Iona Haig BA Architecture Portfolio by Iona Haig

ACADEMIC PORTFOLIO BA (HONS) ARCHITEC TURE 2015/16

iona haig

TABLE OF

CO N T E N T S

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contents

Year D esig n Re por t

Pr ime r : Protot y ping

Stag ing: Site Analy si s

Graduation Projec t

-D esig n Process -Giardino dei gondolier i D esig n Bibliog raphy

148

Stage 3 Non D esig n Work

150

-Pr inciples and Theor ies -Professional Practice -Architectural Technolog y

Work not prev iously presented Rev ised work since point of assessment New work since point of assessment

C R I T I C A L R E F L E C T I O N critical self ref lection throughout the portfolio +

CO N C LU S I O N

points of conclusion throughout the portfolio

YEAR DESIGN REPORT

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year design report

L ear ning Objec tives and O utcomes Ref lecting on my second year por tfolio at the beg inning of the year, it was impor tant to me to make sure my effor ts in third year were to be focused on improv ing g raphic and representation skills through a more r igorous use of prog rams such as CAD, Sketchup, Photoshop and Maxwell in order to achieve a professional level of presentation to my work. As well as this, I was also keen to develop my technical understanding as I had str ug gled w ith technolog y modules in the past. Choosing to be a par t of the E xper imental Studio offered the oppor tunity to desig n and understand technical details out-w ith the classical realms of architecture, as well as working in a studio that challenged the desig n processes used in order to reach a f inal output. Being a a par t of the E xper imental studio has prov ided a stimulating academic year f rom working in a microbiolog y lab and desig ning a bio-receptive façade system to explor ing the possibilities for exper imental architecture in Venice, and realising these as par t of the g raduation project. One of my g reatest enjoy ments this year was researching and w r iting my disser tation on ‘the architecture of healing’, through which I was able to v isit three of the Mag g ie’s Centres and inter v iew the head of the Mag g ie’s Centre in Newcastle. D esig ning for health and healing has been an interest i have been keen to explore so I revelled in the oppor tunity to understand this f ur ther. Pe rs onal Improve me nt In putting together this por tfolio I have been proud to realise development of my technical and representation skills f rom the beg inning of the year. Focusing on the technical specialism of creating a ‘Biof ilm Garden’ as par t of the g raduation project forced me to understand the role of each component of the system, and has encouraged a deg ree of conf idence in my technical abilities. Focusing my time on lear ning to prof iciently use prog rams such as Photoshop, Illustrator and Maxwell Studio has been ref lected in the improvement of my presentation technique. Using development books throughout the year in the for m of an ongoing por tfolio document, sketchbook and site analysis ‘g uidebook’ has aided the focus and recording of my desig n processes, and proved an impor tant exercise in desig n process which was a key par t of the E xper imental studio. Mov ing For ward D espite celebrating the successes this year has brought, it is also impor tant to recog nise desig n skills I would like to develop next in my career as a desig ner. Lear ning f rom peers in my year g roup has demonstrated the impor tance of a consistent, personal g raphic style in enhancing work, as well as the impor tance of clar ity and selectism in choosing which work to present. This is a skill I have sig nif icantly developed and improved on through the course of the year, however collating the g raduation project for presentation has taught me just how effective a draw ing can be in projecting the core ideas in a project.

PRIMER

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primer

PROTOT YPING D eveloping an initial working ex ample of a building component that could be used as par t of an ‘architectural membrane’. This building component w ill make up a liv ing technolog y based on bacter ia spores used as par t of a hyg roscopic mater ial. The idea of breaking bar r iers between inside and out, technolog y and nature, is fascinating w ith the possibilities it holds for sustainable desig n that w ill w ithstand the f uture. The system and mechanisms that allow the development of a ‘ liv ing architecture’ are v ital as they w ill def ine the boundar ys and possibilities for the new technolog y.

M AT E R I A L E X P LO R AT I O N

FOLD A modelling process defor ming paper stimulates the way in which a system could be open and closed. Similar to the unpredictable nature of bacter ia, paper w ill take different for ms of distor tion each time it is moved, and behaves unpredictably similarly to the natural env ironment we desig n for.

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primer

CURL Alter natively this g roup of models explores the way in which a sur face could peel back in reaction to an env ironment. I env isage this becoming par t of the skin of a mater ial based system w ith the mater ial itself innoculated w ith Bacilla Subtilis spore actuators.

D E V E LO P I N G A P R OTOT Y P E

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primer

BIOMIMICRY SCALES & GILLS Biomimicr y is the study and replica of natural systems in desig n. I looked to f ish scales as a natural system that could be replicated in a prototy pe. The tw itchy, sensitive and unpredictable reactions of the bacter ia call for a small scale repeating system that would mimic these tw itchy movements. Using a g ill like ‘slitted’ for m could also create an interesting effect to an overall system or thinking ahead to a facade, creating a linear for m that has a rolling movement.

Within a 25 x 25cm panel, there w ill be 25 component ‘cells’ in the for m of this prototy pe. The idea behind hav ing a ser ies of these cells would be to g ive the system a r ipple effect due to the small movement responses to the env ironment in different areas, and replicate a breathing system seen in nature.

P R E C E D E N T S T U DY

â&#x20AC;&#x153;CHAIN OF ETHERâ&#x20AC;? BY NED KAHN Mesh panels that respond to sof t changes in the w ind creating a mov ing wall. This is a close proxy of my prototy pe as its movement is also unpredictable due to changes in the w ind, creating a shimmer ing wave of movement across the sur face.

YA R D H O U S E BY ASSEMBLE Clad in decorative concrete tiles and made on site, this precedent emulates the repeating patter ns explored in my prototy ping models.

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primer

H Y LO ZO I C G R O U N D BY PHILLIP BEESLEY

“Tens of thousands of lightweight digitally-fabricated components were fitted with microprocessors and proximity sensors that reacted to human presence. This responsive environment functions like a giant lung that breathes in and out around its occupants. Arrays of touch sensors and shape-memory alloy actuators (a type of non-motorized kinetic mechanism) create waves of empathic motion, luring visitors into the eerie shimmering depths of a mythical landscape, a fragile forest of light.” CRITICAL REFLECTION

Beesley’s small receptors and delicate structure shows response to small changes in the environment, and ref lects similar ideas of the scale and gill systems found in nature. We had the opportunity to meet Phillip Beesley and present and discuss our work in a seminar format, which prompted provocative discussions over the boundarys between environment and structure, and the ways in which architecture responds to this. With ref lection to this visit, these dicussions encouraged my work to engage with environment on a biological level, in order to create a responsive architecture which translates Beesley’s ideas of ‘Hylozoism’ that predicts a city which operates as a living being.

M U S C L E W I R E G I V E S T H E P O S S I B I L I T Y O F A N A C T UATO R IN PLACE OF THE BAC TERIA DRIVEN HYDRA FOR THE D E V E LO P M E N T A N D E X P E R I M E N TAT I O N O F A P R OX Y P R OTOT Y P E O U T S I D E T H E L A B . Nitinol is a shape memor y alloy that â&#x20AC;&#x153;remembersâ&#x20AC;? its or ig inal shape. Once defor med, it w ill retur n to its pre-defor med shape when heated. S ew ing the muscle w ire into mater ial backed w ith copper str ip to complete electr ical circuit. Voltage through the circuit causes the w ire to heat up and contract, similar to the proper ties of the spores on poly imide.

Create a mould for the patter n the w ire w ill take. I did this using screws ar ranged on a metal sheet.

Hav ing w rapped the w ire around the mould, use a bur ner to heat the w ire to 500 C.

The w ire w ill tur n red once it has reached 500 C. It took 2 minutes of heating for the w ire to reach this state. I used cold water to cool the w ire.

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primer

L A B E X P E R I M E N TAT I O N

MAKING HYDRAS

Poly imide Sheet Assembly. Using UHU to attach poly imide str ips to acr ylic holiding pieces.

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primer

Micropipetting Poly-L-Lysine Coating. Reverse Pipetting spore solution of Bacillus Subtilis when Poly-L-Lysine is dr y.

Humidity Chamber.

My component validation in a stimulated env ironment. I found the g reater the concentration of the spores, the more the ploy imide curled open as the humidity changed.

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primer

STRIPS

A hydra consists of four teen single â&#x20AC;&#x2DC;str ipsâ&#x20AC;&#x2122;, and a muscle is made up of f ive hydras. E xper imenting directly w ith these mater ials in

HYDRA

the lab demonstrated how weak the hydras are unless they are combined to create a real power. I therefore think an integ rated system would be much more eff icient than a mechanised prototy pe.

MUSCLE

P R OTOT Y P E VA L I D AT I O N IN A STIMULATED ENVIRONMENT

The aim of my exper iment was to discover the power available f rom the spores. Cutting a â&#x20AC;&#x2DC;Câ&#x20AC;&#x2122; shaped g ill for m into the poly imide mater ial and alter nating the concentration of bacter ia applied to each of the slits showed the streng th in the bacter ia spores in maipulating the mater ial. The g reater the concentration of the spores, the more the ploy imide curled open as the humidity changed.

CONTROL This opening was only innoculated w ith a glue solution to make sure any movement was not as a result of any other factors.

TEN SPORE DROPS This opening had the g reatest deg ree of opening of all the slits.

FIVE SPORE DROPS Hav ing a smaller amount of spores affected how much power and deg ree the mater ial had in opening.

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primer

INNOCULATION POINT When innoculated around the C shape of the opening this is how the mater ial w ill distor t. I am interested in developing this f ur ther by hav ing a ser ies of different components innoculated at different points and therefore contor ting in different ways to become components of a larger system.

CRITICAL REFLECTION

This experiment proved to be critical to the design of the primer prototype as it demonstrated the delicacy of the materials which were being worked with, and directed me towards a design which ref lected this delicacy.

S TA R C H I N G Starching is a way of stiffening fabr ic to an extent that it w ill hold itâ&#x20AC;&#x2122;s shape using a cor n f lour mixture. I intend to use this as a method of modelling as it allows for modelling w ith mater ials whilst maintaining shape.

Mix measured amount of starch w ith 100ml of cold water.

Boil around 500ml of water, and add the starch mixture. Simmer for 1 minute.

Take off the heat and allow to cool for 5 or 10 minutes. The mixture should now be thick and gloopy.

S oak the mater ial you want to starch, then w ipe off any of the excess mixture. Place the mater ial in the position you would like it to for m. It now takes around 24 hours to dr y.

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primer

WHY STARCHING? I wanted to f ind a way of model making that would allow me to create a f luid for m but that was still f lexible. Mixing cor nf lour and water, and boiling it, creates a mixture that w ill stiffen fabr ic that is soaked in it and dr ied in the shape you want to achieve. I could then cut into the starched fabr ic the openings and create the for m that I wanted.

EXPERIMENTING WITH METHOD

Using a less concentrated mixture

Using a higher concentration of the

I used a glue mixture w ith felt

of starch, and cutting g ills into

starch mixture gave a for m that

mater ial to g ive the same starched

the mater ial before the starching

held its shape but was still f lexible.

effect to this mater ial, however this

process. The overall for m was more

process took a lot longer to dr y and

f lexible, however it didnâ&#x20AC;&#x2122;t hold itâ&#x20AC;&#x2122;s

left the mater ial still too f lexible.

shape enough.

CRITICAL REFLECTION

This was an experimental process for me, which required a lot of trial and error in order to achieve a consistency and rigidity in the material that I was satisfied with. However, experimenting with this process actually furthered my understanding of the properties of the material which itself twists and contorts easily.

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graduation project

C R E AT I N G S E N S I T I V I T Y Combining the â&#x20AC;&#x2DC;Câ&#x20AC;&#x2122; shape for m w ith f in like slits that w ill open and shut in reaction to the humidity. This would g ive the system the sensitiv ity to react to small changes in humidity.

CO M P O N E N T S Each component needs to be treated as separate entityâ&#x20AC;&#x2122;s as each w ill have separate proper ties due to different innoculation points and mater ials.

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primer

M AT E R I A L S C ATA LO G U E 6 cm

Using a range of mater ials w ith var y ing transparenc ys g ives a g reater deg ree of complexity, and allows for components and the system behind to be seen. 4 cm

A LU M I N U M

ACRYLIC

FOIL

T R A N S PA R E N C Y

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primer

BENDING MOMENTS I used the method of starching to show the different bending moments of each component based on its innoculation and the concentration of spores used.

POINT OF I N N O C U L AT I O N

I N C R E A S I N G S P O R E CO N C E N T R AT I O N

STRUC TURAL DIAGRAM Fixing the components using glue to the EIFS Woven f ibreglass mesh w ill allow large panels to be used and used in a var iety of shapes due to the f lexibility of the f ibreglass mesh. The mesh can be pinned to larger timber f rames behind for suppor t.

TIMBER FRAME

EIFS WOVEN FIBREGLASS MESH

CO M P O N E N T S

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primer

M O D E L A C T UAT E D B Y S T R I N G I indiv idually starched each â&#x20AC;&#x2DC;componentâ&#x20AC;&#x2122; to hold a cur ve shape and placed then together using a wooden f rame. The images on the left shows the str ing replicating how the system would react in a humid env ironement by the components curling up.

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primer

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primer

M AT E R I A L A combination of mater ials, alongside var ious for ms of innoculating the mater ial could result in a beautif ul building skin made of var y ing, indiv idual components. Using ref lective, metallic, foil like mater ial w ith var y ing transparenc ys on each component would allow the bacter ia and system behind to be seen. The image on the left is a concept of how the prototy pe could be reworked at a big ger scale g iven more time.

CO N C LU S I O N

Working with material during the primer project proved a challenge as the material proved to be difficult to manipulate in order to design with. However, I would like to highlight the importance of experimentation in the lab and with the material itself in uncovering the boundaries a natural driven system such as this would have. Unfortunately this prevented me from producing a finalised output from the primer period as time was mainly focused on experimentation and process.

S TA G I N G

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graduation project

LO C AT I N G A S I T E I N V E N I C E U S I N G ‘ P S YC H O G E O G R A P H Y ’ : A N A P P R O A C H T H AT TA K E S U N L I K E LY PAT H S A N D E N CO U R A G E S N E W P E R S P E C T I V E S . A ‘ P R O B E ’ L E D S I T E A N A LY S I S R E F L E C T I N G T H E M E S U N CO V E R E D T H R O U G H T H E U S E O F I TA LO C A LV I N O ’ S I N V I S I B L E C I T I E S .

I N V I S I B L E C I T I E S B Y I TA LO C A LV I N O CHOOSING SITE BASED ON METHOD DERIVED FROM ‘INVISIBLE CITIES’ STORY

ZEMRUDE ‘It is the mood of the beholder which g ives the city of Zemr ude its for m. If you go by whistling, your nose a-tilt behind the whistle, you w ill know it f rom below : w indow sills, f lapping cur tains, fountains. If you walk along hang ing your head, your nails dug into the palms of your hands, your gaze w ill be held on the g round, in the g utters, the manhole covers, the f ish scales, wastepaper. You cannot say that one aspect of the city is tr uer than the other, but you hear of the upper Z emr ude chief ly f rom those who remember it, as they sink into the lower Z emr ude, follow ing ever yday the same stretches of street and f inding again each mor ning the ill-humor of the day before, encr usted at the foot of the walls. For ever yone, sooner or later, the day comes when we br ing our gaze dow n along the drainpipes and we can no longer detach it f rom the cobblestones. The reverse is not impossible, but it is more rare: and so we continue walking, through Z emr ude’s streets w ith eyes now dig g ing into the cellars, the foundations, the wells.’

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‘Venice ex cels in blackness and whiteness; water br ings commerce between them... the buildings of Venice appear in organic relationship w ith water just as trees w ith ear th.’ ‘ VENICE: AN ASPEC T OF ART ’ . ADRIAN STOKES

M E T H O D F O R LO C AT I N G A S I T E In order to locate a site I der ived a method mapping the areas of acqua alta and constellations based on my inter pretation of the stor y ‘Zemr ude’ f rom Italo Calv ino’s Inv isible Cities. The city of Zemr ude was descr ibed as being split in two as a result of the eye level of the people who lived there: either inhabiting a above or a city below through which they choose to imhabit.

ACQUA ALTA The Acqua Alta (high water) in Venice usually happens in w inter when a combination of astronomical tide, strong south w ind (scirocco) and seiche can cause a larger inf low of water into the Venetian Lagoon. As Stokes said, it is water that br ings commerce between buildings in Venice.

CONSTELLATIONS Tides and f looding are as a result of forces f rom the sky. I thought it would be interesting to think about the constellations above Venice, that would ref lect the idea of a city in the sky above. It is the Perseus constellation that falls above Venice at cer tain points of the year.

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staging

Above: Residents in the city of Zemrude either inhabit a city above or below as a result of the spaces they choose to inhabit. This concept diagram highlights the focus of peopleâ&#x20AC;&#x2122;s eyes in a busy street in Venice. Those dressed more like tourists seem to look upwards and take in the city around them, whilst others focus on the ground.

MAPPING Analysing the stor y of Zemr ude has led to an interest of water as a medium between the two cities in Venice. I would like to explore water as the medium through which our sur roundings are perceived: appreciating what is above and around by looking dow n. Flooding is a result of tidal movements and the push and pull forces prov ided by the cosmos, so I have mapped the Nor ther n Hemisphere constellations and found the Perseus constellation to be over Venice. I have overlayed this w ith a map of f looding in the city to locate a site.

PERSEUS CONSTELLATION The Perseus constellation has highlighted 18 different potential sites. I want to select the site that has the highest chance of f looding, w ith a low toursit population- which would be in the D orsoduro distr ict.

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staging

SAN TROVASO

I mapped the toursit f low in Venice (in pink) based on attractions and por ts of entr y, and in doing so eliminated sites that would be in toursit areas. My method has lef t me w ith a site in the D osoduro distr ict which interests me the most as it is on the S outher n side of the island, allow ing for g reater access to light in such a dense city which w ill add to the ref lective quality of the water.

S A N T R O VA S O S Q UA R E The site is located in the D orsoduro distr ict in the S outh- West of the city overlooking the Giudecca island. The distr ict is know n for which is know n for the university and ar t galler ies, making it a popular place for young people.

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staging

Specif ically the site is located adjacent to the S quaro S an Trovaso along the Rio Og nissanti, a shor t walk f rom the Grand Canal. The S an Trovaso church dominates the square architecturally, boasting two facades of equal impor tance thought to be or ig inallly desig ned by Palladio in 1028. The square becomes an impor tant meeting place for students, dog walkers, f r iends and work par tners throughout the central hours of the day.

PROBE PHASE

PROBE: 1 . TO E X P LO R E O R E X A M I N E ( S O M E T H I N G ) , PA R T I C U L A R LY U S I N G T H E H A N D S O R A N I N S T R U M E N T. Car r y ing the analysis of the stor y of Z emr ude through to my site analysis, I am interested in captur ing the separation of above and below in my site, and intend to do this through captur ing ref lections through different methods of photog raphy. I expect my analysis to adapt once on site, and to use the Z emr ude stor y as a star ting point for my analysis.

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01. 02. 03. 04. 05.

GUIDEBOOK DIRECTING ANALYSIS ON SITE ‘IMAGE OF THE CITY’ BY KEVIN LYNCH SKETCHBOOK POST IT NOTES FISH EYE LENS

06. SAMPLE TUBES 07. PHOTOGRAPHY SPHERE 08. POLAROID CAMERA

S I T E A N A LY S I S The site is the g rass area inf ront of the church, which extends f rom the gondola making workshop. There is a possibility to use the abandoned building between the actual workshop and the site, and it proposes an oppor tunity to combine the two spaces.

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staging

A number of elements of the site encouraged f ur ther exploration into aspects such as mater ials, biolife, cister ns throughout the space, ref lections par ticularly created by br idges and of buildings in the canal and the boat posts that tur ned into sun dials casting shadows in different directions throughout the day.

S I T E O B S E R VAT I O N S I made notes of changes in the space at different times of day, and took a polaroid photo to illustrate each entr y.

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staging

CRITICAL REFLECTION

This proved to be a very useful exercise as it informed me of how critical the San Trovaso square was in the social context of the site: it is a key meeting point for locals and students and is a point in the landscaping that brings the local residents together. In reflection it me to incorporate the social aspects of the square as part of my graduation project scheme.

A N A LY S I N G B R I D G E A C T I V I T Y I choose to record the activ ity of the br idge in the site as I understood the br idges to be the str uctures that brought commerce between the above and below of land and canal. It was also impor tant to me to recog nise the amount and ty pes of people enter ing and leav ing the site.

SAN TROVASO SQUARE

RIO OGNISSANTI

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staging

REFLECTIONS Hav ing the chance to wander around the site on a par ticularly still, br ight day created beautif ul ref lections and def ining the separate cities I explored through the analysis of the city of Z emr ude. However these â&#x20AC;&#x2DC; idyllicâ&#x20AC;&#x2122; pictures which por tray a ty pical image of Venice also sug gest to me that there is an unseen city below the sur face of the canal.

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P H OTO G R A P H Y S P H E R E I used a photog raphy sphere to inver t v iews around the site and g ive a sense of circular continuity, in an attempt to v isually unite the separate cities being explored in my site analysis.

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MERGING THE T WO CITIES

Inter vening images to create circular worlds that merged the idea of an upper and lower city, sug gesting that we can access the upper city in the site through ref lections in the water.

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staging

B U I LT E N V I R O N M E N T MATERIALS, TEXTURES AND BIO- LIFE ON THE SITE Compar ing the mater ials, textures and bio life found around the site: highlighting the ty pes of stone and deg radation found above the water line and the expanding bio life found below.

1. MATERIALS

2. TEXTURES

3. BIO- LIFE

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1. MATERIALS

2. TEXTURES

3. BIO LIFE

A LG A E S A M P L E S F R O M S I T E I collected samples of algae f rom around the site- mainly found on the steps by the canal. I noticed different sides of the canal produced different colours of algae due to the access to the sun being different on either side.

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graduation project

C I S T E R N E X P LO R AT I O N The three cister ns located across the site are sig nif icant as similar to br idges, they for m the traditional inf rastrcuture that connects the spaces above and below the canals.

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cistern location

public activity

cistern links

public flow

There was once believed to be over 6,000 sand cister ns in Venice. Now there are roughly 200 remaining w ith three being located around the Campo S an Trovaso, making it one of Veniceâ&#x20AC;&#x2122;s hot spots for cister ns.

Made of Istr ian stone the cister ns collect water f rom g utters and pipes which are transpor ted through hidden pipes to the cister n which purges any impur ities through f ine white sand to make the water potable and available for public use.

The cister ns are impor tant to me as par t of my site analysis because they offer an oppor tunity of an underg round water network, and also act as spaces that draw people together as a meeting point.

KEY AREAS OF SITE ZONING, VIEWS, CONNEC TIONS

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site zoning

g reen zoning

v iews

site main connections

daylight levels

existing and potential br idges

2. 3. 4.

zoning of used, abandoned and proposed spaces

1. PUBLIC SPACE S an Trovaso square is f illed w ith dog walkers and university students taking breaks.

2. IN USE BOAT YARD The existing S an Trovaso squer i works on new gondolas and repair jobs.

3. ABANDONED Constr uction work was taking place on these buildings dur ing the site v isit.

4. PROPOSED SITE Green space next to abandoned building is the proposed site.

CO N C R E T E C A S T I N G EXPLORATION OF CONCRETE MATERIAL DURING THINKING THROUGH MAKING WEEK

I wanted to exper iment using concrete, as the mater ial could have a relevant application to the site due to itâ&#x20AC;&#x2122;s low per meability and therefore anti-f looding proper ties. I used a mix ratio of 1 cement: 2 sand, water and a tablespoon of PVA to make the concrete more adhesive w ith better water proof ing qualities.

cast ing b ox

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wet concrete

dr y concrete

CO N C R E T E M I X E S

MARK MAKING: CREATING TEXTURES

200m l Creating marks in the poured concrete using a br ush to create textures or a pen to draw lines.

I am interested in the different f inishes of concrete, and this can be transfer red to

500m l

the ty pe of for mwork used for cast in situ concrete and how it can change the sur face of concrete.

CRITICAL REFLECTION

Again this was an experimental process having never worked with concrete before. It was a material I wanted to experiment with as it is commonly used in Venetian buildings to flood proof the ground

700m l water

VARYING WATER CONTENT

floors, and as my site is in an area of high flood risk and on the corner of converging canals, I felt it would be important to have an understanding of flood proofing materials.

S I T E M O D E L AT 1 : 2 5 0 This is the initial test model f rom casting concrete that I made. To develop it f ur ther I would like to tr y and include more detail, such as the steps and changes in ty pog raphy across the site. I also think it would be interesting to cast the negative space f rom the model, hav ing looked at ar tist Rachel Whiteread’s work of casting voids in ever yday objects such as tables and chairs to highlight ‘forgotten spaces’.

PRECEDENT STUDY: RACHEL WHITEREAD Rachel Whiteread is an ar tist whose work studies casting negative spaces in order to explore the spaces that are not nor mally seen. Her modelling in this for m inspired me to make a site model cast f rom negative voids.

Nine Tables (1998) Rachel Whiteread

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F LO O D P R O O F I N G P R E C E D E N T S T U DY

SAN GIOBBE +160 BY AC T ROMEGIALI Concrete is a relevant mater ial in the context of Venice due to it’s water proof ing proper ties which are impor tant in a city under threat f rom r ising water levels and sinking foundations. Restoration of g round f loor residence in Venice by. A reinforced concrete container was cast in situ r ising 160cm throughout the g round level, protecting the g round f loor f rom water enter ing, and employ ing a water entr y strateg y to precent water damage if water enters dur ing ‘aqua alta’.

FONDAZIONE QUERINI STAMPALIA BY CARLO SCARPA Inter vention to g round f loor of a histor ic home in Venice to respond to r ising canal levels. The desig n raises the level of the g round f loor, and allows water to enter the building celebrating var y ing water levels through a ser ies of steps at different heights below a protected cantilever ing walkway. I par ticularly like the integ ration of water into the g round f loor which achieves a celebration of the nature of the city.

G R A D UAT I O N P R O J E C T

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DEVELOPMENT OF BRIEF KEY DESIGN STRATEGY A focus on ref lections and inver tion of space has been studied throughout the site analysis and this w ill be ref lected in the desig n. Creating parallels between spaces above and below w ill be an impor tamt focus of the project. In regards to the social context of the site, developing the (public) S an Trovaso square at the back of the site and reinstating the use of cister ns across the site.

FUNC TION Reinstating the boatyard for constr uction and repair/ maintenance of gondolas w ith wet and dr y docks. A dock for

prob es att ache d

gondoliers to leave their gondolas whilst they have a dr ink in the bar or meet in the off ice/ meeting area for the Gondoliers Association. A dock for maintenance and repair of gondolas whilst they stop w ill also be available. A microbiolog y lab develops sensors and boat components to collect bio f ilms that w ill be analysed and recorded in the lab, before being encouraged to g row as par t of a bioreceptive facade. s amples t aken

TECHNICAL SPECIALISM Use of a bioreceptive facade that is capable of g row ing microorganisms directly on the sur face, aided by the perculation of water through the wall. Protection against the high r isk of f looding using a water entr y strateg y.

gondoliers j our ne y

E X P E R I M E N TA L S P E C I A L I S M AS PART OF THE EXPERIMENTAL STUDIO, CHOOSING A TECHNICAL SPECIALISM AIMS TO RELFEC T THE WORK EXPLORED THROUGHOUT THE PRIMER PHASE AND EXPLORE THE BOUNDARYS CURRENTLY SET IN THE ARCHITEC TURAL WORLD. BIO CONCRETE S elf healing concrete can be made using extremophile bacter ia (Bacillus Pseudof ir mus or Sporosarcina Pasteur ii) which actively produce limestone when in contact w ith water. This can repair cracks that for m in concrete.

BIO RECEPTIVE PANELS Architects Richard Beckett and Marcos Cr uz are developing a wall panel system capable of g row ing micro-organisms such as lichens, microalgae and mosses directly on itâ&#x20AC;&#x2122;s sur face as a result of chemically alter ing pH levels, porosity values and water retention to allow micro-organisms to proliferate. A multi layered concrete system can be employed: the f irst layer being str uctural, second water proof ing and third suppor ting biolog ical g row th by allow ing water to enter but not escape.

PROJEC T GARDEN WALL Studio project at Ryerson University looked at the possibility of creating a f luid garden wall which encouraged natural g row th. Concept 2 would aim to create an exper imental facade like this in which samples of bio f ilm could be placed, and aided by the perculation of water through the facade g row unaided.

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CRITICAL REFLECTION

Ref lecting on the lab work under taken dur ing the pr imer phase has encouraged me to par ticularly study how bio-receptiv ity could be integ rated into my g raduation project. My pr imer project explored the use of a mater ial actuated by responsive spores, however par ticularly looking at Marcus Cr uzâ&#x20AC;&#x2122;s work has inspired me to look into how mater ials can initiate g row th and respond to sur rounding ecosystems. This is the technical specialism I would like to explore as par t of the g raduation project.

D AY I N T H E L I F E A N A LY S I S

Canal traff ic

Path of gondaliers

E xisting microbiolog y labs

S quero D omenico Tramontin & Figli

S quero di S an Trovaso

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GONDOLIER 12:00 PM Gondoliers stop to g ive samples to lab whilst hav ing a break

11:00 AM Probes collected f rom labs

13:00 PM Gondoliers stop to g ive samples to lab whilst hav ing a break

10:00 AM

14:00 PM

Gondolier

Gondoliers stop to g ive

Association Meeting

samples to lab whilst hav ing a break

9:00 AM

15:00 PM

Gondolas dropped off

Gondoliers stop to g ive samples to lab whilst

and picked up f rom

hav ing a break

maintenance and repairs workshop

16:00 PM Gondoliers stop to g ive samples to lab whilst hav ing a break

17:00 PM Gondolas dropped off and picked up f rom maintenance and repairs workshop

WORKSHOP 12:00 PM Lunch break

11:00 AM Attaching probes collected by gondoliers

13:00 PM Work continues on new gondolas/ repairs

10:00 AM

14:00 PM

Work beg ins

Work continues on new

on new gondolas

gondolas/ repairs

9:00 AM

15:00 PM

Gondolas picked up

Work continues on new gondolas/ repairs

f rom maintenance and repairs workshop

16:00 PM Work continues on new gondolas/ repairs

17:00 PM Gondolas dropped off and picked up f rom maintenance and repairs workshop. Workshop then closed for the night.

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MICROBIOLOGIST 12:00 PM S amples collected f rom gondolas

11:00 AM Probes collected f rom labs

13:00 PM Lunch break

10:00 AM

14:00 PM

Organising

Ar rang ing and

probes to be picked up

analysing samples

that day

9:00 AM

15:00 PM

Lab set up for the day

Ar rang ing and analysing samples

16:00 PM Ar rang ing and analysing samples

17:00 PM Lab repor ts for the day put together

DESIGN PROCESS PREDIC TING MOVEMENTS AROUND SITE Mapping movements around the site for med impor tant ideas for the spatial relationships on the site. The gondoliers space and workshop w ill require direct access to the canal whilst lab spaces can be situated closer to the square.

01. 02. 03. 04.

SPACIAL ORGANISATION AND T YPICAL CAPACIT Y Estimating the number of people that w ill inhabit spaces at a time allows for rough estimates to be made about the size of the spaces.

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PUBLIC GONDOLIERS WORKSHOP MICROBIOLOGISTS

USING POLYST YRENE FOAM TO VISUALISE VOLUMES AND LAYOUTS Ar rang ing volumes of the spaces required (show n below in plan v iew) began to present potential spacial combinations for the project. This was then applied to the site (bottom), explor ing how the existing buildings could be used.

gondalierâ&#x20AC;&#x2122;s

b ar

me et ing ro om

workshop

lab

lab of f ice gondola do ck

wet do ck dr y do ck

USE OF EXISTING BUILDINGS

These models develop the analysis of the volumetr ic models on the prev ious page, and beg in to decipher a strateg y of how the existing buildings w ill be used, above show ing four schemes for demolishment of existing buildings.

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The above collection shows possibilities for isolating a single facade and constr ucting w ithin or f rom it. The ar rows in this analysis show the different access and entrance points to the building f rom the street and the canal.

CRITICAL REFLECTION

Volumetr ic studies played a key par t in my desig n process enabling me to explore lots of different strateg ies that applied to the context of the site and worked alongside existing buildings.

I S O L AT I N G E X I S T I N G FA C A D E

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isolation of a section of exiting

exploding facade to creare

workshopâ&#x20AC;&#x2122;s facade

inhabitable wall space

FALLINGWATER BY FRANK LLOYD WRIGHT The Prair ie school aims to integ rate the architecture w ith the sur rounding landscape. Frank Lloyd Wr ight’s Falling Water house played a par ticular inf luence on developing my idea at this point as I took inf luence f rom the cantilevered volumes, alcoves, conspicuous balconies and the creation of ‘dramatic v isible manifestation’ amongst a natural sur rounding.

NOTRE DAME DU HAUT BY CORBUSIER Walls built w ith stones f rom old church creating a mater ial union between past and present. Walls play a key par t in for m of the building: leaning, cur v ing, r ising and var y ing in thickness.

D E V E LO P I N G V O LU M E T R I C S T U DY Hav ing made the decision to isolate a section of the facade of the existing workshop, I was able to sig nif icantly develop my prev ious ideas. Cantilever ing spaces f rom this wall and treating it as a central axis f rom which spaces are to be counter balanced off creates pathways through spaces (highlighted in these diag rams by pink ar rows).

building w ithin facade

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connection of old and new

bioreceptive facade

old w ithin the new

R E L AT I O N S H I P W I T H E X I S T I N G FA C A D E Sketches show ing the potential the connection w ith the existing facade has w ith the new build has to create provocative spaces and passageways around the building.

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RENOVATED WAREHOUSE BY EDMONDS + LEE The concept behind this renovation was to thicken the existing wall and play w ith the density of walls in the new build. The existing concrete wall is reused emulating a sense of per menance and density.

NATURALBUILD WAREHOUSE Conver ted Shanghai warehouse by Chinese studio Naturalbuild has created an off ice and event space. Addition of new mater ials has been minimised and a raw aesthetic achieved by treating the existing timber and exposing weathered textures to the inter ior. The warehouse tr uss str ucture emerg ing f rom a central point is similar to my idea for the third concept f rom the building- as this str ucture would be emerg ing f rom the existing wall, which is the central point to spaces spanning f rom it.

CHOOSING ONE VOLUMETRIC STUDY TO PRODUCE THREE DESIGN IDEAS

The model show n opposite is the model f rom my volumetr ic exploration that I want to take for ward, producing three different desig n concepts for. These concepts have been show n in plan and section demonstrating the potential relationships of the project w ith the existing facade.

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2. old

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new

Thickening the existing wall to 3.0 metres creates a play on density in the project and creates oppor tunities for passageways and spaces to extend f ur ther into the wall. A vaulting str ucture is projecting either side of the wall offer ing a traditional ‘warehouse’ str ucture for the building. Compromising two f loors, a g reen ‘ biof ilm’ passageway leads to the canal area and could act as a display for the lab’s work for the public.

The existing wall acts as a div ide between the old and new : traditional and exper imental constr uction techniques. A f lat roof housing the traditional gondola making workshop is to the lef t, whilst the lab is to the r ight covered by a exper imental facade extending into the site. The gondoliers bar/social space is situated on the second f loor which connects both sides of the wall, demonstrating the linking f unction of the gondaliers in the prog ram of the building, whilst overlooking the social S an Trovaso square.

Two warehouse str uctures extend f rom the wall housing all components of the building. The gondoliers space compromised the second f loor and ser ves as the connecting volume between the microbiolog y lab and workshop. D ouble height atr ium space can be used to crossover the f unctions and uses of the building and can be juxtaposed w ith intimate spaces created in dialog ue w ith the existing wall.

Gondoliers lounge

Gondoliers bar

Microbiolog y Lab

Gondoliers Association

Shared off ice & research space

meeting room

Gondola workshop Microbiolog y Lab: samples taken and processed

Probe development

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FUNC TION ARRANGEMENT This model shows my proposed idea for the spatial ar rangement and str ucture of the project. Hor izontal lines and massing reminiscent of Prair ie style architecture and the â&#x20AC;&#x2DC;Los Angeles Steel Housesâ&#x20AC;&#x2122; by Frank Lloyd Wr ight.

01. GONDOLIERS SOCIAL SPACE Bar area and lounge w ith the oppor tunity to extend this f ur ther w ith a roof ter race overlooking the canal and lively S an Trovaso square.

02. MICROBIOLOGY LAB S eparated f rom the rest of the building by the thick existing wall to prevent contamination and allow pr ivac y for this separate f unction.

03. GONDOLA WORKSHOP Located in the same position as the cur rent squer i, w ith access to both sides of the canal.

04. PATHWAY THROUGH BUILDING Two stations for gondoliers to drop gondolas either w ith appointment to drop off samples/ collect probes or to v isit the building socially.

01.

03.

02. 04.

INTERIM REVIEW

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REFLEC TION ON AREAS TO BE DEVELOPED AND REVIEWED In the inter im rev iew I proposed my idea of isolating the existing gondola workshop facade, thickening this existing wall to 3.0m and using it as a central axis for my desig n around the wall. The desig n proposal was well received and the feedback f rom the tutors sug gested that I perhaps hadn’t pushed the idea of thickening the existing wall far enough, and that it could be thickened up to 5/6.0m and act as the overlapping space between the three f unctions of the building. With regards to the spatial ar rangements my thinking that the gondaliers env ironment was cr itical in br ing ing commerce between the microbiolog y lab and gondola workshop was discussed, and a conclusion was come to that it is infact the gondolas themselves that br ing commerce between the three f unctions operating w ithin the project. With this in mind, I want to develop the path of the gondolas around the building, and perhaps use this to create a dramatic feature in conjunction w ith utilising the entire span of the existing facade. My next steps are to think about the representation the project w ill take and how this w ill ref lect w ith the issues being dealt w ith: the exposure of the world beneath the canals sur face, and a juxtoposition of the old and new in Venice by utilising the existing facade.

GONDALIERS SPACE BAR AND LOUNGE

GONDALIERS SPACE BAR, LOUNGE, WC’s

MEETING ROOM CORRIDOR

GONDALIER ASSOCIATION

OUTDOOR PASSAGEWAY

OFFICE SPACE

LAB

OFFICE AND RESEARCH SPACE

BOATS RAISED AND SAMPLES TAKEN

OPEN PLAN OFFICE SPACE FOR LABS, WORKSHOP AND GONDALIER ASSOCIATION

LAB

WORKSHOP

PROBES MADE AND ATTACHED

ALL GONDOLA MAKING

1:100 SECTION LOOKING NE - SW

1:100 SECTION LOOKING SW - NE

WALLED ‘BIOFILM GARDEN’

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E xplor ing possibilities the existing wall has to become bio-receptive to the Venice lagoon, in order to create a â&#x20AC;&#x2DC;Biof ilm Gardenâ&#x20AC;&#x2122; as par t of the technical specialism of the project. This ref lects the pr inciples of responsive architecture explored dur ing the pr imer phase.

BIORECEPTIVIT Y

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organic layer

pr imar y colonisation &

ex opoly mer production

attachment of other

attachment

& biof ilm development

organisms

ENCOURAGING BIOFILMS COLLEC TED FROM GONDOLAS TO GROW ON FACADE Organic g row th is favoured on rough, porous sur faces such as sandstone. The roughness of mater ial encourages biolog ical attachment to the stone, whilst high porosity retains moisture necessar y for organisms to sur v ive. The existing br ick facade is of a her r inbone patter n which prov ides oppor tunity for biof ilm attachment and g row th in the crev ices of the porous mater ial.

UTILISING EXISTING WATER INFRASTRUC TURE Rainwater collected in cister ns can be used to aid the g row th of biof ilms across the facades, being pumped f rom underg round storage under the S an Trovaso square.

Rainfall

Gutters collect rain water

Water is stored below cister n

Water can then be transpor ted when needed System perculates water through wall

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Ir r igation is pumped up to g reen wall panels, planted w ith low water need and native plants and biof ilms.

Rainleader extensions diver ts roof r unoff to cister ns.

Cister ns hold 2100 gallons to assist in summer months when there is less rainfall.

INTERNAL COURT YARD

I propose to look at highlighting the volumatic scheme by contrasting the mater ials each volume is made of w ith the solid br ick wall.

Stacked volumes break dow n the scale of the building, helping to create lots of ter races and intimate cor r idor spaces through the volumes.

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Repetition of ver tical lines draw n w ith var y ing intensities g ive a v ibranc y to single sur faces, and volumes that appear to be abstract are represented w ithout def ining contours or edges. Var y ing line weights in this draw ing style convey the concept of balancing volumes f rom the mass of the existing wall, and are an interesting exper iment in the for m of architectural representation that I choose.

Sketches show ing the development of the project through using a sketchup model.

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Glazing, mater ials and the biof ilm garden are detailed.

A w y nch lifts boats out of water and they can be raised/ lowered in order to scrape samples f rom the hull and attach probing dev ices.

Beg innings of biof ilm g row th on the wall.

An opening into the probe development room allows for easy attachment of probing dev ices to the gondolas.

S amples are taken f rom the hulls of the gondolas and taken directly into the lab.

The central wall space is open allow ing light and the natural elements directly into the space. This w ill aid biof ilm g row th across the walls.

s o cia l sp ace microbiolog y lab

prob es att ache d

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s amples t a ken

GONDOLAS AS SENSORS AND RECEPTORS This draw ing illustrates the concept of the gondolas as â&#x20AC;&#x2DC;sensorsâ&#x20AC;&#x2122; for the building collecting samples f rom around Venice that then allow the building to respond to the lagoon ecosystem. Gondolas are the core value for the operation and g row th of the building and the cour tyard space highlights this in the prog ram strateg y of the building as a central point for gondolas to dock and access the lab and probing station. Gondolas enter ing on the West facade w ill be f ixed w ith probes, whilst gondolas ar r iv ing into the East Facade w ill be raised in order for samples to be removed f rom the hulls.

CRITICAL REFLECTION

The ar rangement of the f unctions in the building is cr ucial in creating a co-dependent strateg y in the building. It is the gondolas which br ing each of the f unctions of the building commerce, and this is why the central cour tyard space becomes key in br ing ing focus to the gondolas.

SOUTH

SUMMER VENTILATION STRATEGY The summer ventilation strateg y is focused on cross ventilation through the inter nal cour tyard space. Pressure differences encourage cross ventilation which also cools the building dow n. However, mechanical ventilation w ill be requierd in the workshop and lab spaces to remove any pollutants and contamination.

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WINTER VENTILATION STRATEGY The w inter strateg y focuses on heat rec ycling, utilising the ther mal mass of the cour tyard walls to retain heat. Mechanical ventilation w ill still be relied on for the workshop and lab spaces. Any rainfall w ill be drained through the slight angle in the cour tyard space back into the canal.

SOUTH

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TECHNICAL STRATEGIES Str ucturally a steel f rame g r id of ver tical columns and hor izontal I beams is the most appropr iate for the project as they allow for large spans at low cost, and can be pre-fabr icated at a factor y before being delivered to the site which solves issues w ith space on site. Rec ycled steel can be used in achieve a lower Life Cycle Assesment for the building.

CRITICAL REFLECTION

The technolog y coursework made me appreciate the limits Venice holds on cer tain ty pes of constr uction due to site and deliver y restr ictions. As par t of the technolog y coursework I resolved that a steel f rame str ucture would therefore be the most appropr iate for the project, w ith mater ials being sourced f rom local suppliers on the mainland reducing constr uction costs.

C R E AT I N G A

‘BIOFILM GARDEN’

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GROOVES CUT INTO BRICK TO ENCOURAGE GROW TH Apply ing the eng raved g roov ing Richard Beckett and Marcos Cr uz developed for a bio-receptive concrete panel w ill allow pockets of water to gather and the crev ices of the g rooves to be f illed w ith altered pH value solutions to aid biof ilm g row th. This w ill compromise an outer ‘ layer’ of the wall: suppor ting biolog ical g row th by allow ing water

2016

to enter but not escape whilst protecting the str uctural layers behind.

PLANTING COLLEC TED BIOFILMS INTO GROOVES The microbiolog ists w ill place selected samples collected f rom the gonodolas into the g rooves to encourage the g row th of the biof ilm garden. This way a demonstrative, ‘ liv ing exper iment’ can take place in which the microbiolog ist’s take control over water content and pH levels to

2017

encourage the biof ilms to g row. Being planted on the East or West facade of the building w ill have an affect on the g row th and even colour of the samples due to the prominent mor ning or after noon sunlight levels. This was noticed dur ing site analysis that samples has red hues f rom the Nor th-East side of the canal contrasting w ith the predominantly g reen samples f rom the West side. 2018

CRITICAL REFLECTION

This was a desig n possibility that was explored but was not taken for ward as it did not seem v iable for the scale of the wall, as there would still be areas that water would not reach and therefore would not initiate g row th.

Pre dic tion of growt h over t hre e ye ars.

SPECIES CATALOGUE

Nitrogen

Potassium

Calcium

Sulf ur

Phosphorous

Chlor ine

Boron

Zinc

Copper

macronutr ients

micronutr ients

photosy nthesis Light carbon dioxide + water -----------------> glucose + oxygen Chlorophyll

Plant nutr ition is the study of the chemical elements and compounds necessar y for plant g row th, plant metabolism and their exter nal supply.

water usage

increasing plant density per m Â˛

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Chaetomor pha

Undar ia Pinnatif ida

U lva Rig ida

U lva Linz a

Ulva Rigida and Undaria Pinnatifida are the most common plant species found in the Venice lagoon. Ulva Rigida in particular is the algae film covering canal steps which I studied during the site analysis phase.

GROW TH BUILD UP

Stage 1.

Stage 2.

Stage 3.

Point of planting

Biof ilm g row th

Attachment of other organisms

aluminum casing the corrosion resistance, high strength and easy machining of aluminum makes it a suitable material to case planting mediums within bricks

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gravel soil

soil encourages the natural growth of plants, whilst gravel as the base of the brick anchors and supports plant roots

agar solution agar solution can be altered by microbiologists to encourage growth of certain organims

rain water supply rain water perculates through the facade encouraging the growth of other organisms through pooling in the crevices of the herringbone brick pattern

water supply from canal water is directed directly into selected bricks at adjustable rates in order to stimulate growth

CONDITIONS AFFEC TING GROW TH

january december mean algal coverage

november

north

february march april

october september

east

west

may august july

june

south

microalgae levels in venice lagoon

g row th & sunlight levels

zostera noltii

north ulva linza

east

west

zostera marina

cladophora rupestris

cymodocea nodosa

undaria pinnatifida

chaetomorphia

south ulva rigida

or ientation & colour of algae g row th

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density of common species in venice lagoon

biofilm wall

Microbiologist

Monitors rate of growth of biofilm garden, samples can be cultivated and collected for experimental sampling.

IL SORGERE GIARDINO DEI GONDOLIERI “the rising garden of the gondoliers”

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04.

05. 06.

03.

POL PA R

POL

ENO

A, H R-V ENE ZIA, IT

, HR - VE NEZ IA, I T

CO R

F U,

IGO UME NIST A, H R-V A, G R-V ENE ZIA, ENE ZIA, IT IT

02.

GR VEN EZIA , IT

01. RAB

AC,

HR VEN EZIA , IT

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SITE CONTEXT The S an Trovaso square is set back f rom the busy Grand Canal one of the major water-traff ic cor r idors in the city. Public transpor t prov ided by water buses and pr ivate water taxis meet cr uise ships and barges supply ing the city w ith goods and remov ing waste. Many tour ists explore the canal by gondola before branching off and explor ing smaller canals and sites, such as the S an Trovaso square. The site is nestled on the junction between the Rio Og nissanti and Rio de S. Trovaso, where one of the oldest gondola squer i (workshops) is situated. The raised S an Trovaso square behind the site is a social hub for locals, br ing ing together students f rom the Caâ&#x20AC;&#x2122; Foscar i University of Venice and residents r unning er rands.

01. GRAND CANAL 02. FONDAMENTA ZATTERE AI GESUATI 03. SQUERO DI SAN TROVASO 04. SAN TROVASO CHURCH 05. FONDAMENTA BONLINI 06. RIO DE S. TROVASO

01. RISTORANTE TERRAZZA 02. GIARDINO DI PALAZZO 03. SAN TROVASO SQUARE 04. PROPOSED BUILDING 05. LANDSCAPE INTERVENTION

02. 05.

04. 03.

-V

OU IG

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-V

01.

SITE INTEGRATION Integ rating the building into the site w ith respect to the histor ic fabr ic was an impor tant par t of the project. Landscaping allows the project to become par t of the site inher itance and manipulate the public f low around the building. Creating a tiered g reen landscape around the square directs the public around the site whilst also directing v isitors into the building. The tiered landscaping plan (showed by white lines) becomes steps in the landscape to accomodate for those using the S an Trovaso square as a social space by creating a natural â&#x20AC;&#x2DC; bleacherâ&#x20AC;&#x2122; and more intimate spaces amongst the vegetation.

-V R ,H LA PO

-V

Pathways created

MEADOW Creating a â&#x20AC;&#x2DC;meadowâ&#x20AC;&#x2122; in the S an Trovaso square w ill encourage a v ibrant social hub at the centre of this local area. This area can now be utilised more eff iciently, par ticularly in the summer by gondoliers, students and local residents. I hope to create a similar social crossover that mir rors the crossover of f unctions in my br ief, and therby help in creating a strong co-dependent community. The roof plan (below) shows how cister ns are reinstated w ith seating to draw people around to sit and chat, again draw ing parallels w ith the way in which cister ns brought people together in ancient Venice. +

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01. ENTRANCE 02. LIFT 03. WCâ&#x20AC;&#x2122;s 04. GONDOLA WORKSHOP 05. MATERIAL STORAGE 06. PROBE WORKSHOP 07. DOCKING STATIONS 08. MICROBIOLOGY LAB

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SIL VE RIO ,G ON DO LIE RVE NE ZIA , IT MA

LIE

R-

05. VE

, IT

06. ZIA

01. 08.

02.

03. 07.

04.

GROUND FLOOR

0 10 20 30

01. GONDOLIERS MEETING ROOM 02. CROSSOVER OFFICE AND BREAKOUT SPACE 03. BALCONY 04. WALKWAY 05. MICROBIOLOGY LAB

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SIL VE RIO ,G ON DO LIE RVE NE ZIA , IT MA

LIE

R-

, IT

03. ZIA

01. NE

02. 04. 05.

FIRST FLOOR

0 10 20 30

01. GONDOLIERS BAR AND CAFE 02. TERRACE 03. GONDOLIERS LOUNGE

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SIL VE RIO ,G ON DO LIE RVE NE ZIA , IT MA

LIE

02. R-

ZIA

01. , IT

03.

FIRST FLOOR

0 10 20 30

SEC TION SHOWING COOPERATION OF FUNC TIONS

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probes made

gondola stripping

small workshop designs & builds probes that collect samples from the lagoon

gondola docking station

docking station for gondolas visiting the workshop or social spaces

workshop

the traditional art of gondola making is supported by the flow of gondoliers in and out the building

gondoliers

a meeting room, bar and lounge offers a base for the gondoliers association

experimentation

gondolas are raised for probes to be stripped in order to obtain samples

probe attachment

through window in the central wall probes are be attached to the underside of gondolas

lab monitors welfare of the lagoon and rate of microalgae growth

samples

samples are separated and refridgerated for experimentation

planted bricks

samples can be planted into removable bricks which are then placed in the â&#x20AC;&#x2DC;biofilm wallâ&#x20AC;&#x2122;

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graduation project

INTERNAL PERSPEC TIVES

From top le f t: Gondoliers social space, probe making workshop and microbiolog y sampling lab. The gondolierâ&#x20AC;&#x2122;s bar and cafe opens onto a ter race overlooking the busy canals, allow ing gondoliers a new perspective of the busy waters they nor mally exper ience below. The probe making workshop has a dual f unction of generating par ts for planted br ick components as well as making probes. The microbiolog y lab lends itself as a satellite research centre for the Caâ&#x20AC;&#x2122; Foscar i University of Venice.

PLANTED BRICKS TO INITIATE GROW TH

planted bricks

brick cladding gypsum board fibreglass batt insulation

wall tie

rigid insulation galvanised steel column

aluminum water pipes direct water into planted bricks water valve

attachment of other organisms

tank vent pump

water holding tank

page 140

graduation project

reconstructed brick facade stepped bricks create holds for biofilm formation

expolymer production & biofilm development primary colonisation & attachment organic layer attachment

selected brick detail bricks which can be ‘planted’ and altered in the lab allow for a planting pattern to be formed by creating defined agar that encourages growth of specific organisms

aluminum cased brick

removable inner ‘pod’

It was impor tant to me that each of the three f unctions are interdependent, and the use of a planted br ick system integ rates the collection of samples and lab work into the fabr ic of the building, encourag ing it to be understood and recog nised by those who use the building.

gravel anchors roots soil growth medium altered by microbiologists agar defined agar synthesised from individual chemicals so exact molecular composition is known

‘BIOFILM GARDEN’ COURT YARD SPACE The impor tance of gondolas in the scheme is emphasised through their display in the central cour tyard: the gondolas raised between levels becomes sy mbolic for the three f unctions being brought together under the common g round of the gondolas. The ‘r ising garden’ draws up an imag inar y open air canal f rom beneath the lagoon sur face, ref lecting the questions posed throughout the site analysis of the inversion of the worlds above and below the water line.

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graduation project

RESPONSE TO AQUA ALTA An issue brought up in the f inal cr it was the buildingâ&#x20AC;&#x2122;s response to f looding levels. This is something I have rev iewed by rev isiting Carlo S car paâ&#x20AC;&#x2122;s inter vention to the Fondazione Quer ini Stampalia to protect the g round f loor f rom f looding (page 71). A tiered step system at the points at which water enters the building, protects the building f rom f looding (r ight: show n in the central cour tyard space) whilst allow ing the building to be accessed at any f lood level.

page 144

graduation project

01. Low water level (+0m)

02. Average water level (+0.25 m)

page 146

graduation project

03. Stor m-swell water level (+0.5m)

DESIGN BIBLIOGRAPHY books referred to throughout the design module

Calvino, I. (1999) Invisible cities. United States: Arion Press.

Cruz, M. (2013) The inhabitable f lesh of architecture. United Kingdom: Ashgate Publishing.

Haig, I. (2016) Fondamenta Bonlini: A Guidebook. United Kingdom: Self Published.

Hildebrand, G. and Hildebr, G. (1991) The Wright space: Pattern and meaning in Frank Lloyd Wrightâ&#x20AC;&#x2122;s houses. 5th edn. University of Washington Press, Seattle: University of Washington Press.

page 148

design bibliography

Mi, P. (2011) Conceptual representations: Architectural diagrams. Singapore.

Ruskin, J. (1981) The stones of Venice. Boston, MA: Little Brown and Company.

Stokes, A. (1945) Venice: An Aspect of Art. First edition edn. Faber and Faber.

Venturi, R., Brown, D.S. and Izenour, S. (1972) Learning from Las Vegas.

NON- DESIGN MODULES -Principle s and The orie s -Professional Prac tice -Archite c tural Te chnolo g y

page 150

non design modules

ARC3015 PRINCIPLES AND THEORIES ‘BIOFILM GARDEN’ EXPERIMENTAL ARCHITECTURE STUDIO ARCHITECTURE BA HONS 2016

STUDENT NUMBER: B3015129 WORD COUNT: 1,626

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non design modules

‘BIOFILM GARDEN’ How can living systems be integrated into a

CONTENTS

building skin and how can this be used to c ommunica te an architec tu ral narra tive?

A. PROJECT CONTEXT................................................................1

B. SITE INVESTIGATION.............................................................3

C. DESIGN PROCESS...................................................................5

D. TECHNICAL SPECIALISM- BIO RECEPTIVE FACADE..............8

E, REPRESENTATION..................................................................9

F, REPRESENTATION..................................................................10

G. BIBLIOGRAPHY.......................................................................11

A. PROJECT CONTEXT:

FIG. 1: AUTHOR’S OWN: MAPPING CONSTELLATIONS AND AREAS OF AQUA ALTA TO

narrative techni ue anal

LOCATE SITE.

talo

a u e to locate a ite in enice et een t he a ove an inha itin

‘Venice ex cels in black ness and hitene

ater

et een t hem a

rin

t he

ear in or anic relation hi ater u t a tree

the

commerce

uil in

t he c it

a ua alta an

enice ith

ith ea th

rova o

tra itional

on ola in centu

elo

enice

on ola enice

uil in

techni ue

ueri a the

a e or the

enice la oon

am le t ha t can 1 alvino 2 an rmen em i antrova o htm

e ore vi itin

nvi i le citie cce e

ive t he

on olier

e a

hich ha

ueri a ne

oc iation an

tate

ivi e

et eit her

o overla in

the la oon

imme ia tel

area o

the ite in the

tra itional ac

a ve m

in the

een t hrea tene or

mo ern

e inte rate

lea e o li e in mo ern

a micro iolo to

ro ec t an

e en ant trate

hich attache

rom t he hull an nite

met ho

the ite locatin

ominate

a cou nter

ro e

uero i an rova o arch

t he

an initial inve ti ation into

a im o t ant to me t hat t he

on creatin

evelo in

e c ri e

itie

on t he ite i one o t hree remainin

t hi anc ient c ra t

a e

e c ra e

o ever it

ro ram i

here are t hou ht to

ne lec te

it h ot her u nc tion in or er to

em u e

nvi i le

i tric t

hich

im o t ant ocu on rein t a tin

em u e rom

a a re ult o t he re i ent min

rom t hi a ma

enice ver u the

he c u m lin

con tellation a ove

or o uro

ueri ho

elo

on in

uare in t he

e ore the ite vi it

in t he c it

a ove or

the corre

arrallel a ove an

enice

‘VENICE: AN ASPECT OF ART’ - ADRIAN STOKES

elo

alvino

et een t he hich

on ola hull

ill u

ill collec t

monitore

rion re enice

vaila le at htt

avie oncitie com venice

uero

page 154

non design modules

B. SITE INVESTIGATION: m lo in

a ove an hich

ro in

elo

i erentiate

the canal an enice hich

metho the c it

the c it

or the ite vi it antic i ate

on the ite in re

on e to the

elo

an e

em u e to

a the un i covere

lora tion o t he hi

ro uce

an e o

anal

io li e

a ove a the tra itional conce t o the over een

a narrative techni ue

a im o tant in the

rovi e

ro ec t

ite anal

ue to the limite

o tcar

i a ocal ta tin

time o

o tunit

eneath oint

e on ite site main

01. GUIDEBOOK

da ylight levels

connec tions

existing and

views

reen onin

potential bridges

02. ‘IMAGE OF THE CITY’ BY KEVIN LYNCH FIG. 3: DIAGRAMS USED TO ANALYSE SITE.

03. SKETCHBOOK

a t o the

04. POST IT NOTES

am le o e ia

erimental

rchitec ture tu io it

io li e rom t he ite in crea tin

rimer t a e

a al o im o tant or me to collec t rimaril

rec e tive aca e

e i n

or ani m livin

enea t h t he u r ace o t he canal t hrou h a

coul

ollo e

tem t ha t reac t to chan e in hu mi it hi

ro ec t ha t he o

t he am le collec te

o tu nit

the micro iolo

t he

re ultin

to e hi it t he u no

in a e

io rece tive aca e t ha t

in or er to create a

io ilm

ar en

FIG. 4: SAMPLES COLLECTED FROM CANAL STEPS.

05. FISH EYE LENS 06. SAMPLE TUBES 07. PHOTOGRAPHY SPHERE 08. POLAROID CAMERA FIG. 2: PROBING INSTRUMENTS

em lo e

ia rammin

rchitec tu ral a clear an

ia ram

conc i e

techni ue 4

re ente

to evi ence m ho n in

enice a an e em lar o a

i ure

ui e oo

earnin

rom

initial un er tan in al o loo e

e a

o t he ite

to ohn

enice in or er to crea te m

in o n

and namic in tone o i ure

that could ac t as a textbook to be completed on site.

3 enturi 4

5 u

ro n

enour

earnin

once tual re re entation in

he tone o

enice

rom a

rchitectural ia ram

o ton

ittle ro n an

e a

am ri

in a ore

a e

re ne

om an

C. DESIGN PROCESS: he ir t te

or the

e i n

each o the unc tion o the three unc tion o ana or

oun

n o in

on m

a tition

a to

ro ec t temme

ith t he tim er t u

a ao

a tial rela tion hi

ric

et een the o

the

et een

over the

em o ie

emulatin

contra t o the e material

all create a conver ation

the cro

rom vi itin

he u e o tim er an

enice

ite

etermine a

throu h un er tan in

he initial i ea or the

a ao

material

roce uil in

et een the unta

rolean t le

it h t he cool t hic

o in

ella

t he tra itional concrete

FIG. 7: AUTHOR’S OWN: DEVELOPED VOLUMETRIC STUDY.

te ture o t he ma terial he volu metric tu ie annin in

i ure

rom a central

i ure

ere

oint

ro uc in

mo ellin

hori ont al volu me cantileverin an or

terrac e amon rece ent o

t t he oli

la t roo e

erive

crea tin

t hree

enc ou ra e

evelo e

uil in

alance

loo e

crea tin

to t he

ca e c orre

enice

ater hou e too

FIG. 5: PUNTA DELLA DOGANA BY TADAO ANDO.

e an to e ma in

eriment

ith concrete a a material throu hout the thin in

un er tan in

alter t he inal outcome the volume an

ei ht

ac e

ue tion the ro ec t

that le

the

it h hori ont al ma

t he

or m

loo e

to her

i an a ti t

ace an

volumetric tu

iece a to

evelo

throu h

la e

t he

uil in

a ticular in luence on

in luence rom t he cantilevere

crea tion o

ran

commerce

volu me

evelo in alcove

rama tic vi i le mani e t a tion amon

a e a

rairie chool ro o al a it i

lo m

con

ith the urroun in

it h t he im o t anc e o t he canal in m

rin

ri ht

i ea at thi icuou

allin oint a

alconie an

t he

t a na tu ral u rrou n in

mall chan e in the mi can me to u n er t an

in a concrete ca t ite mo el on

hiterea

icalit

ith the material allo e

re ultin

achel

a ticularl a

ro e tie an

erimentin irec t l

e in a volumetric tu thi

on in

ater t hat

intima te

rairie chool o architec ture

al o i ni icant to me a it aim to inte rate the architec ture lan

et een volu me

ho n mo elle

t he conc e t or t he inal cheme o

rom a central ma

volu me

conce t

ho e

e unc tion in t hem ualitie o ma a

hich

ca tin an

coul

ne a tive

n rela tion to materialit

e i n cheme o tiere

cantilevering volumes.

FIG. 6: AUTHOR’S OWN: ON SITE VOLUMETRIC STUDY.

6 a ao an o unta ella o ana mu eum in venice ta ao an o unta ella o ana mu eum in venice 7 o n en

achel

hiterea

vaila le at htt cce e arch hri

o n en

e i n oom com architecture

8 rairie arch 9

hame

a e

il e ran niver it o

FIG. 8: AUTHOR’S OWN: MODELS OF THREE

FIG. 9: FALLING WATER HOUSE BY FRANK

DEVELOPED SCHEMES.

LLOYD WRIGHT.

rairie chool architecture an il e r a hin ton re

eattle

vaila le at htt

rairie choolarchitecture com

he ri ht ace attern an meanin in ran niver it o a hin ton re a e

ri ht

cce e hou e

th e n

page 156

non design modules

al a

ta t

it h

hat t he

uare no ma tter

D. BIO RECEPTIVE FACADE:

ro lem i

tra te

i olatin

tra ition o

a ec tion o the e i tin

enetian architec ture an

ha e o the aca e ho n in cantileverin u

volume e l ore

hich the tu io tu ie

rchitec ture

a colu mn can o i ola tin e

or u ier

hori ont al volume ac e or t he

urin

ecome inha ite

the aca e

uil in

hich in ha

aca e

i i olate

the a

rimer in

revi ite

erio

hich

the

nother ire

evelo e

all u

ueri

the

he nha ita le

all an

me to ee the

le h o uch

me to u t her t he i ea otre

all a an o an

ro uc tion

attachment o other

evelo ment

or ani m

o tunit

FIG. 12: DEVELOPMENT OF BIO RECEPTIVE FACADE.

arco

t uc tu ral ea ture

a t he

in the volumetric tu

io ilm

metre in or er to crea te an

rece ent or thi

e o ol mer

ill re lec t t he hi to

ecame t he centre or t he

in architec ture encoura in

lo in 11

c ra t in the rein t a tement o t he

in the volumetric tu

emon trate

o en air internal cou t ar aut

i ure

coloni ation attachment

attachment

- LOUIS I. KAHN 10

rima

or anic la er

ame

a a central cro

i ea o re lec tin

line i achieve the

over

t he

enea t h t he canal erimental tu io en el

un o

to encou ra e or t he

rain a ter rom the

io ilm

hor e

coolin

ro t h an

utter to

ar e ternal

ro ec t u in

irec t l

et een t he c on t ant invi eca

io rece tive aca e a

lante

environment al heatin em lo e

arallel

it h t he continual

t hrou h t he

aca e t hrou h

to unite the

ioli e

uil in

ro t h o

io technolo

a e

rchitec t em lo

hich are inte ral to the

tem

io rece tive

all are moi tene

eva ora tion or c oolin

uil in rain ater

A similar system will be

c i tern arou n

ercula te

t hrou h t he

t he ite to collec t all in or er to

on the aca e

ainlea er e ten ion roo rri ation i anel

FIG. 10: AUTHOR’S OWN: ISOLATING AND INHABITING THE EXISTING FACADE.

um e

lante

native

ith lo

lant an

reen

uno

ive t

to c i tern

all

ater nee io ilm

i tern hol in ummer month le

FIG. 11: INHABITING WALLS IN CORBUSIER’S NOTRE-DAME-DU-HAUT.

a ter

ec i ic to

all

t he t hree e i tin um e

a ove t he

allon to a

i t

hen there i

rain all

FIG. 13: AUTHOR’S OWN: DIAGRAM SHOWING THE UTILISATION OF CISTERNS ON SITE TO PERCULATE WATER THROUGH FACADE TO AID BIO FILM GROWTH.

10 aito 11

oui

ahn hou e

he inha ita le le h o architecture a e

ui u nite

n no uta u in

h ate u li hin 13

i e

eo la matic e i n

nite

om ohn

ile

i tri utor

a e

E. REPRESENTATION:

F. CRITICAL ANALYSIS:

hori ontal volume an tu a

in luence

line have

rom

evelo e

a a conce t rom m

rairie architec ture have

irec te

ro ria te to re lec t thi architec tural lan ua e in m

u e o line an linear

line

ec tive in

ei ht

u in

eon

rite that the tran ition o line

o t h rom

uil in

i the e

are conceive

ar a the con t uc tion ite tron l

tran late hi i ea o

e ec tive in

emon tratin

ential

erec te

ran

eomet

ra in an

t hin

t hrou h a

a t he ir t to an

roce

u e o

the i ea o cantileverin

inte ra te

e initive

ra h

arco

o ima ination roce

a er in hi ro ec t c oul

volu me in a

alance

ra in e tem

GRAPH PAPER.

FIG. 15: AUTHORâ&#x20AC;&#x2122;S OWN: DRAWINGS USING LINE AND WEIGHT TO PORTRAY VOLUME.

15 ra cari nite in om

eon atti ta l e ti

leven e erci e in the a t o architectural ra in a lor ranci a e

page 158

niver al man o the earl renai ance

non design modules

nite

tate

niver it o

or the architect

evelo ment o t hi it h c ritical

ucce lore

on ne

ha ve in

ul mo e o in ui

iven t he limite e

ro ec t

rece ent tu ie

o tu nit

throu hout the

a it

hica o

ima ination

ave m

to vi it t he ite erimental

orm o architec ture an

communicate a narrative in a airl

FIG. 14: DRAWINGS BY FRANK LLOYD WRIGHT ON

14 a ol re

ocu ment

the conver ation

t hat line can in orm t he in relation to m

o ar in t he

it i

rchitec tu ral t heori t

uil in

ha e o t he

ri ht an

volu metric

ra in

l e ti

the term lineamenta

ra cari hich

atti ta

rimaril

u e

mo ellin

a narra tive met ho

ite anal

i a ocu

he u ion o

iolo

hich

a c uc ial

architec ture

rchitec ture tu io ha allo e

ec i icall

un rece ente

techni ue

to loca te a ite

me to re lec t

io rece tive aca e coul a

1110

BIBLIOGRAPHY WEBSITES

BOOKS

Prairie (2016) Calvino, I. (1999) nvi i le c itie Cruz, M. (2013)

nite

tate

rion

he inha ita le le h o architec ture

re nite

ile

e i n

nite

ohn

i tri utor

or t he architec t

tate

leven e erc i e in the a t o architec tu ral

ima ination

Gadol, J.K. (1970) nite

eon

niver it

nite

atti ta o

l e ti

hica o

niver it

ri ht

hou e

a hin ton

Mi, P. (2011)

ra in

ranc i

niver al man o the earl

a lor

renai

ance

Hildebrand, G. and Hildebr, G. (1991) ran

th e n

ri ht

ace

a ttern an

a hin ton

meanin

ea tt le

once tual re re entation

rchitec tural

ia ram

in a ore

a e

ne Ruskin, J. (1981) Saito, Y. (2003) o

Stokes, A. (1945)

he tone o oui

enice

o ton

ahn hou e

ro n an

ui u

enice

n t o

ec t o achel

ir t e ition e n

om an

n no ut a u

hiterea

hri

a er an o n en

a er e

Venturi, R., Brown, D.S. and Izenour, S. (1972) am ri

itt le

Townsend, C. (2004) hame

cce

earnin

rom

e a

vaila le a t htt arch

u nt a

ella

vaila le a t htt o ana mu eu m in

arch

Van Ermengem, K. (2016) avie onc itie com venice

Frascari, M. (2011)

e i n oom c om architec ture t a ao an o venic e

eo la matic

cce

Tadao ando: Punta della dogana museum in venice (2009)

h a te

u li hin Cruz, M. and Pike, S. (eds.) (2008)

rairie chool architec ture

rairie choolarchitec ture c om

uero

rova o

uero i antrova o htm

enic e cce

vaila le at htt e

arch

ARC3014 PROFESSIONAL PRACTICE AND MANAGEMENT ARCHITECTURE BA HONS 2016

Student Number: B3015129 or

page 160

non design modules

ount

1. OVERVIEW OF PROJECT A. PROJECT OBJECTIVES:

CONTENTS

ne o three remainin tra itional on ola ma in an the central o

ective or thi

ma in cra t alon am le collecte

i e a micro iolo ail

oint or on olier

1. OVERVIEW OF PROJECT..............................................................1 A. PROJECT OBJECTIVES

o the e

ro ect

hich

rom on ola hull

urin their an

or in

a to rein tate the ill u

he ro ect a

in enice i locate on the ite or

ho an tra itional on ola

e the la oon

an e o

tem

ta in

ill al o rovi e a meetin an

ocial

he aim o the ro ect i to unite the unction

ocial on olier environment in a counter

o in the un i covere e

eco

io li e

e en ent trate

hil t

eneath the canal

B. DESIGN PROGRAMME C. LOCATION D. OTHER SIGNIFICANT FACTORS OF SITE

2. OVERVIEW OF KEY ACTIONS......................................................3 A. ROLES AND RESPONSIBILITIES OF CONSULTANTS B. CONTRACTORS INVOLVEMENT IN RIBA STAGES 1-4

Fig. 1: Bio samples collected from site.

C. KEY PLANNING CONSIDERATIONS FOR THE PROJECT D. DESIGN RESPONSE TO SPECIFIC PRIORITIES

B. DESIGN PROGRAMME: o ati

E. CONSTRUCTION DESIGN AND MANAGEMENT REGULATIONS 2015

F. REQUIRED RESOURCES WITHIN PRACTICE TO EXECUTE PROJECT

a t

ill inclu e the

ace in

hich

ro e an

3. DISCUSSION OF IMPLICATIONS..................................................7 A. IMPLEMENTATION OF PROJECT B. BENEFITS TO CLIENT, USERS AND SOCIETY C. ENHANCING ARCHITECTS REPUTATION AND WIDER CONSTRUCTION

ace

ocial

oc in

ace re uire

io ilm collecte ace an

ith collectin

or a cro

ro e or

ace

he la

ill

ho an

e ro n an

etermine the nee over environment

eliverin

here the e action can

or the

rom on ola

am le to rom on ola

on olier

rea a

re uirement the uil in i to have a total volume o

am le

e carrie out

ill al o nee to

e a le to

or lin on olier

uare metre

or on olier i

la e

an a ar en

he tran er o

et een the la

ill time to

or a

ill there ore nee to leave on ola in

hil t till rovi in acce

to the on olier

eliver ro e an collect am le

contamination

e ore on ola are returne to their o ner

are carrie out

ictate the or ani ation o

he or er in

ace an im o tance or lin

4. BIBLIOGRAPHY...........................................................................9

Fig. 2: Diagram showing spatial organisation.

ithout

hich the e activitie et een the unction

2. OVERVIEW OF KEY ACTIONS C. LOCATION:

A. ROLES AND RESPONSIBILITIES OF CONSULTANTS:

he ite i locate in the outh o an it

oun

tu ent

enice in the

ue to the univer it

a t allerie an to

or o uro

ein a

e one o the le

he ite con i t o the e i tin

ver lunchtime hour the lunch a

ell a

ho a

on ola

ecome

ace in the t

ue to the lo

al a a

et ac a e or

en e

icall

uil in

ho rea

ominate

he area i enice

rova o

local

hurch an

ittin on te

en e area that al o ha a oo

acce

or in clo el

to ro

u lic

i nee e

an meetin

eciali t con ultant

increa in the tan ar

rom the ran

hi i a o ular ocial meetin

en it aroun the

ointin

no n or

eci icall the ite

hun re metre

ith tu ent

ee er comin out or lunch

a it i one o the o en throu hout the

uare

minute

hich i

touri t o ulate area o

cho en it on the corner o conver in canal canal

i trict

uare or

irectl onto a aca e

or ro th

ill

micro iolo

to unli ht

a vi e on the inte

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BIBLIOGRAPHY BOOKS

WEBSITES

Chappell, D. and Willis, A. (2010) an im rint o

ohn

ile

he architect in ractice

th e n

on on

oo o

ractice mana ement

Ostime, N. (2013)

i a o

Sinclair, D. (2013) i ci lina

BIM task group (2012)

ell

rchitect

che ule o

th e n th e n

on on

htt

ice

imta

on on

nite

hc une co or

en li t

cce

rou

orl

a out

cce

arch

archive

cha ter htm

cce

herita e centre

vaila le at htt

le i lation

ractical tool inclu in multi

ov u

re ulation

GROUP, N.C. (2016) enice to

nter ri e

com cce

cce

conte t

vaila le at htt

arch

o ere cit

venice to

vaila le at htt

ecome

Henneberger, M. (2001) enice ournal the

on ola uil er o

at htt

venice

n time com

Ltd, D.B. (2016) e i nin

ir t al ae

mnn

o ere

cit

arch

rom the u html

uil in

cce

orl

co u

ournal the

rom the

on ola

vaila le

uil er o

arch

ro ect e ecution lan

RIBA plan of work (2013)

ma e

ecome ir t al ae

reen tech re earch innovation e

ih c or

arch

Construction (design and management) Regulations 2015.

nter ri e

vaila le at

arch

Conservation charters and standards (no date)

rchitect

u lication

em lin a colla orative ro ect team e

vaila le at htt

Centre, U.W.H. (2015) enice an it la oon

nter ri e

Ostime, N., Stanford, D. and Royal Institute of British Architects (2010) han

lac

Dalziel, B., Ostime, N. and Royal Institute of British Architects (2008) th e n

ile

i i

e i nin

ro ect e ecution

vaila le at htt

lan

uil in cce

ri a lano

i i e or com

vaila le at htt arch cce

arch

ARC3013 TECHNOLOGY COURSEWORK 2016 IONA HAIG B3015129 ARC3013 TECHNOLOGY COURSEWORK2016

IONA HAIG B3015129

Figure 1: Drawing of proposed prototype.

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1. DESIGN SUMMARY: EXPERIMENTAL ARCHITECTURE PRIMER The primer stage developed an initial working example of a building component that could be used as an architectural membrane. This would be a ‘living technology’ comprised of bacteria spores as part of a hygroscopic material. After creating a series of prototypes, my final prototype became a material based system that would be inoculated with the bacteria, mimicking the opening and closing of fish scales and gills. I looked to precedents of similar forms of cladding such as the ‘Chain of Ether’ by Ned Kahn, and ‘Yardhouse’ by Assemble (who recently won the 2015 Turner Prize).

Point of inoculation of bacteria in material.

Figure 3: 'Chain of Ether' by Ned Kahn.

Figure 2: Drawing of component showing inoculation point and subsequent contortion of material.

Figure 4: 'Yardhouse' by Assemble.

Figure 5: String actuated model of system. Modelled by starching material.

Lab work showed that the bacteria (Bacillus Subtilis) reacted in a twitchy and unpredictable way, contracting in humid environments and vice versa. The lab work experimented with inoculating points resulting in different contortions of the material, and varying the concentration of the bacteria to alter the degree of movement of the material. The final stage of the primer was developing an actuated model of the system, and devising a structural diagram to show how the system was made and worked.

Figure 6: Micropipetting Bacillus Subtilis spores onto polyimide strips, which combined together to form a muscle.

Figure 8: Prototype validation in a stimulated environment. Investigating the degree of movement in relation to the concentration of inoculation.

Figure 7: Polyimide strips inoculated with bacteria react to changes in humidity in controlled humidity chamber. Strips on the left image contract in a humid environment.

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STAGING & TECHNICAL SPECIALISM Psychogeography was used to locate a site before the site visit to Venice, using the story ‘Zemrude’ from Italo Calvino’s Invisible Cities. The story developed a method for locating a site, mapping the overlap between commonly flooded areas of Venice and constellations. A probe box was used to analyse the site; taking samples, diary entries, sketches, activity mapping, and specific photography compromised this.

Figure 9: Method for locating site: mapping the overlap between areas that flood and constellations that control the flooding.

The site lends itself to investigating flood protection as a technical specialism, as the area is commonly flooded over 140cm. This is a relevant factor to investigate, as the city’s total movement with regard to sea level is currently 2.33mm per year, increasing as sea levels rise.1

Figure 12: Increase in frequency of flooding.

Figure 11: Map showing climate in Venice.

Saving Venice (2003) Available at: http://www.economist.com/node/2084767 (Accessed: 26 January 2016).

Figure 10: Maps showing site location.

2. TECHNICAL SUPPORT a. Construction Reduction

Advantages of modularisation: • Reduces up to 77% of construction waste.5 • Simplifies on-site logistics. • Increases productivity. • Protects from weather.6 This is important due to the high risk of flooding and lack of storage space for construction materials. • Smaller modules are easier to transport and store in Venice.

i. Questioning the brief The need for a mechanically actuated system was questioned in the primer brief: directly inoculating a material reduces the materials and construction that would be required for a mechanical system performing the same function.

ii. Flexibility The idea that ‘form follows function’ is an outdated view of architectural construction.2 Stewart Brand pioneered the idea of adaptable design accommodating a range of potential functions in How Buildings Learn (1994). Primarily large, open spaces provide the most adaptability,3 fitting with the proposal of a primary concrete structure with steel modular installation, allowing for the layout of the space to be adapted within a durable form. Although the environmental impacts of using concrete may be higher than other materials, this can be justified due to its longer life span.4

iii. Intensification of use • • • •

Ideas for widening functions of the building to intensify use: meeting point for the Agenzia Gondoleri local council clubs workshops and tours for tourists and school groups (on weekends)

iv. Modularisation The building component designed in the primer period is in modular panels that can be easily put together minimising labour costs, and allowing for easy disassembly. Generic panels made off site reduce the complexity of the system and allow for flexibility and ease of construction on site.

Figure 13: Technical drawing for prototype designed in primer phase. Components are glued to a EIFS woven fibre mesh which make up a series of panels.

Berger, M., Wong, L. and Rhode Island School of Design (eds.) (2014) Interventions and Adaptive Reuse: Resilience and adaptability. Vol. 5. Switzerland: Birkhauser Verlag AG. Page 6. 3 Ellingham, I. and Fawcett, W. (2013) Whole life sustainability. United Kingdom: RIBA Enterprises. Page 116. 4 Crawford, R. H. (2011) Life cycle assessment in the built environment. New York: Taylor & Francis. Page 30.

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Cassino, K. et al (2011) Prefabrication and Modularization: Increasing productivity in the construction industry. Available at: http://www.nist.gov/el/economics/upload/Prefabrication-Modularization-in-theConstruction-Industry-SMR-2011R.pdf (Accessed: 21 January 2016). 6 Pros and cons of Prefabrication and Modularization techniques - VIATechnik | BIM, virtual reality, CAD, estimating, scheduling services (no date) Available at: http://www.viatechnik.com/pros-cons-prefabricationmodularization-techniques/ (Accessed: 21 January 2016).

b. Construction Reuse ii. Designing for deconstruction and ‘adaptive reuse’

i. Using existing buildings

A ‘light fit’ modular installation structure within the primary structure will enable quick deconstruction and adaptive reuse, and is ‘one of the best solutions’9 to reduce environmental impacts as value of resources are maximised and frequency of demolition reduced. It is therefore important that bolted rather than welded steel junctions are used. Bolted connections specified by the American Society for Testing and Materials are shown in Figure 16.

An abandoned building adjacent to the site and functioning gondola workshop present the opportunity to remodel, annexing the existing buildings to the new project. This will improve the Life Cycle Assessment as using existing buildings reduces materials and construction required for a project.7 The demolition of some facades can be crushed and recycled as aggregate for concrete construction. Fabricated rolled steel beams and columns will provide support for the existing facades during construction, as this is a more economical option that scaffolding.8

Figure 16: Bolted connections detail.

Figure 14: Map of site in Venice showing existing buildings.

Figure 15: Façade retention using fabricated rolled steel beams.

7 8

Edwards, B. and Hyett, P. (2001) Rough guide to sustainability. London: RIBA Publications. Page 67. Emmitt, S. (2012) Architectural technology 2nd edn. Malden, MA: Blackwell Publishing. Page 217.

Crawford, R. H. (2011) Life cycle assessment in the built environment. New York: Taylor & Francis. Page 31.

c. Construction Recycling ii. Future recycling of concrete and steel

i. Recycling from demolition

A soft strip demolition process can be used to separate materials that can be recycled to minimise waste.12 Concrete is a long lasting material,13 however when it does come to demolition can be recycled as fill for foundations or aggregate. The Demolition Recovery Index quotes concrete as having a 100% recycling performance.14 Meanwhile steel is the only material to achieve a material cycle ‘in the real sense of recycling’15 with around 50% of new steel in the UK being recycled.16 The use of a modular installation enables efficient recycling as bolted connections allow for disassembly, which can be easily reconstructed for reuse due to standardised dimensions.

Experiments have shown that demolished masonry is effective aggregate in structural concrete,10 so the crushed masonry from the existing buildings on the site can be directly used in the new construction eliminating any waste. Every year 3 million tonnes of aggregate are quarried in the UK,11 so any recycling for use as aggregate is valuable.

Figure 17: Uses for recycled aggregates as specified by a report on aggregate resource efficiency for demolition.

Figure 18: An example of soft strip demolition, removing recyclable elements before demolition, allowing for easy separation of materials for recycling.

Sarja, A. (2002) Integrated life cycle design of structures. New York: Taylor & Francis. Page 81. Edwards, B. and Hyett, P. (2001) Rough guide to sustainability. London: RIBA Publications. Page 166. 14 The demolition protocol: Aggregates resource efficiency in demolition and construction volume 3. For contractors (2005) Available at: http://www2.wrap.org.uk/downloads/Contractors_14Jul05.5ed5d7e1.1939.pdf (Accessed: 23 January 2016). 15 Sarja, A. (2002) Integrated life cycle design of structures. New York: Taylor & Francis. Page 81. 16 Edwards, B. and Hyett, P. (2001) Rough guide to sustainability. London: RIBA Publications. Page 168. 13

Cavalline, T. L. and Weggel, D. C. (2013) ‘Recycled brick masonry aggregate concrete’, Structural Survey, 31(3), pp. 160–180. doi: 10.1108/ss-09-2012-0029. 11 Edwards, B. and Hyett, P. (2001) Rough guide to sustainability. London: RIBA Publications. Page 167.

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d. Building Structure i. Technical specialism: Flood protection ‘When constructed and maintained properly nothing can surpass concrete.’ (Tadao Ando, 2006)17 Cast in situ concrete is the most efficient option for a site in Venice as transport would be problematic with precast concrete. Concrete offers cost effective, high performance protection against the high risk of flooding due to: • Low permeability • Dries/ cleaned quickly • Robust properties

As the site’s risk of flooding is >0.6m a ‘water entry strategy’ will be put in place, allowing water through the property to reduce the risk of structural damage, whilst water from low flooding will be prevented from entering.18 A concrete basin/ shell can be used to prevent the entry of water, also preventing any damage, as seen in Act Romegiali Studio’s restoration of a Venice home (Figure 22) in which a concrete basin was cast in situ on the ground floor, rising 160cm to protect the home from flooding. Due to the close proximity of the site to water, a wet floodproofing strategy will ensure flood resistant materials below the DFE, and all mechanical utilities above the DFE,19 similar to the scheme used by Act Romegiali. Other options for source control could include sustainable drainage systems such as permeable paving or swales vegetation.20

Figure 19: Wet floodproofing.

Figure 20: Detail of flood vent to allow water through building as part of a ‘water entry strategy’

Tadao Ando interviewed in Concrete Quaterly, Autumn 2006, p. 6. Butler, D. (2009) Urban drainage. New York: Taylor & Francis. Page 292. 19 Watson, D. and Adams, M. (2010) Design for flooding: Architecture, landscape, and urban design for resilience to flooding and climate change. United Kingdom: Wiley, John & Sons. Page 174. 20 Concrete strengthens resilience to fire and floods (2015) Available at: http://planningandbuildingcontroltoday.co.uk/pbc-edition-008/concrete-strengthens-resilience-firefloods/19273/ (Accessed: 27 January 2016). 18

Figure 21: Diagram showing services and utilities above the DFE, with any services below being fully waterproofed.

ii. Precedents 1. FLOOD PROTECTION: ACT ROMEGIALLI, VENICE.

2. CAST IN SITU CONCRETE: HEPWORTH BY DAVID CHIPPERFIELD Lafarge’s Agilia self placing and self levelling concrete was used as it eliminates vibration on site, reducing the amount of work required an on site conditions for workers.21 The thick internal walls carry the services, allowing for simplified floor construction.22

Figure 22: Restoration of ground floor residence in Venice by. A reinforced concrete container was cast in situ rising 160cm throughout the ground level.

Agilia®: The self compacting concrete (2015) Available at: http://www.lafarge.com/en/agilia (Accessed: 24 January 2016). 22 Wainwright, O. (2011) Hepworth Wakefield, by David Chipperfield architects. Available at: http://www.bdonline.co.uk/hepworth-wakefield-by-david-chipperfield-architects/5018323.article (Accessed: 24 January 2016).

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Figure 23: Pigmented cast in situ concrete with shutterboard tolerances of ±3mm rather than the standard ±5mm creates the smooth finish.

3. STEEL INSTALLATION: SELEXYZ BOOKSTORE BY MERKX & GIROD This light fit installation structure made use of the 750m space available whilst the brief required 1200m. Perforated steel was used for its light and simple modular qualities.

Figure 24: The installation structure does not touch the sides of the church and aims to highlight the church’s impressive architecture by providing a simple, autonomous contrast.

Figure 25: A section of the bookstore showing it’s relationship with the church. The perforated steel provides a ‘look through’ element to the structure.

e. Construction & Materiality i. Formwork Formwork can be up to 40% of concrete construction cost,23 so using prefabricated aluminium table/ flying formwork that can be reused is important in reducing labour costs considerably, production time, as well as reducing the high embodied energy of concrete.24 As well as this, freeze resisting aggregates will need to be used due to the risk of frost in Venice in winter,25 and a water based epoxy resin coating to protect the concrete from frost. Construction will need to take place during summer months so concrete can be poured at optimum temperatures for setting.

Figure 27a: Flying form being removed for lifting to higher location.

Figure 26: Table formwork.

Stacey, M. (2009) Concrete: A studio design guide. London: RIBA Enterprises. Page 57. Peurifoy, R. L. (1995) Formwork for concrete structures. 3rd edn. New York: McGraw-Hill Companies. Page 301. 25 National structural concrete Specifi cation for building construction (1998) Available at: http://www.construct.org.uk/media/National_Structural_Concrete_Specification_for_Building_Construction.p df (Accessed: 23 January 2016). 24

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Figure 27b: Representative details for casting a concrete slab and beam using flying forms.

ii. Sourcing Materials Lafargeâ&#x20AC;&#x2122;s Agilia self placing concrete can be shipped to the site to be cast in situ. Metal Group based in Milan can be used to source recycled aggregate and steel, as well as recycling waste from demolition.26 Further steel can be sourced from Danieli Steel manufacturers in Udine, North Italy.27 Due to the nature of Venice, sourcing materials is never going to be close by or economic, and distances within the range of 150 miles are more realistic.

Figure 28: Map showing distance of materials from site.

METAL GROUP SPA (no date) Available at: http://www.metal-group.com/en/rottame-materie-prime.html (Accessed: 24 January 2016). 27 Danieli Metal Production (no date) Available at: http://www.danieli.com/en/products/technologicalpackages.htm (Accessed: 24 January 2016).

f. Environmental Strategies & Services ii.

i. Disposal

Algal Biomass Venice and Enalg Renewables are developing a source of energy that will use adapted water flora to produce methane, powering steam generators. This form of energy production has the possibility to supply 50% of Venice’s energy if successful, predicted to supply as much as 50MW.29 A report by Rigoni-Stern at Venice University on the feasibility of nitrophilic algae biomass discovered successful methods of harvesting the algae, showing that a significant amount of methane could be produced validating the efficiency of algae as an energy source.30 The European Algae Biomass Association views algal biomass as ‘one of the most promising renewable resources’.31 Based in Florence, the association aims to encourage use and advance the technology further, and could act as a support base for using the technology in this project as it is currently in test phase elsewhere in Venice.

Collection of waste in Venice is run by VERITAS, amounting to 3x the price of waste collection on the mainland due to rubbish having to be collected by foot before being sent on barges to landfills on the mainland.28 Using soft strip demolition and recycling demolition waste will reduce the amount of construction waste, however materials being recycled will still need to be shipped to the mainland.

Figure 29: VERITAS barges removing rubbish from site in Venice.

Figure 32: First algae powered building in Hamburg, Germany designed by Splitterwerk architects. Clad in panels containing live micro algae that produce green energy.

Figure 30: Large amounts of algae collect on the canal steps next to San Trovaso square.

Figure 31: Diagram showing outdoor algae harvesting.

Waste disposal in Venice (no date) Available at: http://www.cityvisionweb.com/competition/w7y4r8/ (Accessed: 24 January 2016).

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Venice turns green (2011) Available at: http://www.economist.com/blogs/babbage/2011/09/algal-energy (Accessed: 24 January 2016). 30 Rigoni-Stern and Rismondo (1990) ‘Anaerobic digestion of nitrophilic algal biomass from the Venice lagoon’, Biomass, 23(3), pp. 179–199. doi: 10.1016/0144-4565(90)90058-R. 31 European Algal Biomass Association (no date) Available at: http://www.eaba-association.org/en/about-us/ (Accessed: 27 January 2016).

3. THINKING THROUGH MAKING During the thinking through making week I would like to understand concrete as a material in greater depth by making my own mix to cast a model of the site in Venice. I would like to experiment with different concentrations of water in mixes and see how the different results vary in the end product. I would also like to explore the permeability of concrete and how this varies with the different mixes, as this is something that will affect construction in Venice hugely due to flooding being almost certain. This will also affect the material choice for the key design strategy for the project of reinstating the old water infrastructure system using the existing out of use cisterns around the site. I collected a variety of textures and materials from the site in Venice and I think it would be interesting to investigate how the imprint of these textures could be transformed to concrete, as this can be done during the construction from the type of shuttering used to cast in situ concrete. Looking at artist Rachel Whitereadâ&#x20AC;&#x2122;s work (Figure 32) casting voids (the negative spaces found under chairs, tables and even the inside of entire buildings) in plaster has inspired me to investigate how casting processes can work to analyse space, capturing and materialising the forgotten spaces of everyday life.32

Figure 33: Nine tables, 1998, Rachel Whiteread, plaster casting.

Figure 34: Concrete cast site model showing typography.

Rachel Whiteread, Tate Modern (2001) Available at: http://www.tate.org.uk/art/artists/rachel-whiteread-2319 (Accessed: 24 January 2016).

4. BIBLIOGRAPHY BOOKS AND ARTICLES Concrete Quaterly, Autumn 2006, p. 6. Berger, M., Wong, L. and Rhode Island School of Design (eds.) (2014) Interventions and Adaptive Reuse: Resilience and adaptability. Vol. 5 edn. Switzerland: Birkhauser Verlag AG. Butler, D. (2009) Urban drainage. New York: Taylor & Francis. Cavalline, T. L. and Weggel, D. C. (2013) ‘Recycled brick masonry aggregate concrete’, Structural Survey, 31(3), pp. 160–180. doi: 10.1108/ss-09-2012-0029. Crawford, R. H. (2011) Life cycle assessment in the built environment. New York: Taylor & Francis. Edwards, B. and Hyett, P. (2001) Rough guide to sustainability. London: RIBA Publications. Ellingham, I. and Fawcett, W. (2013) Whole life sustainability. United Kingdom: RIBA Enterprises. Emmitt, S. (2012) Architectural technology 2nd edn. Malden, MA: Blackwell Publishing. McLean, W. and Silver, P. (2013) Introduction to architectural technology. 2nd edn. London: Laurence King Publishing. Peurifoy, R. L. (1995) Formwork for concrete structures. 3rd edn. New York: McGraw-Hill Companies. Rigoni-Stern and Rismondo (1990) ‘Anaerobic digestion of nitrophilic algal biomass from the Venice lagoon’, Biomass, 23(3), pp. 179–199. doi: 10.1016/0144-4565(90)90058-R. Sarja, A. (2002) Integrated life cycle design of structures. New York: Taylor & Francis. Stacey, M. (2009) Concrete: A studio design guide. London: RIBA Enterprises. Tamboli, A. R. (1999) Handbook of structural steel connection design and details. New York: McGraw-Hill Professional. Watson, D. and Adams, M. (2010) Design for flooding: Architecture, landscape, and urban design for resilience to flooding and climate change. United Kingdom: Wiley, John & Sons.

WEBSITES Agilia®: The self compacting concrete (2015) Available at: http://www.lafarge.com/en/agilia (Accessed: 24 January 2016). BioLogic (2015) Available at: http://tangible.media.mit.edu/project/biologic/ (Accessed: 24 January 2016). Cassino, K. et al (2011) Prefabrication and Modularization: Increasing productivity in the construction industry. Available at: http://www.nist.gov/el/economics/upload/Prefabrication-Modularization-in-theConstruction-Industry-SMR-2011R.pdf (Accessed: 21 January 2016). Concrete strengthens resilience to fire and floods (2015) Available at: http://planningandbuildingcontroltoday.co.uk/pbc-edition-008/concrete-strengthens-resilience-fire-floods/19273/ (Accessed: 27 January 2016). Danieli Metal Production (no date) Available at: http://www.danieli.com/en/products/technological-packages.htm (Accessed: 24 January 2016). European Algal Biomass Association (no date) Available at: http://www.eaba-association.org/en/about-us/ (Accessed: 27 January 2016). Improving the flood performance of new buildings (2007) Available at: https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/7730/flood_performance.pdf (Accessed: 26 January 2016). METAL GROUP SPA (no date) Available at: http://www.metal-group.com/en/rottame-materie-prime.html (Accessed: 24 January 2016). National structural concrete Specification for building construction (1998) Available at: http://www.construct.org.uk/media/National_Structural_Concrete_Specification_for_Building_Construction.pdf (Accessed: 23 January 2016). Neopor Insulation (no date) Available at: http://www.neopor.basf.us/performance/resource-efficient (Accessed: 24 January 2016). Pros and cons of Prefabrication and Modularization techniques - VIATechnik | BIM, virtual reality, CAD, estimating, scheduling services (no date) Available at: http://www.viatechnik.com/pros-consprefabrication-modularization-techniques/ (Accessed: 21 January 2016). Rachel Whiteread, ‘Untitled (stairs)’ 2001 (2001) Available at: http://www.tate.org.uk/art/artists/rachel-whiteread-2319 (Accessed: 24 January 2016). Saving Venice (2003) Available at: http://www.economist.com/node/2084767 (Accessed: 26 January 2016). The demolition protocol: Aggregates resource efficiency in demolition and construction volume 3. For contractors (2005) Available at: http://www2.wrap.org.uk/downloads/Contractors_14Jul05.5ed5d7e1.1939.pdf (Accessed: 23 January 2016). Venice turns green (2011) Available at: http://www.economist.com/blogs/babbage/2011/09/algal-energy (Accessed: 24 January 2016). Wainwright, O. (2011) Hepworth Wakefield, by David Chipperfield architects. Available at: http://www.bdonline.co.uk/hepworth-wakefield-by-david-chipperfield-architects/5018323.article (Accessed: 24 January 2016). Waste disposal in Venice (no date) Available at: http://www.cityvisionweb.com/competition/w7y4r8/ (Accessed: 24 January 2016).

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LIST OF FIGURES Figure 1: Drawing of façade system as part of primer phase. Source: Authors own. Figure 2: Drawing of component. Source: Authors own. Figure 3: ‘Chain of Ether’ by Ned Kahn. Source: http://nedkahn.com/wind/ Figure 4: Yardhouse by Assemble. Source: http://www.archdaily.com/office/assemble Figure 5: Model of primer prototype. Source: Authors own. Figure 6: Micropipetting bacteria onto polyimide strips. Source: Authors own. Figure 7: Polyimide strips reacting in humidity chamber. Source: Authors own. Figure 8: Prototype validation. Source: Authors own. Figure 9: Method for locating site in Venice. Source: Authors own. Figure 10: Maps showing site. Source: Authors own. Figure 11: Climate Map. Source: www.venice.climatetemps.com/venice-climate-graph.gif Figure 12: Increase of frequency of high water since 1920 diagram. Source: www.economist.com/node/2084767 Figure 13: Technical drawing of façade system as part of primer phase. Source: Authors own. Figure 14: Map of site showing existing buildings. Source: Authors own with use of Apple Maps. Figure 15: Façade retention using rolled steel beams. Source: http://www.steelconstruction.info/Facades_and_interfaces Figure 16: Bolted connections diagram. Source: Tamboli, A. R. (1999) Handbook of structural steel connection design and details. New York: McGraw-Hill Professional. Figure 17: Uses for recycled aggregate. Source: http://www2.wrap.org.uk/downloads/Contractors_14Jul05.1084763c.1939.pdf Figure 18: Soft strip demolition. Source: http://www.draceandsons.com/portfolio/manchester-metropolitan-university/ Figure 19: Wet floodproofing. Source: Watson, D. and Adams, M. (2010) Design for flooding: Architecture, landscape, and urban design for resilience to flooding and climate change. United Kingdom: Wiley, John & Sons. Figure 20: Flood vents. Source: Watson, D. and Adams, M. (2010) Design for flooding: Architecture, landscape, and urban design for resilience to flooding and climate change. United Kingdom: Wiley, John & Sons. Figure 21: Services above DFE. Source: Watson, D. and Adams, M. (2010) Design for flooding: Architecture, landscape, and urban design for resilience to flooding and climate change. United Kingdom: Wiley, John & Sons. Figure 22: Restoration in Venice by Act Romegiali. Source: http://www.actromegialli.it/interior-1/san-giobbe-160 Figure 23: Hepworth by David Chipperfield. Source: http://www.davidchipperfield.co.uk/project/the_hepworth_wakefield Figure 24: Selexyz Bookstore, Maastricht. Source: http://www.dezeen.com/2007/12/04/a-shop-in-a-church-by-merkx-girod-architecten/ Figure 25: Section of Selexyz Bookstore. Source: http://www.homedsgn.com/2012/07/05/selexyz-dominicanen-bookstore-by-merkxgirod-architecten/selexyz-dominicanen-bookstore-25/ Figure 26: Section of bookstore showing light fit installation. Source: http://www.homedsgn.com/2012/07/05/selexyz-dominicanen-bookstore-by-merkxgirod-architecten/selexyz-dominicanen-bookstore-25/ Figure 27: Table formwork. Source: http://www.directindustry.com/prod/peri/product-14794-1332113.html Figure 28: Flying Formwork. Source: Peurifoy, R. L. (1995) Formwork for concrete structures. 3rd edn. New York: McGraw-Hill Companies. Figure 29: Distance of transport of materials to Venice. Source: Authors own with use of Apple Maps. Figure 30: Waste removal from site. Source: Authors own. Figure 31: Algae collecting on canal steps in site. Source: Authors own. Figure 32: Algal Biomass system. Source: http://www.igb.fraunhofer.de/en/competences/environmental-biotechnology/microalgae/lipid-rich-algae-biomass.html Figure 33: First alga powered building by Splitterwerk. Source: http://www.designboom.com/art/worlds-first-algae-powered-building-by-splitterwek/ Figure 34: Nine tables by Rachel Whiteread. Source: http://www.tate.org.uk/art/artists/rachel-whiteread-2319 Figure 35: Concrete cast model precedent. Source: http://41.media.tumblr.com/2af4b0321a9fcab385a05227db797170/tumblr_mkahz67Hpp1s87r4yo1_1280.jpg

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