E MAI LADDRE S S : i r i s . g uo02@g ma i l . c om
CONTENTS
Introduction
4-5
Illustrated Reflective Report
5-6
Charrette
7-8
Semester 1 Project Primer
9-29
Project Staging
30-80
Field Trip
81-84
Semester 2 Realisation
85-140
&Synthesis
Case Study Report - submitted as a seperate document
141
Appendix Illustrated Cultural Bibliography
142
Bibliography
143
Work Improved after reviews
INTRODUCTION Design Project Abstract - The National Centre of Heritage and Preservation of France
My design project has been developed in studio 6 - Building Upon Building, leading by Josep-Maria Garcia-Fuentes and Tom Ardron. The studio aims to design upon existing heritage buildings, grounded on the idea that any architecture work could be placed within a cultural continuum and is the conclusion of a cutural, social, historical, and political complex. This studio investigates the production of experimental preservation and architecture in dialogue with the existing Notre-Dame Cathedral and the Île de la cité in Paris, France. The site sits in a diverse mix of tourism locations, hospitals, police stations, and train stations. It is a predominant site for people to gather in a realm of historical areas. The project challenges the current contemporary notion of heritage and preservation, responding to Viollet-Le-Duc's ideas and the architectural and preservation debates linked to them. My approach to the project engages with these ideas and themes, at the same time developing my own line of enquiry. Through the year-long project, I have developed different threads, mostly inspired by the idea of Viollet and the reading and re-defining of the site. It's shown on the main concept, site planning, massing, and the facade materiality.The methodology of the new building is meant to respect the urban context that contains the cathedral, river, and bridge in the south. Drawing the lines of axes from the center to emphasize the historical impact on the site. Two reference lines drive building geometry that adapts to the specific conditions of all adjacent sides, optimized for daylight, views, and accessibility. The ways of contrasting the old and new perspectives in terms of programs and materials become the greatest attention and challenge to this project. The new building hosts the National Centre of Heritage and Preservation of France. The programme of the building is offices, labs, public auditorium, exhibition halls, library, architecture research centre, research studios, workshop, gallery, and cafe. One gallery will hold a permanent collection of ViolletLe-Duc's work. Viollet-le-Duc was a French architect and preservationist, who had (1814-1879) a deep concern for modernity. He was born in 1814 and died in 1879. His work for the Notre-Dame Cathedral and the ambitious design of the spire - which was on fire and destroyed on 15th April 2019 - became a symbol of his ideas and a symbolic reference for Paris, France, and the international debates on heritage and preservation. The idea for this center is to return a more flexible environment for all to explore the possibilities of preserving the building and a better future. The new typology is integrating the characteristics of different programs, extracting the preservation ideas by Viollet to drive the conservation in an effort to create spaces that inspire more pioneering techniques, and act as a celebration center of every historical moment of Parisian’s life in Paris.
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06 BUILDING UPON BUILDING
Top: Night facade render; Bottom left: Perspective collage showing arcade entrance with VR/AR Technique; Bottom right: Bird view model on site
REFLECTIVE REPORT Stage 3 Design Module and Other Modules This academic year has been very challenging, with a term-time working from home and the unknown and uncertain future ahead. However, in this very difficult time, I still find enjoyable moments and had made many progresses through the unusual journey. Reflecting to the past academic year, I’m pleased with the work that I produced. I feel my design project more resolved than previous years. I think this is because of the year-long project allowing me to explore and develop in depth in aspects like materials, inhabitations, and structures. It is also very nice to have an opportunity to design a building next to a world-famous architecture - the Notre-Dame Cathedral in Paris, France, which is outside the UK and allows us to have a field trip in the Europ. Exploring the project with the studio theme and idea about heritage and preservation is very inspiring and helpful. With the historical and contextual awareness, and the thoughts about people’s inhabitation, I have been developing the design in a rational approach, which benifits the final output. Because of the special circumstance this year, it was very unlikely for me to do physical models from home, so I developed the project mainly through computer software, including rhino, autocad, AI,PS,etc. On the one hand, not being able to make physical models makes it hard to feel the materiality and not having the opportunity to use the site model that we made during Primer stage; on the other hand, it forces me to learn and use software more than before, making the representation of final renders and images very well. Using software also makes it easier to change and improve than making physical models. Some of the final renders and collage images represent the building quite successful. I think it is a very valuable experience for me. As this is a year-long project, it is both very challenging, in terms of the requirement for a cohesive and complex design with a clear line of enquiry, and very enjoyable, interms of the detail exploration in each stage. I find it very difficult and confused at the early stage, but now looking back the processes, I found some hints of threads that could be linked with others to strengthen the design and concept. In terms of non-design models, I found how they related to the design project stages, and helped to develop and refine the design. In my dissertation, I studied the work of Assemble Architects and was influenced by their care for people, community, and wider context, which in return formed my design to be not only serving for offical authority but also serving for people and wider community. The technology module is very integrated and makes me develop my design in terms of materials and fire strategy floor planning, spacial layout, and tectonic aspects. However, as I use digital methods for the whole report, I think if I am able to use the workshop to produce structure models, it would show problems in structures better. The Theory into Practice module makes me reflect on the collages I made through the project, and studied more about the collage inspirations, and also strengthen the concept when making collages. The ways of representing architecture that I explored in this report may influence the way I produce architecture-related work in the future. The Professional Study report made me consider the ecnomic and social impact of my building, and also help me understand the operation processes of a design team.
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06 BUILDING UPON BUILDING
Top: perspective section with context; Bottom from left 1&2: collages for ARC3015 collages; Bottom 3: dissertation cover; Bottom 4: technology detail.
CHARRETTE Documentation of the charrette week output
Our group were documenting the charrette week, and celebrating all the good points of each project group. This year is another very inspiring and touchful year of charrette. I really like the way charrette week operated, mixing students from different year group, and making them to start the academic year with this interesting and interacting week of exploring and producing. 8
All the photos taken by author of this portfolio, the work in the photos are group work produced by different charrette groups.
Research into the history of Notre-Dame and preservation idea of Viollet-Le-Dec
The project began with in depth research into the history of Paris as related to the Notre-Dame Cathedral, in order to establish a historical context that would form the base of our project. Simultaneously, the studio engaged with the debate around the preservation and restoration of historical buildings, looking specifically at the work of Eugene Viollet-le-Duc on Notre-Dame Cathedral. In this stage, we as a group produced collages, historical plans and sections of Notre-Dame, site model, and a wire mesh model of the cathedral. Also, each of us proposed a building typology and draft massing in the context of lle de la Cite, and frames the cathedral, being a direct response to the need of an institution that can protect heritage and also teach people about it. All works presented in this section are produced by author as group work with group members.
PRIMER
Historical Paris map
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Ile de la Cité - 1550
Ile de la Cité - n.d.
Ile de la Cité - 1821
Ile de la Cité - 1754
Paris - 1314
Paris - 1800
all images from internet
The timeline story of Notre-Dame
Picture 1: Coronation of Henry VI Picture 2: Charlie VII took back Paris Picture 3: Notre Dame de Paris exterior in 1450 Picture 4: statue of Joan de Arc in Notre Dame de Paris Picture 5: drawing of Notre dame de paris in 15th century Picture 6: city plan of cite island in 1550
1163-1190 The construction begins
1200-1250 Construction works
1345 The cathedral is finished.
1431 The coronation of English King
1300-1600 Île de la Cité
1163- First stone laid by Pope Alexander III 1182- The choir, aisles, tribunes, vaults are built and the transept begins to gain shape 1190- Three bays of the nave are added to the choir, the aisles and tribunes (called triforium) and an open gallery located above the aisles are built. The cathedral gains length and height 1196- Abbé Sully dies and the work on the cathedral slows down.
1200 - The first portal is built, the South one, dedicated to Saint Anne 1210-1220 - The second portal, the North one, dedicated to the Virgin 1214 - Te Deum for Capetian King Phillipe Auguste 1220 - The central portal is built, dedicated to the Last Judgement 1230 - The nave and the buttress are built 1240-1244 - The South and North Tower are built, the northern one being supervised by Jean de Chelles, the first contractor known on the site.
1260 - Pierre de Montreuil, replacing Jean de Chelles, added a portal to the cross of the transept commissioned by King Saint Louis (1214-1270), named Saint Stephen, as one of the churches that was on the land of Notre Dame 1260-1320 - The Gothic style inaugurates the rose, a large circular opening subdivided by carved stone frames, usually dressed in stained glass. Among the figures represented in this rosette are 12 figures representing the 12 tribes of Israel, as well as angels and other Old Testament figures. Roses are considered one of the most successful achievements of Gothic art. Already at the time, they were perceived as technical prowess such as that in 1270 Saint Louis delayed his departure for the Second Crusade in order to have the chance to see them completed. 1345 - New buttresses were built to consolidate the walls. Higher up, a 15 m flight, they pass above the two ambulatories of the choir and tribunes, and come to support their head against the top of the walls at the base of the roof. They are unparalleled in Gothic buildings and give the bedside of Notre-Dame its distinctive silhouette.
1337-1435 Hundred years war: According the Treaty of Troyes, English King tried their claims to the France throne. 1431 Henry VI of England held his coronation in Notre Dame de Paris to legalize his power in France. (Usually the coronation of France held in Notre Dame de Reims) 1436 Charlie VII took back the control of paris and end the wars in 1453. 1456 Retrial of Joan da Arc in Notre Dame de Paris
During the Renaissance, Notre Dame was less changing in this period, but the bridge of the island changes. Pont des Coeurs: Same as “Petit Pont”. Rebuilt several times in this period. It burnt in 1718 and replace by Pont des Coeurs in 1853. Pont au Change: The first bridge constructed in12th century. Pont Saint-Michel: A renaissance bridge was replaced between 1623-1857. Pont Notre-Dame: First bridge in Paris. Rebuilt in stone structure in 1507. Pont aux Meuniers: A pedestrian bridge with 12 mills burnt in 1596. Pont Neuf: Built in 1607, the latest bridge in Île de la Cité. A revival roman style arches bridge. The interior of Notre Dame covered by tapestries as to conceal the outdated gothic style.
1708-1725 Restoration by Robert de Cotte
In the period of Louis XV, the style of baroque Batiments du Roi: a department in charge the royal building work, include Notre Dame The gothic arches were given to be a revetment of marble with round arches Pierre Leqauture: Employed ub Batiments, drew most of the design 1699-1703 the first project for a new altar of Notre Dame de Paris. Most of the change in this period was about the interior.
Arrival of Napoleon Bonaparte at NotreDame Cathedral in Paris for his coronation, 2 December 1804,Charles Percier (1764– 1838), Pierre François Léonard Fontaine (1762–1853)
The Oath (Napoleon’s Coronation, 2 December 1804)Pierre-François-Léonard
Bottom row: 1917,1918, 1914, 1918
1789-1799 The French Revolution
1801-52 Napoleon I
1830-1848 Louis Philippe, Lassus & Viollet le Duc 1914-1918 World War I
1939-1945 World War II
1793 Cult of Reason (atheism) was founded by Jacques Hébert Hatred for Catholicism and believed that the way of life should be governed by Enlightenment principles (freedom and rationality) led to dechristianization of France Festival of Reason (all churches converted to ‘temples of reason’) Changes to Notre Dame: 28 biblical kings’ busts were mistaken to be French kings and were destroyed Goddess of Liberty replaced Virgin Mary’s statues Statues on the facades were destroyed “To Philosophy” was carved over the cathedral’s doors 1794 Rivalry Cult of Supreme Being (deism) founded by Maximilien Robespierre (archpuritan) Festival of the Supreme Being Reign of Terror - anyone who was suspected an enemy of the revolution would be arrested/death penalty
1801 Concordat signed between Bonaparte and Pope Pius VII and a Te Deum was celebrated at Notre Dame to celebrate proclamation. 1802 Mgr de Belloy nominated as bishop and enthroned in Notre Dame. Church decorated: pillars in cloth, alter was rebuilt and figure of Christ was brought from Arras after it was ravaged by the Revolutionaries. 1804 Napoleon consecrated as Emperor. Charles Percier and François-Léonard Fontaine were tasked with refurbishments of Notre Dame - Houses were demolished to clear surrounds of the Cathedral and streets were paved- A Neo-Classical portico placed on forecourt in front of Cathedral made of wood, ca and stucco Covered gallery in decorated Goelins tapestries. - Wooden gallery built inside - Enormous tent erected to form vestibule - Building whitewashed with lime - Interior hung with fabrics, silk and velvet drapes that were decorated with the coats of arms of Empire.Rotunda elaborately decorated with tapestries from the Gobelins manufactory.- Ironwork around choir and two alters removed.Napoleon’s throne was placed on high platform in front of West door. The refurbishments achieved a hybrid Neo-Greek temple effecthttps://www.napoleon.org/en/history-of-the-two-empires/ videos/
1814 Bourbon restoration In 1830 Louis-Philippe prompted an effort to preserve and restore historical landmarks of France Following the huge success of the Hunchback of Notre Dame by Victor Hugo, in 1844 the restoration of the Notre Dame was ordered by Viollet le Duc and Lassus Le duc thought that the architect must forget their own tastes and opinions, instead studying the subject and follow the thought process of the original designers “it is not a question of making art, but only of submitting to the art of an era which is no more.” Restoration of the 28 kings, Christ above the front door, and 28 statues above the other doors, influenced by examples from existing cathedrals in France Restoration of the original facades and windows, redesign of the ‘bastard form’ of the shades on the towers Restoration of the central arrow “according to the engravings of Israel Sylvester and Garneray” Reinstatement of the choir as it was in 1699 Sacristy was placed on the side according to drawings from the XVth century (designed by Viollet le duc in a (neo)Gothic style Restoration in style: ideal Cathedral - to restore the building to its ideal state.
1940 The German occupation of Paris, some of the stained glass windows were removed (protection from bombing). Still remained open to the public as both a church and tourist destination. German military concerts would take place outside Notre Dame. 1944 August 26th, Notre Dame hosted a special mass of thanksgiving to celebrate the liberation and preservation of Paris.
1914 In October, a German bomb struck the roof, causing minor damage. 1918 The West facade of the cathedral sealed with sandbags to protect it from any war damage. The bells rang to celebrate the end of WW1 There was no damage to Notre-Dame.
2019 15th April
6:20pm, smoke alarm sounds during mass, however no signs of fire. 6.43pm, second alarm: fire declared. Fire spreads from the area covered by scaffolding out to whole roof, as well as the spire causing it to collapses and fall through the roof. “The Forest” is destroyed. (16th April) 7am, the “danger of the fire has been removed” with up to a dozen firefighters still on the scene. Main structure has been saved, with the bell towers in tact. Two-thirds of the roof is gone, with the spire among other debary fallen into the nave. Group Work Study
The timeline of Notre-Dame
1163 - 1190
Early Construction Inducted as bishop of Paris in 1160, Maurice de Sully decides to replace the old basilica with a building whose majesty and splendour must equal, or exceed, the Temple of Solomon or the heavenly Jerusalem described by Saint John in Revelation. This mythical temple has remained as a central reference for religious architecture. Aware of the symbolic role of a cathedral, Abbé Sully foresaw from the beginning of the construction site the location of the square, so that the spectators and the faithful could immediately feel the greatness of the place, and therefore of God. The first stone was laid in 1163 by Pope Alexander III, but it was not until 1345 that the cathedral acquired the form that is still hers today. The construction of Gothic cathedrals is a phenomenon closely linked to the development of medieval cities from the end of the twelfth century. In 1161, Paris has become the political capital of the Capetian kings since Philippe I, and also has become an important economic centre where a real city of artisans and markets has being built. The construction of a cathedral responds to this double need to welcome more faithful and to radiate the prestige of the capital. After nearly 20 years of work, in 1182, the first part of the cathedral was completed. It already allows the faithful to practice their worship because it includes a choir, with aisles, tribunes, vaults and the beginning of the transept. From 1182 to 1190, three bays of the nave are added to the choir, the aisles and the tribunes – also called triforium (open gallery, located above the aisles). The cathedral thus gains in length and height.
1804-1814 Napoleon I
A Te Deum was celebrated at Notre-Dame on April 10, 1802 for the proclamation of a concordat that recognised the Catholic religion as ‘that of the majority of the French.’ Both Napoleon and Pope Pius VII were in attendance. Napoléon Bonaparte chose the cathedral of Notre-Dame de Paris to be consecrated emperor, which was to take place on Sunday 2nd December 1804 and marked ‘the instantiation of modern empire.’ He thus broke the tradition of the Kings of France who went to Reims to be crowned. For the occasion, architects Charles Percier and François-Léonard Fontaine were tasked with refurbishments. Houses were demolished to clear surroundings of the cathedral, streets surrounding that the cortege would pass would be paved. They designed a neo-gothic style portico which was placed on the forecourt, it was made of wood, card and stucco. Another wooden gallery was built along the side of the cathedral, as far as the 'archivêché' where an enormous tent was erected to form a vestibule. It was here that the Pope and his entourage robed and where Napoleon and Josephine donned their coronation robes. The building was whitewashed with lime and the interior was hung with fabrics and silk, velvet drapes decorated with the coats of arms and insignia of the Empire. The east end of Notre-Dame was augmented with a rotunda, elaborately decorated with tapestries. Ironwork around the choir and two altars was removed. Raised seating was built at the length of the nave and in the clerestories to allow for official representatives from France. Napoleon’s throne was placed on a high platform above the nave in front of the West Door.
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1190-1250
Mid-Construction
1250 - 1345
Construction is finished
From 1200 to 1250, the second phase of the work took place, marked by changes in the style of the building. The first portal was built around 1200 and is dedicated to Saint Anne, the mother of Mary. The second portal is that of the Virgin which is facing to the north. Dating from the years 1210-1220, it represents the death of Mary and her ascension to paradise, where she is made queen of Heaven before the eyes of an assembly of angels and patriarchs. In this portal, the sculpture is no longer a body with the wall: one passes from the bas-relief to the statue. The last portal added to the centre of the façade in the 1220s is that of the Last Judgment.
The use of the warhead cross-vault allows builders to build higher, while freeing the walls of the Notre Dame from their role. They can then be drilled to create wide openings. The Gothic style inaugurates the rose window, a large circular opening subdivided by carved stone frames, usually dressed in spectacular stained glass.
In 1230 a nave and butresses were added to the original building. The buttresses are added to support the walls that were raised, as the first nave was considered too dark. One of the fundamental principles of Gothic architecture is the concordance between the interior and exterior of the building. The number and size of the floors visible on the exterior must correspond perfectly to the architecture of the interior of the cathedral.
At the end of the thirteenth century, the cathedral of Notre-Dame de Paris was almost finished. The body of the nave was built, the façade and the towers were elevated. All that remains is to finish were the interior fittings and the bedside, the end of the nave opposite the portals (also called apse). The bedside of Notre-Dame de Paris is customly worked and decorated. A first part of the work was started by Pierre de Chelles. The chapels were completed by his successor, Jean Ravy, at the end of the first half of the 14th century.
Finally, a span is also added to the transept, to preserve the cross-shape of the building. The South Tower was completed in 1240 and the North Tower in 1244. The latter is carried out under the supervision of Jean de Chelles, the first contractor whose name is known on this site.
1830-1852
The Bourbon Restoration & Viollet le Duc In 1830, Louis Phillipe I was crowned the ‘King of the French’ during the period of the Bourbon Restoration. Following the damage from the first revolution there was a national effort to restore the symbols of the monarchy in France, including restoring and preserving the many dilapidated Gothic and Romanesque Palaces and Cathedrals. The Hunchback of Notre Dame by Victor Hugo was released in 1831 and prompted a national outcry to save the Notre Dame from its ruined state. Viollet le Duc and Jean-Baptiste Lassus won the competition for the restoration of the cathedral. They believed that instead of restoring the cathedral to the exact state that it would have been when it was built, they should “re-establish it in a finished state, which may in fact never have actually existed at any given time.” It was their duty to embody the ideas of the original masons, combined with the contemporary technological innovations, to realise the original concept of the building to a greater extent than it ever could have been. They drew influence from existing Gothic architecture around France to carefully study, rebuild and replace the damaged parts of the building. They restored the 28 biblical kings that had been mistakenly destroyed during the Revolution, along with Christ above the main door and 16 other figures around the building. The decoration inside was restored to its original state, along with the windows of the galleries. A new sacristy was designed in the place of the old one, in a Neo-Gothic style entirely designed by Le Duc. Finally the central spire was redesigned loosely according to engravings from the 14th century, however the new spire was much taller and the Gothic style was greatly amplified.
The North rose of Notre-Dame has a diameter of nearly 13m and expands to 24 rays in three concentric circles. Dating from 1245, it is dedicated to the Old Testament. A Virgin in majesty, a scepter in her hand, appears in the centre.
1852-1870 Napoleon III
Napoleon III ousted King Louis-Philippe I and founded the Second French Empire, which was given high credit for the rebuilding of Paris. Napoleon III dreamed to create a ‘new imperial city whose very streets spoke of the glory of the French empire.’ Haussmann created a well-ordered city, based on a geometric grid with streets running north and south, east and west. He ploughed over the ancient, winding streets of the city, and in their place created broad straight boulevards that were impervious to the barricade, and they could better accommodate the free movement of troops. The new boulevards could also allow for easy flow of commerce. The design of the boulevards was particular, they isolated the iconic monuments. This urban renovation caused a percentage of the population to be displaced. Haussmann forced citizens from their homes as these buildings were torn down to make way for the clean lines of the new city. The wealthy were quickly accommodated. The new boulevards were lined with fashionable apartment houses. It was, as usual, the poor that really suffered. Haussmann designed and created new parks, squares, new sewers, fountains and aqueducts. He rebuilt the labyrinth of pipes, sewers and tunnels under the streets which provided Parisians with basic services. The Ile de la Cite became an enormous construction site, with new government buildings, boulevards, bridges replacing the hundreds of medieval homesteads residing there since the 15th century.
1600 - 1750
Catholic Reformation
1789 - 1799
French Revolution
Following the French wars of religion between 1562 and 1598, the protestant ideas of England had started to seep across the channel and into France. The Catholic church needed to combat these ideas of reformation to secure their hold on most of Europe. This movement was called ‘the Counter Reformation’, and included a strong reconnection to Baroque art with a religious theme.
1793 and 1794 were the defining years of the French Revolution, which stemmed from the dissatisfaction with the power-hungry Catholic Church. It was led by the Cult of Reason, an atheist group formed in 1793 by Jacques Hébert which was rooted in a shared hatred for the Catholicism and believed that way of life should be governed by Enlightenment ideas – reason and rationality.
During this time, the Catholic church asserted its authority over the Notre Dame by affirming these themes in the interior decoration and spatial arragement. Under order by the ‘Batiments du Roi’, the reformations focused on the altar and the choir seat. These changes complied with the classical religious Roman characteristics, drawing influence from the Vatican and St Peter’s Basillica. There were strong themes of geometrical lines, uniform colums and semi-circular arches. The altar of the Notre Dame had the most iconic re-design. It had four paralllel twisted columns, similar to Bernini’s sculpted bronze canopy over the altar of St Peter’s Basilica. Thus, the Gothic identity of the cathedral began to be removed and replaced with the Catholic ideas of the counter-reformation.
The anti-religious Festival of Reason, in 1793, manifested the cult’s beliefs by converting all churches into ‘Temples of Reason’. The Notre Dame was a combined symbol of Catholicism and monarchy, thus becoming the main temple for the festival. There were 28 biblical kings’ statues on the Western façade, mistaken to be French kings, that were destroyed and replaced by philosophers’ busts. The Goddess of Reason was worshipped atop of an artificial mountain, replacthe ing Virgin Mary’s statues on altars. Works of art were stolen, and ‘To Philosophy’ was carved over the cathedral’s doors. The Notre Dame also served non-religious purposes such as being a warehouse for storage.
1914 - 1942
WWI & WWII By the first week of September 1914, the Germans had come within thirty kilometres of the Cathedral of Notre-Dame de Paris. During October, a German bomb struck nearby, however there was little to no damage to the cathedral. To ensure no further damage was caused by the war, the West façade was sealed using sandbags to protect it. To celebrate the end of WWI in 1918 the two bells rang in celebration. Not only celebrating the end of the war but the fact there was no damage to the Notre Dame cathedral. In WWII Paris became occupied by Germans. Many of the stained-glass windows were removed in order to protect them from bombing. During Nazi-occupied, Paris German military concerts would take place outside the cathedral. However, it remained open to the public as both a church and a tourist destination. Adolf Hitler had ordered that Paris to be left a “heap of burning ruins”. But, German General Dietrich von Choltitz disobeyed these orders to destroy the city and instead he surrendered it to Free French forces. Subsequently, he was named the “Saviour of Paris”. Although the cathedral was hit by bullets during the war, fortunately only causing scratches to the surface, it emerged largely unscathed. On August 26, the Notre Dame hosted a special mass of thanksgiving to celebrate the liberation and preservation of Paris. The cathedral’s undamaged features were the backdrop to many post-war photos, capturing the heart of the city untouched by the threats of the war.
The deist rivalry Cult of Supreme Being emerged in 1794, and its festival was led by the arch puritan Robespierre. Similarly, an artificial mountain, constructed of timber and plaster and adorned with flowers and shrubs, was built to symbolize nature’s power and supremacy of mankind. The festival escalated and led to the Reign of Terror, where anyone who was suspected an enemy of the revolution was arrested or sentenced a death penalty. However, despite the consistent revolutions, the French held on to religion as their way of life.
2019
Notre Dame burns On April 15 2019 at 6:20pm, a smoke alarm sounded during mass but there were no signs of fire. At 6.43pm, a second alarm sounded and a fire was declared on the roof of the cathedral. The roof was covered in scaffolding for current restoration work on the cathedral. The fire spread from the scaffolding, out to the whole roof, as well as the spire. It caused the collapse of the Viollet-le-Duc spire as well as major irreversible damage to the wooden roof. The remainder of the burnt roof lies on the floor of the nave. The stone walls and structure are undamaged by the fire, however, major damage was caused by falling debris to the inside of the cathedral. Thousands of people gathered around the scene, watching as the fire consumed the cathedral’s roof. Some sang Catholic liturgies, whilst others sank to their knees and cried. An atmosphere of sorrow overwhelmed Paris as they watched their beloved cathedral burn. At 7am on the following day, officials confirmed that the “danger of the fire had been removed” with up to a dozen firefighters still on the scene. The main structure had been saved, with the bell towers intact and no major damage to the main rose windows. Two-thirds of the roof had been destroyed with the spire among other debris fallen into the nave, as well as discolouring of the North and South facades caused by the flames and smoke. The damage caused by the fire has sparked major controversy about the restoration of the Cathedral. The damage to the Notre Dame may not have just been caused by the fire, but by an insensitive and unthoughtful perservation project to the building.
Group Work
Collages timeline - inspiration from collage artist Franz Samsa
0-1163
1345
20
1163-1190
18th century
1200-1250 large file
1852-1870
1840-1850
2019 Group Work
1914-1942
Physical models - mesh cathedral model The wire mesh model represent the structure and skeleton of the Notre-Dame Cathedral in an abstract yet realistic way. In the reflection, I noticed the mesh model inspired my material choice and exploration further in my own building.
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Physical models - site model From the site model making processes, I learned about the site and context in depth with details and enjoyed using different approach to produce trees and buildings with plants and other materials.
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Viollet sillouette for primer exhibition Viollet-Le-Duc was an architect and one of the pioneers of architectural preservation, much of his career focused on restoring old buildings, often to a state of completeness that they had never previously existed in. This laid the foundations of preservation as a legitimate practice. The essence of his method was not to simply rebuild what was there, and treat architecture as a static object, but to create a building that physically represented the symbolic value of a building. In the case of Notre Dame, this was to reinstate the building as a national icon, and to adapt the design of the building so that it fitted this iconic status. By this logic Architecture and Preservation are one and the same, as they both reframe our built environment and help us to perceive and understand the way we interact with it. Viollet is a big inspiration for our studio theme and our further individual project related in many terms with his ideas. In the Primer exhibition, we used the windows of the architecture building and created this mosaac image of Viollet.
Eugène-Emmanuel Viollet-le-Duc (1814-1879) – photograph by Nadar
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Primer exhibition - preparation and final output Setting up the exhibition as a group was very enjoyable and full of fun, collabrating with group mates and discussing about the setting up ideas inspired us to think about not only the primer group work but also the individual design.
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Context reading and concept development
In respond with the studio theme, in staging I have worked on the context and the threads of the design. By reading the context around the site including the NotreDame and researching about the precedents of buildings with similar functions, I have been able to develop my proposal with more rational and interact with the surrounding buildings and wider context. The site and context then informed the form and massing of my new building. Thinking about readings of Viollet's idea on preservation, I developed my design concept and building form further. I believe it related both with the context, framing the Notre-Dame Cathedral and with the Viollet's ideas.
STAGING
Site location
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Site location
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Site reading - Bridges linking the lle de la cite and the surrounding areas
I noticed that there are several bridges linking the lle de la cite and the surrounding areas. The idea of "a bridge that connecting the past and future, new building and old building" forms the concept idea of my design, which rwas inspired by Viollet's idea of "create a building that physically represented the symbolic value of a building". The "bridge" became the physical representation of the idea. 36
Site reading - sun path, wind, & surrounding analysis
police station hospital
cathedral
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Site reading - corner city contour & courtyard landscape
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Site reading - urban fabric & building height
Urban Fabric
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Urban Height
Site historical research
The current site was very different from the past, taking 1300-1600 as a study, during the Renaissance, Notre Dame was less changing in this period, but the bridge of the island changes. The interior of Notre Dame covered by tapestries as to conceal the outdated gothic style. 44
All images on this page are from internet, reference at bibliography list
Precedent study - Louviers Music School Rehabilitation and Extension / Opus 5 Architectes
I take this extension building as my precedent study, interms of materiality, the day/night shaft, and the way it functions. The facade of it reflects the surrounding heritage buildings and the fading in the sky, in the daytime, it has the characteristic of creativities and sweetness, in the night time, it is glowing and warm-feeling. By the transparency and the lightness, it stands out from the severe heritage surrounding architecture and environment. I take this idea to my design in order to make the new building reflect and frame the Notre-Dame and surroundings, also celebrating people's life.
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Precedent study - Facade & Spacial Study
Cube berlin Smart Office Building by 3XN In this facade precedent, I feel that having reflective facade with angles would frame the surrounding and may as well giving the passengers the reflection of themselves when walking around the building.
Rem Koolhaas’ Proposal for Los Angeles’ Broad Museum I think the open public space will invite people to go into the site, and have a dynamic circulation. 48
Site strategy
50
Concept
?
Reading the development of Notre Dame and Viollet’s work, it inspires me a lot not only the way how it restores the falling debris or remains the façade for its aesthetic but also to understand the idea of Viollet about how things could be shaped in one’s imagination. As it should tell the story of the past but foresee the future at the same time. And that’s the main idea I learn from him. In one of his referential volumes on restoration, le-Duc states: “The term restoration and the thing itself are both modern. To restore an edifice is not to maintain it, repair or remake it, it is to reinstate it in a condition of completeness which could never have existed at any given time.” The essence of his method was not to simply rebuild what was there, and treat architecture as a static object, but to create a building that physically represented the symbolic value of a building. In the case of Notre Dame, this was to reinstate the building as a national icon, and to adapt the design of the building so that it fitted this iconic status. So go back to my project about the heritage and preservation center of France. The word imagination seems like a bridge that tieing up the idea with Viollet, tieing up the old and new, the past and future, which also reminded me of the bridges that tie up the lle de la cite and the other areas. The form of my building is therefore one lifting block bridging two parallel blocks.
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Concept & key words
2020
CROSS-PROGRAM
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2050 ?
1844
SERVING PEOPLE
- cross-programming: demolish the boundary of programs, sparking more innovative techniques for preservation - trigger for a more innovative approach and imagination - refer and link to Viollet’s idea on preservation - serve for people/ invite people - inviting residents of France to interwind with the decision by means of new technology presentation - DAY and NIGHT shaft: alteration of functionality - celebrating each moment of people’s lives in Notre Dame and heritage center in Paris - Framing the Cathedral and surrounding with reflective facade
Massing parti diagrams
Massing Plan parti
Massing section parti
Figure Ground
Massing diagramme - symmetry & balance 56
Concept & massing diagramme
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Massing building block & programmes
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Massing diagrammes
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Programme planning
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Programme planning the overall plan is adjusted to focus more on the Notre dame, keeps the longitudinal direction with the adjacent context. Based on the contour on the site, northern part is slightly higher than the southern part, about 2m high, so the design started to explore how this slope could adapt the essence of a plaza to enhance the kind of community and the relationship between the site and the church. A 3m high platform is raised in the middle part to link the two blocks perpendicularly, at the same time generate two slopes allows steps and lawn to be settled. The western outdoor stairs act as a open theatre space that complement to the auditorium next to it. The eastern lawn becomes a break out space for daylight absorption and curtain cinema at night.
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Programme diagrams
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Reference lines The two reference lines form the angles and directions of the floor planning and the spacial arrangement of the building.
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Floor plans arrangement Ground floor: The main circulation for officials would be the ground floor and 1st floor entrance. The ground floor majorly contains the auditorium and immersive lab. Auditorium is opened by the revolving doors at times when public talks and events are held. Immersive lab is built to 8m for different size of containers to allow various scenario taking place as experiment. Also linking to the out door space, offices and labs on the upper floor. Cross-programming here is meant to get the visual connection and direct communication happening.
Section a-a
Section b-b
Immersive lab: double height Connecting the lab, office and outdoor space, act as a catalyst to integrate the innovation of pioneer technique to preserve the heritage in the future. Creating more interesting circulation allows for flexible pathways and open communication.
Floor plans arrangement
1st floor plan: A pathway from office can walk across to the immersive capsule, for immersive thinking. One of the innovative way of inserting a immersive lab is for triggering interesting possibilities for preservation. so every parts of the blocks could access to the immersive zone for brainstorming.
2nd floor plan: Labs are separated in two big areas. Thinking about the hierarchy of laboratory and working process, some of the research will be more suitably working under quiet environment, therefore placing those activities to west side, next to the Main Street. The other side could direct access to office for convenient conversation.
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Public plaza arrangement
Precedent images of the "lawn" of National Building Museum
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Improved floor plans
Circulation diagram
Reference image for riverbank with the lookout platform
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A pleasant study trip learning from precedents and visit the site in Paris, France
FIELD TRIP
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Context reading and concept development
At these two stages of the project, I further developed materiality, structural and experiential ideas. I also developed more in terms of the use of spaces, of the dynamic programs that I had. A main drive of this stage of the project was implementing, developing and resolving the problems. I feel the design started to benifit from the researches from primer and staging, with the references and readings. My attention wa also on the outdoor plaza, developed as a lawn, hosting different activities during daytime and nighttime. In addition, my essay on collages and design helped me think about the theme of my building and the representation of it. I think the process of making the 1:20 detail model was very helpful in terms of the facade strategy I was exploring into.
REALISATION & SYNTHESIS
Key threads
- Cross-programming: - demolish the boundary of programs, sparking more innovative techniques for preservation - trigger for a more innovative approach and imagination - refer and link to Viollet’s idea on preservation
- Serve for people - DAY and NIGHT shaft: alteration of functionality - celebrating each moment of people’s lives in Notre Dame and heritage center in Paris - Framing the Notre-Dame - framing the cathedral by narrowing the space facing the front of the NotreDame, lowing down the lawn public plaza and lifting up the middle linking bridge block to create the level change of the journey towards the cathedral, in order to create a more monumental experience - using reflective material on the new building facades to freeze-frame the moments of the Notre-Dame and the surrounding historical buildings, and to provide reflections for people walking around the building - Flexibility of the space - changeable spaces with the coresponding programme - giving opportunity to developed preservstion techniques and the improved space functionalities
lifting up the public block for full connectivity between inner plaza and river, freeing up the public space to celebration events and entertainment facilities. lowering the lawn to 3m down to the ground to shape a sunken outdoor theatre and a series of activities to re-define the site on this island, also widening the perspective towards the image of Notre Dame
Improved landscape planning Flexible access to multiple directions and entrances
Arches interweave strategy
Virtual
Sectional diagrams
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+
Realistic
Improved section a-a
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Improved floor plans UP
UP
office
UP
UP
UP
auditorium
UP
office
UP
UP
UP
UP
UP
PARENT ROOM
PARENT ROOM
cafe
cafe waterfront
waterfront
UP
UP
1st floor
1.5 floor mezzanine
UP
UP
UP
UP
lab
lab
lab
lab UP
UP
library UP
UP
UP
Ground floor
public workshop
art and gallery
exhibition
UP
UP
waterfront
UP
UP
2nd floor 95
waterfront
3rd floor
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Structure strategy diagram
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Inhabitition
1 Researchers testing a new material applying to old building facade
3 Visitors exploring the AR/VR techniques on preservation
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1 2
Staffs from different apartment enjoying the break in the open space, viewing the Notre-Dame and the lawn
3,4
4 Staffs having a meeting at the immersive labs
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Facade Strategy
Daytime transition of facade materials
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Nighttime
office
office
In the daytime, the interior of the building experiences a split light
At night, the interior light of the building is split and spread out.
library
library
ensure sufficient daylight penetrate the library and research areas. refelcting the panoramic views towards the Notre Dame
the light spread out to illuminate the plaza and lawn
public block
public block
complemeting the riverfront activities, the facade tells the story of Paris and Site.
the Seine reflects the light and pattern to the water to emphasis to the connectivity of the site and river.
Facade Strategy The main idea of this center is meant to communicate permeably with Notre Dame though the program planning and facade system arrangement. From the view of contextual design, similar materials are more integrated with the office block. Thus, the initial idea for the facade was brick in a modern presentation that could stand out a bit from the surroundings but giving the sense of contrasting new and old. Therefore, it came up with the second idea with three separate facade systems to locate at different axis and programs. However, the three types of systems seem isolated to each other, even though the transition is obvious, it still lacks integration and inclusive. Here comes a question, how to frame them together and allocate them into the same system? but still, maintain the uniqueness of each system?
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three systems
One system containing three materials
Sustainable strategy The recycled stone allows the reuse of local materials and reduces the waste consumption.Stainless steel cable tray is used throughout the entire system that frames the stone, glazing, and digital ceramic printing glass. The facade will be more integrated as a whole but triggering its individual aesthetic features to multiple directions and neighbors. One of the ideas at the outdoor exhibition space is to simulate the fragment of Notre Dame and regenerate it in the site by using wire mesh to articulate the form of arches and fill in with stone to trigger an interesting scene that appealing visitors crossing the site. The interesting presentation could demonstrate a sense of history. Can we continue this feature in the facade that not only exist in the small portion? In light of the characteristics of the brick wall that seems too traditional to the site, and not unveiling the essence of the site features. An idea came out to replace these brick walls and apply with the wire mesh system to store the recycled stones and local materials to the facade.
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Facade system & reference
Following the study of fixing cable, it was not literally suitable for my building as the facade contains two layers of wire mesh that need two supporters to control the direction when rising the stone up to the higher levels. Thus, an adaptable alteration took place to house the double layers of meshes. The hooks are redesigned, one slot under the cable, while the other one goes from the top to pull the loading back to the external wall.
Reference for this image: https://www.archdaily.com/905163/brick-mesh-theplus-architects?ad_source=search&ad_medium=search_result_all
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However, during the time of modification, this type of wire mesh seems not ideally demonstrating the transparency of the formwork. And I realized there are other types of wire mesh system which more relate to the precedent study that we referenced from, which is a stainless steel cable tray wire mesh. It is less complex than the previous type but more naturally represents the historical picture when incorporating recycled stone. Fixing is needed to hold the tray. By researching the wire mesh cable, it can be adjusted to adapt to this system. A C-shape channel allows holding the entire tray and stabilising to ground. See this tray as a cladding system, the intermediate cables locate to a certain height and ensure the verticality of the facade.
Connection joint between a, b & c
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Perspective view
Lawn and arcade
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Day and night routine shaft
Night activity - outdoor exhibition showing the visitors newest AR/ VR techniques about heritage and preservation
Weekdays
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Weekend
Day activity - outdoor market & outdoor forum
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Celebrating Christmas with Notre-Dame
Refined final floor plans
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Field Trip Case Study
B
-individual work -full group work report attached as seperate file
In this typology analysis, the Foundazione Prada is analysised with other mixed use art centre in different countries across the world, including the United States, China, Japan. These buildings were built in different time from 1989 Benesse art site, 1989 to 2018. Architect: Tadao Aando From the typology study, there are some architectural patterns: all four buildings sit in a site with geography changes. Despite the different built time, th they are modern architecture. The Foundazione Prada and Getty Centre had been rebuilt and had new extensions throughout time, but Benesse A Site and Fuzhou Strait Culture and Art
Illustrated Cultural Bibliography
I
TYPOLOGY Xin (Iris) Guo
ENVIRONMENTAL STRATEGY
Influences outside of the course
Xin (Iris) Guo
In order to find out the environmental strategy of a building, relevant reports and references are necessary. In the case of Foundazione Prada, there were no publications or online resources about its environmental strategy. Therefore, the approach taken was to analysis strategy from a building with a similar function, materiality, and design. In this case study, I take the Blox project by OMA as an example. It was designed by the same architect as the Foundazine Prada, using similar materials, and is located in Denmark, a European country as where Foundazine Prada locates. Through the research, the Blox has a great performance on sustainability in respond to Denmark’s advanced low energy requirements for buildings.
Getty Center, 1997 Architect: Richard Meier & Partners
Fondazione Prada, 2015
Fuzhou Strait Culture and Art Centre, 2018 Architect: PES-Architects
Architect: OMA
“ not a preservation project and not a new architecture”
OMA (2019). Fondazione Prada / OMA. [online] ArchDaily. Available at: https://www.archdaily.com/628472/fondazione-prada-oma [Accessed 10 Dec. 2019].
“The unlikely mecca for top artists and their patrons is commanding global attention”
Itzkowitz, L. (2019). How the Benesse Art Site Naoshima Revitalized a Cluster of Japanese Islands. [online] Architectural Digest. Available at: https://www.architecturaldigest.com/story/how-the-benesse-art-site-naoshima-revitalized-a-cluster-of-japanese-islands# [Accessed 10 Dec. 2019].
“ strengthening the cultural image of the city and the Mawei New Town development area.”
“The commission of the century”
BLOX is a 290,000-square-foot, extremely mixed-use, thoroughly modern glass building that opened in May 2018 on the harbor in Copenhagen's historic center.
The building’s mass and facade were built with considerations of reducing CO2 emissions during construction, and makes use of on-site renewable energy. Beyond environmental factors, the project also seeks to provide sustainable comfort to its visitors and occupiers. Its facade is highly insulated to block out amIts facade combines white fritted glass and a green bient noise, and office exteriors are fully glazed to let in natural light and glass that matches the deep green of the water, as well as reduce energy use. The building also features centralised, automated daylight panels of woven metal. control via minimal low-energy lighting fixtures, and a high specification heat recovery plant which uses Copenhagen’s district air-conditioning system based on seawater cooling and the use of residual heat from electricity generation
ArchDaily. (2019). The Fuzhou Strait Culture and Art Centre / PES-Architects. [online] Available at: https://www.archdaily.com/904225/the-fuzhou-strait-culture-and-art-centre-pes-architects [Accessed 10 Dec. 2019].
Sveiven, M. (2019). AD Classics: AD Classics: Getty Center / Richard Meier & Partners. [online] ArchDaily. Available at: https://www.archdaily.com/103964/ad-classics-getty-center-richard-meier-partners-architects [Accessed 10 Dec.
Façade solutions The facade solutions combined very ambitious energy efficiency and sustainability targets with a fragmented geometry.
Benesse art site
Getty Center
Fondazione Prada
Fuzhou Strait Culture and Art Centre
Materiality strategy
User comfort and lifetime flexibility are important elements for the durability of BLOX. The building is acoustically isolated from road noise and vibrations with a highway bridge construction and high insulation facades. Using solely concrete - the main material employed in Ando's architecture steel, glass and wood, the design of the Chichu Art Museum is reduced to the very minimum. Built almost entirely underground, the museum balances the contradictory qualities of being both non-monumental but highly architectural.
The stone—1.2 million square feet of it—is one of the most remarkable elements of the complex.This beige-colored and highly textured travertine catches the bright Southern California light, reflecting sharply during morning hours, and emitting a honeyed warmth in the afternoon. Meier chose stone for this project because it has been historically associated with public architecture and expresses qualities the Getty Center celebrates: permanence, solidity, simplicity, warmth, and craftsmanship.
It now includes over 6,800 m2 of Alusion™ aluminum foam material; on the façade, all interior walls, ceilings, and roof top. The unification of facades to that of grey stucco or the clear declarations of ceramic white concrete of the Torre or the gold Haunted House made of Gold Leaf, marmorino plaster, red reinforced stucco; masonry (existing). There are some other special material like mineral wool wall.
Ceramic is used as the project’s main material.According to acoustical demands, using the legendary “China White” material and new technology, all façades are clad with white ceramic tiles and louvres. The interior surfaces of the opera hall and concert hall are clad with topographical ceramic panels. Based on extensive studies carried out with the acousticians, two types of acoustic panels were developed: an engraved panel and a mosaic tile panel. Both panels are adaptable to the topographical sur faces that are required to achieve high quality acoustics, as well as the visual language of the design.
Benesse art site
Getty Center
Fondazione Prada
Fuzhou Strait Culture and Art Centre
The office facades are fully glazed to provide a generous outlook and to reduce lighting energy usage. Minimal low-energy lighting fixtures combined with user task lights are used, and both lighting and facade sun shading is automated through centralised daylight control, with user controls.
Atmosphere
Relationship to surrounding
Design strategy
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Detailed thermal analyses were the key to achieving the design of a naturally ventilated, highly insulated façade with a large number of interfaces. An integrated design with our Fire Engineers was a fundamental part of the project, in order to provide adequate fire separation between stepping slabs and comple floor-to-floor interfaces. Structure and facade were considered in combination to address movement of the cantilevered boxes.
The carved geometric volumes are lit by natural light and each gallery space is connected by concrete corridors. The site is rethinking the relationship between nature and people. The museum was built mostly underground to avoid affecting the beautiful natural scenery of the Seto Inland sea. There are no axes and directions underground, so that the spaces underground need strong forms, special materiality strategy, and those amazing artists. There is abundant day light in the space, leading to a changing atmosphere and the presentation of the artwork here and also the space itself with the changing of time throughout the year.
Meier has exploited the two naturally-occurring ridges (which diverge at a 22.5 degree angle) by overlaying two grids along these axes. These grids serve to define the space of the campus while dividing the import of the buildings on it. Along one axis lie the galleries and along the other axis lie the administrative buildings. Meier emphasized the two competing grids by constructing strong view lines through the campu
Although each of the extensions from the Prada Foundazione has a special concept, these extensions seem to share a similar concept as the whole project. As Koolhas said, the concept of the project is to fomulate the balance between old and new, historical and mordenism, where the old existings meets the new creations. It shows how architecture space changes visitors’ understanding about art and spacial experience. As Koolhas stated, it’s not a simple preservation or extension architecture, but an ideology that could control spacial modificati
The Fuzhou Strait Culture and Art Centre aims to strengthen the cultural image of the city and new town area by the river. PES-Architecs won the design competition with an inspiration from the petals of a jasmine blossom, the city flower of Fuzhou. Providing a seamless connection from the com plex to the riverfront of the Minjiang River, the roof terrace is accessible via two ramps from the Jasmine Gardens as well as from the Central Jasmine Plaza.On the underground level, a promenade-like route along the river connects the landscape to the interiors, also providing a connection between the metro station and the Centre.
Natural light Artificial light
The past year I visited Barecelona and Gaodi's architecture, which have influenced me. I was travelling alone, so that I had many time to explore wherever I felt interested in. I visited Gaodi's famous architecture, the curl, the shape and nature investigation influenced me interms of approach to design. I was very inpressed by the details and materiality in the buildings, also the light and shadow inside the building. I really like the different road planning in different cities and countries. I also visited a library which was used to be a tank tower. The transformation was very impresive, and gave me new understanding about heritage building and preservation.
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Bibliography Wikipedia. (2020) [online] Available at: <https://en.wikipedia.org/wiki/NotreDame_de_Paris> ArchDaily. (2012) Luc Boegly/ Bruno Decaris. [online] Available at: <https:// www.archdaily.com/359050/louviers-music-school-rehabilitation-andextension-opus-5-architectes/?source=internal&medium=widget&conte nt=359050> ArchDaily. (2020) Adam Mork. [online] Available at: <https://www.archdaily. com/935777/cube-berlin-smart-office-building-3xn> ArchDaily. (2018) Tw Ryan. [online] Available at: <https://www.archdaily. com/872614/adept-selected-as-winners-of-northern-europes-most-prestigiousarchitecture-award/592f6006e58ece5df7000a07-adept-selected-as-winners-ofnorthern-europes-most-prestigious-architecture-award-photo> Gallica.bnf.fr. (2020) Gallica. [online] Available at: <https://gallica.bnf.fr/accueil/ fr/content/accueil-fr?mode=desktop> [Accessed 2 June 2020]. Davidrumsey.com. (2020) Browse All : Images Of Paris %28France%29 David Rumsey Historical Map Collection. [online] Available at: <https://www. davidrumsey.com/luna/servlet/view/all/where/Paris+%2528France%2529? q=LIMIT%3A%20RUMSEY~8~1&sort=pub_list_no_initialsort%2Cpub_ date%2Cpub_list_no%2Cseries_no&os=100> [Accessed 7 March 2019]. ArchDaily. (2020) Brick-Mesh / Theplus Architects. [online] Available at: <https://www.archdaily.com/905163/brick-mesh-theplus-architects?ad_ source=search&ad_medium=search_result_all> [Accessed 20 May 2020].
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thank you