making users participants of the building through these sketches and color technique, but also through the flexibility that the building offers. Some of the elements that I designed for the building try to interact with the users, for example with the stairs where visitors can keep their belongings while doing a workshop, or with the curtains system that allows a tailormade design for every different situation. Also, the truth of the construction, something that Lina was very interested in, can be applied to the façade concept I have. The façade remains as the original one, but when the steel structure needs to stand on it, and for that needs a steel profile that holds it up, it can be reflected on the façade (the door and some windows of the first floor). So those yellow frames that can be seen from the outside, are not an ornament, they are part of the construction system and in that way they show people what is actually needed to maintain that structure.
INFO DATE fundamentals
07/07/2019
TOPIC
final reflection
I have to say that all of those peculiarities that I’ve just explained, came to my mind during the design process, at the same time I was carrying out my research about Lina’s work. I really think it was not forced at all, but it was just the result of understanding her way of working and realizing that with the proper tools these strategies come along, and that with them, the project can end up being much more interesting, when the user can discover the reasons of the elements that are part of it, and experience the building in a more authentic way.
inĂŠs fernĂĄndez hernando bk tu delft 2019