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Jacob Doherty ID: 17101346 ARC6013 - Design Resolution 3 BA (Hons) Architecture 2020
Duality
Noun 1. The quality or condition of being dual. 2. An instance of opposition or contrast between two concepts or two aspects of something; a dualism.
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INTRODUCTION STUDIO [IN-SITU]ATIONIST, BRIEF
CONCEPT PERSONAL BRIEF, DESIGN EXPLORATION
URBAN SCALE DIGBETH, MY SITE, EXPLORATION EVOLUTION
BUILDING SCALE
DEVELOPMENT, PLANS, ELEVATIONS, ENVIRONMENTAL CONSIDERATIONS
DETAIL SCALE DEVELOPMENT, DETAIL DRAWINGS, VISUALISATIONS
REFERENCES
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INTRODUCTION
Situationist – refers to the construction of situations, precisely, any individual engaged in the construction of situations In-situ - In the original place; in the appropriated position [Insitu]ationist – refers to a designer engaging in the construction of architectural situations in given context.
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Figure 1: Gomes Martin, 2019
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STUDIO
Studio-theme This studio requests that you become a social actionist – a [insitu]ationist. To add to the field of engineering by using social analysis and activism as a key ‘inventive driver’ in the progression of imaginative spatial structure forms. We will investigate another age of thoughts and devices for improving our physical and social framework. Provocative Statement The insituationist is an architectural manifesto that initiates rebellious design collaboration at an interdisciplinary level. It is this manifesto that aims to either produce a new space or give an existing one new meaning. In so, the architect’s action is tied together through a common sensory ‘fabric’ that arises from a shared distribution of the spectacle– defining the way of being together. Altogether, the role of architectural social protest is woven through a debate on: Theatrical (exaggeration), Symbolic (illustration), and Moralistic freedom (information) by placing the architect in the place of a paradox at the heart of today’s society. Essentially, one can analyse interfaces between social protest, urban situations and designers, to use this as a basis for a cross-disciplinary database serving as a platform for display, exchange and consumption of radical ‘insitu-actionism’.
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BRIEF
Design Resolution 3 follows on from Design Exploration and my portfolio titled ‘Chromaticity’ in order to create a fully resolved architectural proposal that integrates into the surrounding urban fabric and the public realm. which follows the overarching theme of context across a variety of scales. These scales include: - Macro scale -urban context - Meso scale - the building, its structure form and arrangement - Micro scale - construction and materiality The aim will be to develop a complex design proposition for my specific site through these scales exploring various aesthetic, construction and structural strategies, and demonstrating the impact and influence of relevant architectural theories, histories, processes and projects. Another key element to consider with this project is sustainability and the impact of decision decisions on the environment. The functional brief continues from the Design Exploration, which entails the design of a 1,850m2 community centre, part of a mix use larger structure that will also include a halfway house. The Halfway House will be for up to 20 people, all either prisoners, serving the last nine to 15 months of their sentences and living there to help them reintegrate into society, or exprisoners, needing extra help in doing so. The aim and objectives of a new community centre is to:
- Provide space and facilities in the interest of social, recreation and leisure time occupation with the purpose of improving condition of health and well-being for its inhabitants. - Create a cohesive community within the Digbeth area. - Improve understanding and increase acceptance between different groups within the community. Improve access for local people to the services and amenities that they need.
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CONCEPT Concept Word: Duality Project Route: Building
Statement: I aim to design a building that reincorporates my initial graffiti/colour research in a way that effectively responds to the brief in order to create a successful site-specific building relevant to my concept. Brief: I will be designing residential apartments for ex-convicts and a community centre focused on creative art workshops for the public.
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As there are two main functions in the brief, a halfway house and community centre, there will be two overarching user groups: residents and the public. My vision is to design a project that benefits not only its users, but the wider community and urban network of Digbeth. For a halfway house (or an ‘in-between house’), the primary focus is on successfully reintegrating ex convicts back into society and the world of freedom. Therefore, architectural design in these types of facilities is fundamental as it is one of the influencing factors that will guide these ex convicts on a journey either to a better life, or back to crime. Therefore, the duality and balance rests upon well thought out design proposals. Furthermore, this means that the emotions and mental health of the users and clients will be a key underlying element to consider throughout the process. For example, exploring the emotional connotations of things like materials will need to be considered. The community centre I have set out to design will act as a hub for all creative activities in Digbeth and provide the local community with workshop and civic realm space. In putting these two users/clients and the two contrasting functions of the brief (public & private) together, there is opportunity to design in a way that allows these users to build relationships and connections between each other through a common meeting ground.
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The Exodus’ Cube by Personal Architecture
Figure 2: Ossip van Duivenbode, 2014
This is a renovation of one of the cubes in the ‘Cube House Complex’ by Piet Blom in Rotterdam into a halfway house for 20 ex prisoners. The key principle behind this
Project is building a support network and encouraging communication of the residents to create a small community.
Graffiti
The element that intrigued me the most on and around my site was graffiti, I chose to explore it in order to create a series of mappings.
Colour
From this I looked into exploring the theme of colour.
Light & Dark
This then led me to studying Light and dark as it allows me to approach colour in a conceptual manner.
Duality
It is this contrast of light and dark, pure & inpure, that led me to discover my project’s key word: duality.
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BLACK-WHITE SCALE
I converted the colours into a light & dark colour code, consisting of black, grey and white. I then converted the primary, secondary and tertiary colours of each piece of graffiti on my site in a clockwise journey and linked the matching groups.
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After doing this I isolated the primary light and dark lines, which became my field diagrams.
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LIGHT
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URBAN SCALE The urban scale refers to the ‘macro scale’ - the apparent and undiscovered networks of site to the surrounding city and region.
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Digbeth is a district within Birmingham City Centre comprised of old industrial buildings that are currently undergoing a large regeneration scheme that’ll see these buildings converted into apartments and offices. In response to these regeneration plans, character appraisals of the area have identified Digbeth as a ‘place of growth’ whose development emphasis should be on the ‘creative’ aspects of social life. It is made up from a blend of commercial and business spaces, particularly used for artistic and cultural activity. This is the reason I chose to create a community centre that focuses on the creative arts in order to tap into this already established culture and community, and to benefit the surrounding neighbourhood. The area has an unmistakable nineteenth century industrial urban character, a lot of it in a conservation that incorporates various listed buildings and archaeological remains, which has been utilised by businesses with the Custard Factory and Fazeley Studios as key central focuses. Digbeth’s character. Digbeth’s character derives not just from individual buildings, but also from a distinctive public realm, which largely stems from surviving historic features. The several disused Victorian public amenities that survive on street corners and underneath railway arches contribute much to the character of the unique area.
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21 New Street Station
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Birmingham City University
My Site
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My site is the car park on Lower Trinity Street, which has close links to the Custard Factory, a key landmark of Digbeth, and most noticeably situated by two large viaducts. Being a car park, the site has several large uninterrupted brick walls that have been used to display local street art, that is fascinating to observe.
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VEHICULAR CIRCULATION PRIMARY SECONDARY TERTIARY 20m
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Figure 3: Eisenman, P (1996) Figure 4: Claude Bignon, J (2007)
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Peter Eisenman’s concept for The Church for The Year 2000 and Daniel Libeskind’s Jewish Museum in Berlin are two building’s that heavily inspired my project because of their unorthodox geometries. For my scheme I wanted to create a building that both responds
to the local street art, and in turn almost becomes a piece of architectural graffiti on the urban fabric of Digbeth, and to do this I would have to design something that stands out and opposes contextual conformity.
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In researching these two buildings I found the essay “Specification of an Operator for the Design of Architectural Forms” Pleating” by Jean Claude Bignon. In this essay, he explores the action of pleating as a design mechanism
that can be found in the geometries of both Libeskind’s and Eisenman’s projects. After reading this I explored the possibilities of how I could apply this to my project and more specifically my field diagrams.
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Following on from this idea of “pleating� as an operator, I selected the line from each field diagram with the strongest connection to the main entrance of the site/ main road and then calculated the angles at which these two selected lines are intersected at. As the dark field diagram had more intersections I
calculated every other angle in order to make things more even. I then used these angles to rotate the two lines to create these two pleated forms. From this, I overlapped the two outcomes and offset them to create my parti diagram.
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30 Parti Diagram - the overlapping of the two pleated lines
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BUILDING SCALE The building scale refers to the ‘meso scale’ - the peripheral boundary of the site. This is focused on the physical and intangible parameters to generate an architectural response.
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Church for The Year 2000 by Peter Eisenman This building uses interstitial spatial layering derived from various preliminary diagrammatic experiments. Figure 5: Eisenman, P (2007)
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Experiment with the pleated lines from the parti diagram inspired by the diagrammatic works of Peter Eisenman (Figure 6). I duplicated the two lines and offset them in the X and Y axis in order to cross reference their relationship with one another.
34 Bibliotheque De L’IHUEI concept diagrams by Peter Eisenman Figure 6: Eisenman, P (1997)
Sketch model following the pleating lines from the parti diagram
Peter Eisenman, Diagrammatic model for the Virtual House competition Figure 7: Eisenman, P (2007)
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Second sketch model following the pleated lines, this one in card to create sharp but smooth curves in the two separate forms. From these various experiments I decided the best way to progress my project into a three dimensional structure was to simply offset the two pleated lines, crop them so that they integrate into the site and its context, and the extrude these shapes. 36
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As a result of offsetting the two lines, two distinct forms are created that converge towards the site’s main road entrance. With the extrusions, I decided to make the residential form a storey taller than the community centre form in order to meet the spatial requirements of the brief and to create an overlap to emphasize the duality in the two forms.
Residential
Community Centre
I decided that the residential part of the building will be allocated to the form to the North of the site (dark blue) as this is situated next to a quieter street and has space between the actual road and the form. In contrast, I allocated the community centre to the bottom form (light blue) as this street is slightly more busy. Where the two forms converge, which is situated closest to the site’s main road, I decided will be the building’s ‘key space’ and main entrance, and will be left empty to for access and circulation. This is inspired by Coimbra-Steinman House by Silvestre Arquitectos (Figure 8). 38 Coimbra-Steinman House by Fran Silvestre Arquitectos This project splits the two functions of private (bedrooms) and public (kitchen & living space, therefore creating a duality. Where the two forms converge is where the access to the house is. Figure 8: Fran Silvestre Arquitectos (2007)
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To explore potential facade designs I overlay my field diagrams onto the extruded forms irrespectively, and sketched out possible contrasts in materiality between these lines, creating the duality between solid and transparent. This sketch displays principles similar to how Daniel Libeskind designs the façades for some of his projects (Figure 9).
40 London Metropolitan University Graduate Centre by Daniel Libeskind In this building the window placements follow specific lines relative to the building’s geometry. Figure 9: Libeskind, D (2004)
In this sketch I used the field diagram and offset the lines to create a mesh that wraps around my building. This mesh would be similar to the example on the right, which is a metal clad steel exoskeleton.
Figure 10: Watts, A (2019)
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In order to start the programming of the floor plans I drew out the pleated lines and started connecting the different functions that I believed should be connected. It was from this I understood my building is split into three sections: A. Entrance atrium (key space) B. Residential apartments C. Community centre
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With the concept being ‘duality’, the community centre will predominantly use a form of translucent glass and the residential form will use pre-cast concrete panels. as a result, one of the forms will light up at night and represent ‘light’, whereas the concrete form will contrast it to represent ‘dark’. This idea was inspired by Steven Holl Architect’s design for the Nelson-Atkins Museum of Art, where they use channel glass with various different interior layers in order to diminish the harmful effects of direct sunlight to the art installations.
43 Precedent: The NelsonAtkins Museum of Art by Steven Holl Architects Figure 11: Holl, S (2007)
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Entrance Atrium (key space)
The key space of my building will be where the two separate forms converge and overlap. I will leave this overlap as empty circulation space to add a sense of drama. Design wise I’d like this area to be light and airy, with a staircase to upper floors as a defining feature. A good precedent for this is the Dominion Office Building by Zaha Hadid, where she uses the contrast between black and white to define circulation paths visibly on the floor surfaces. The skylight on the ceiling makes this space bright and pleasant to be in, with the maze of angled stairs as the space’s defining feature.
Figure 12: Hadid, Z (2007)
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Figure 13: Hadid, Z (2014)
For the residential aspect of the scheme, I decided it was important to create a configuration that offers a break from the linearity of prison design & life by directing the circulation in an unusual path and offering breakout spaces so that it doesn’t feel so regimented. This idea of breakout spaces can be seen in the Gifu Kitagata Apartment Building by SANAA (Figures 14 & 15).
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Residential Apartments
DUALITY
Jacob Doherty :: s17101346 :: SITE: DIGBETH, BIRMINGHAM :: 1:200 @ A1
SECTION B - RESIDENTIAL 1:200 @ A1
Gifu Kitagata Apartment Building by SANAA
Figure 15: SANAA (2015)
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Figure 14: SANAA (2015)
Community centre - a place where people from an area can meet for social events, education classes, or recreational activities.
As previously mentioned, this part of the building will be two storeys tall in order to accommodate the various programs needed and to create a duality with the building height of the residential wing. Furthermore, by stepping the height of this part of the building down, sunlight is able to reach the exterior space between the two wings and into the apartments.
SECTION A - KEY SPACE & COMMUNITY CENTRE 1:200 @ A1
DUALITY
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Jacob Doherty :: s17101346 :: SITE: DIGBETH, BIRMINGHAM :: 1:200 @ A1
The community centre will be designed to be a creative hub for the local area, providing the public with multi-use spaces and workshops. There will be a series of more private small workshop spaces and places to work, as well as a double height main workshop as the key space of this part of the scheme.
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One precedent that inspired me was the Museum of Architecture Utzon Archive by TRIAS, which employs a clouded faรงade in order to create a relationship with the neighbouring park . Shapewise, the museum follows a meandering path, much like my design, that alters its proportions and spatial character to create rich, layered experiences..
Figure 16: SANAA (2017)
Figure 17: SANAA (2017)
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This is one of the first developments of the floor plan where I have aimed to create a single main circulation path that meanders through the community centre in order to create different moments for the users. In regard to the residential wing, I tried integrating various different squares and rectangles of 40m2 in order to organise the apartment units. However, I found with this design the corridor was too linear and orderly and didn’t create the breakout spaces I set out to incorporate. 50 Grand Parc in Bordeaux, France by Lacaton & Vassal is one of the building’s that inspired the design of my residential corridor and breakout space because of it’s wide and bright patios. Figure 18: Rault, P (2019)
Circulation journey and routes through the building.
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Figure 19: Hertzberger, H (1966)
52 PRODUCED BY AN AUTODESK STUDENT VERSION
In further developing my residential configuration, I decided to approach the resident’s corridor as a street, a philosophy similar to the works of Herman Herzberger. In doing this, I would be looking to design a space that allows residents to connect and socialise. As you can see in this development of the plan, I used the buildings angular geometry to my advantage so that I could create this small area. Here I would place features like a small library with tables and desks for residents to sit at to read, create or even eat their dinner. In doing this, the residents are given the freedom to socialise within the safety of their own building.
53 Student housing Weesperstraat, Amsterdam by Herman Hertzberger In this project Hertzberger and team create a prototype for pedestrian streets with usable outdoor space. Figure 20 Hertzberger, H (1966)
With the Landscaping, I looked at two projects for inspiration - Zaha Hadid’s Oslo Metro Station and Chengdu Park by Public Landscape + Architecture Group. The Oslo Metro Station by Hadid is interesting because it creates channels of green space that follow along the building’s geometry. In contrast, the Chengdu Park creates angular planters that create small coves and make the space an interesting journey. In my preliminary sketch I initially marked out the circulation paths I wanted, an important one being from the south to the north. Therefore, from this I decided I would need to cut the community centre in order to open up the courtyard space and the site as a whole. I then followed Hadid’s idea of matching the landscape to the shape of the building. 54
Moving forward, I decided that the Chengdu Park as a precedent was more in line with my building’s sharp geometry in contrast to Hadid’s project that works more with curves. Therefore, to tie the landscape back to my concept I overlay both of my field diagrams on the site and experimented with the shapes they create.
55 Oslo Metro Station by Zaha Hadid Figure 21: Hadid, Z (2019)
Chengdu Park by Public Landscape + Architecture Group Figure 22: PLA (2012)
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LANDSCAPE DESIGN With the main courtyard being shared between the two functions, the element of privacy for the residents is at risk. Therefore, to combat this I designed the courtyard as a set of three layers, the highest being the circulation space through the site and in front of the apartments in order to create a natural barrier between public and private. As a result, a series of stairs and ramps need to be included, the ramps being at
a 5o incline so that all spaces are inclusive and allow access to wheelchair users. Using my field diagrams I created angular planters that will contain small shrubs and plants in order to bring nature into my proposal whilst at the same time, creating small coves and moments for the public to sit.
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With the landscape to the north of the site, I designed a large planter in order to create a break from the windows of the halfway house and the street. I also placed bike racks here for the residents and the public to use.
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GROUND FLOOR PLAN 1. MAIN ENTRANCE 2. RECEPTION 3. OFFICE 4. RESIDENTIAL LOBBY 5. CORRIDOR SOCIAL SPACE 6. ALTERNATE RESIDENTIAL ACCESS 7. 1 BED APARTMENT 8. RESIDENTIAL SEMI PRIVATE COURTYARD
SPACE 9. PLANT ROOM 10. PRIVATE WORKSHOPS 11. BREAKOUT SPACE 12. ALTERNATE COMMUNITY CENTRE ENTRANCE 13. MAIN WORKSHOP 13. PUBLIC COURTYARD
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GROUND FLOOR PLAN - HALFWAY HOUSE CALLOUT 1 At the main lobby of the halfway house is a seating area to offer a break from the atrium, with sofas, a table and the apartment post boxes. The corridor through to the apartments slowly expands revealing spaces for the residents to socialise in.
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GROUND FLOOR PLAN - COMMUNITY CENTRE CALLOUT 2 The community centre becomes a journey down from the atrium and through all the way to the main workshop, with a secondary entrance connecting to the street on the south of the site. Here there are 5 smaller private workshop spaces as well as a series of toilets and breakout space.
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FIRST FLOOR PLAN - HALFWAY HOUSE CALLOUT 3 The ground floor is replicated in the first floor, with the lobby being replaced by another apartment.
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FIRST FLOOR PLAN - COMMUNITY CENTRE CALLOUT 4 The first floor of the community centre is split into two separate floor slabs, each holding three more private workshops and social space.
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SECOND FLOOR PLAN 1. ATRIUM 2. 1 BED APARTMENT 3. CORRIDOR SOCIAL SPACE
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STRUCTURE The building will employ a concrete structural system with flat floor slabs. Exposed columns will be cylindrical and hidden columns in the walls will be rectangular in order to follow shape.
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Residential form is taller than the community centre in order to allow daylight into the courtyard space and the apartments
The residential wing will employ passive ventilation strategies through the use of the windows and acoustic corridor vents
Southern windows have aluminium solar shades in order to minimise direct sunlight into rooms
EVENING SUN
Atrium has skylights to create a bright and light space. the sun is able to penetrate into this space throughout the day
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ENVIRONMENTAL CONSIDERATIONS
Plant room located in middle of the scheme in order to house a heat exchanger connected to the ground source pump
All apartments have access to southern facing windows to ensure they all receive daylight
Several walls around the site left open in order to display graffiti and street art, which is one of the initial elements I studied for my concept
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Skylights above main workshop and entrance atrium to ensures hot stale air can be ventilated as these will be a busy spaces
Open site circulation allows for southerly winds to flow through and into the courtyard
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SUMMER SOLSTICE (21/06/20)
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WINTER SOLSTICE (21/12/20)
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COMMUNITY CENTRE
1. VELUX ATRIUM SKYLIGHTS - ALLOWS FOR NATURAL VENTILATION 2. ENTRANCE / EXIT 3. WINDOWS - LOCATED IN ALL OF THE SMALLER WORKSHOPS 4. HORIZONTAL GROUND SOURCE PUMP - 1200mm BELOW THE GROUND LEVEL THAT CONNECTS TO A HEAT EXCHANGER IN THE PLANT ROOM. IT IS PLACED HERE AS IT LIES UNDERNEATH THE MOST SOUTHERLY COURTYARD SPACE THAT RECEIVES THE MOST SUNLIGHT 5. DECIDUOUS PLANTS / SHRUBS - PROVIDES SHADE IN THE SUMMER AND MAXIMISES SUN EXPOSURE IN THE WINTER
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1. SEMI PRIVATE & PUBLIC COURTYARD SPACES 2. ALUMINIUM SOLAR SHADES 3. FULL HEIGHT SOUTHERN-FACING WINDOWS FOR MAXIMUM DAYLIGHT IN APARTMENTS AND CONNECTION TO THE OUTSIDE ENVIRONMENT 4. APARTMENT KITCHEN / DINING ROOM 5. ACOUSTIC AIR VENT OUT INTO CORRIDOR 6. SOCIAL CORRIDOR SPACE WITH SEATING AND DESKS TO ENCOURAGE RESIDENTS TO SOCIALISE AND BUILD CONNECTIONS 7. VENTS IN GAP BETWEEN WINDOW AND FLOOR SLAB CONNECTION ALLOWS FOR HOT STALE AIR TO RISE 8. DECIDUOUS PLANTS / SHRUBS - PROVIDES SHADE IN THE SUMMER AND MAXIMISES SUN EXPOSURE IN THE WINTER
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PASSIVE CROSS VENTILATION
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1. MECHANICAL VENTILATION STRATEGY FOR KITCHEN 2. UNDERFLOOR HEATING CONNECTED TO HEAT EXCHANGER IN THE PLANT ROOM 3. ACOUSTIC AIR VENT OUT INTO CORRIDOR 4. VENTS IN GAP BETWEEN WINDOW AND FLOOR SLAB CONNECTION ALLOWS FOR HOT STALE AIR TO RISE 5. NATURAL CROSS VENTILATION PATH
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DETAIL SCALE The detail scale refers to the ‘micro scale’ - the in-depth details of an architectural proposal with sensitivities to its immediate and human-centric environmental and architectural context.
90 Nelson Atkins Museum of Art by Steven Holl This building uses interstitial spatial layering derived from various preliminary diagrammatic experiments.
Figure 23: Holl, S (2007)
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For my project, translucent glass enabled me to create this form of ‘light’ to contrast with the ‘dark’ residential wing to create a duality in a way that doesn’t compromise on privacy and daylight quality. The glazing specialist company Bendheim have worked alongside Steven Holl Architects in many projects like the Nelson Atkins Museum of Art and the Visual Arts Building for the University of Iowa (Figure 24). For my project in particular, I chose to work with their solar low-iron double glazed channel glass for its thermal and daylighting qualities. The texture surfaces of the glass panels act as a built-in daylight control device, it is thermally broken producing U-Values ranging from 0.49 to 0.19 and is water & air sealed. As a material it also offers several 260mm acoustic properties, with an STC rating of up to 36, which is higher than a typical stud wall.
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92 Visual Arts Building for the University of Iowa by Steven Holl Architects
Figure 24: Holl, S (2016)
Head joint detail sketch
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For the residential aspect of the building, the material of choice was concrete as it strongly represents the concept of solid/dark in contrast to the community centre’s material palette of void/ light. Here I will use pre-cast concrete panels that bolt together and to the floor slabs. To contrast this material on the outside, I would opt for timber internal fittings and elements to add a sense of warmth to the units and spaces so that it doesn’t feel so cold and prisonlike. A good example of the relationship between these two materials can be seen in Villa T House by Taillandier Architectes Associés (Figure 25), where concrete panels have been used for interior walls but are left bare from any furnishings/services and therefore ‘pure’. This approach will be similar to the one I take but reversed onto the exterior of my building, where the buildings simple vertical geometry will allow for the emphasis of the pureness of the panels and their textural qualities. This facade of course will be split by the floor to ceiling high windows. In regards to the residential windows, in using ones that span the majority of the building’s height elements like floor slabs will be exposed, creating a duality between the solid and void. These windows will use a black metallic frame, and will incorporate aluminium solar shades on the southerly side.
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95 Villa T House by Taillandier Architectes AssociĂŠs
Figure 25: Taillandier Architectes AssociĂŠs (2019)
1. ROOF CAPPING 2. DRYSEAL LAYER 3. INSULATION 4. PRECAST CONCRETE PANEL 5. SHEER CONNECTION CAST INTO PANEL 6. SPRAY INSULATION FILL 7. LINE OF WEATHER SEAL 8. LINE OF AIR SEAL 9. OUTER SEALANT 10. CONCRETE FLOOR SLAB 11. RIGID INSULATION 12. STUD CAVITY 13. ANCHOR PLATE 14. SCREED 15. ANCHOR TO SLAB 16. FIRESAFING SMOKE SEAL 17. INTERIOR GYPSUM BOARD 18. GROUND FLOOR SLAB 19. GROUND 10. FOUNDATION
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1. ROOF CAPPING 2. DRYSEAL LAYER 3. INSULATION 4. ALUMNIUM PLATE 5. BENDHEIM© HEAD JOINT 6. STRUCTURAL STEEL ANGLE 7. CONCRETE FLOOR SLAB 8. BENDHEIM© SOLAR CHANNEL GLASS 9. CONCRETE COLUMN 10. FLOOR FINISH 11 SCREED 12. BENDHEIM© SILL JOINT 13. GRID LINE 14. GROUND FLOOR SLAB 15. GROUND 16. FOUNDATION
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These visuals portray the exterior entrance to the residential block and a perspective plan view of one of the apartment configurations. Inside the halfway house Material-wise, these apartments will have a fairly monochromatic palette, with hints of colours on key elements.
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HALFWAY HOUSE - ATMOSPHERIC VISUALS
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COMMUNITY CENTRE - ATMOSPHERIC VISUALS
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As these visuals display, the channel glass will provide excellent light levels to interior spaces and will glow externally during the evenings, creating a strong duality of light and dark between the community centre and the residential apartments.
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COURTYARD
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COURTYARD - VIEW FROM APARTMENT
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LIST OF FIGURES Figure 1: Gomes-Martin, B 2019, (Insitu)ationist Figure 2: Ossip van W 2014, Cube City, http://www.uncubemagazine.com/ blog/12788579 Figure 3: Eisenman, P 1996, Church for The Year 2000, https://eisenmanarchitects.com/ Church-of-the-Year-2000-1996 Figure 4: Claude Bignon, J 2007, Berlin Jewish Museum diagram, https://www.researchgate.net/figure/The-Berlin-Jewish-Museum-Daniel-Libeskind_fig5_30876138 Figure 5: Eisenman, P 1996, Church for The Year 2000, https://eisenmanarchitects.com/ Church-of-the-Year-2000-1996 Figure 6: Eisenman, P 1997, BIBLIOTHÈQUE DE L’IHUEL, https://eisenmanarchitects. com/Bibliotheque-de-L-iheul-1997 Figure 7: Eisenman, P 1997, Diagrammatic model for the Virtual House competition, https://www.pinterest.co.uk/pin/129689664245926333/?nic_v1=1aRv%2BYVFM4%2Bg%2Bom5xFmTwrfpcCao32Yq6Nm4i4wR%2BNnUEy1%2FcFt6X4gGjmcgqb%2FD8L Figure 8: FRAN SILVESTRE ARQUITECTOS, 2019, Coimbra Steinman House, https:// fransilvestrearquitectos.com/projects/coimbra-steinman-house/ Figure 9: Libeskind, D 2004, London Metropolitan University Graduate Centre, https:// libeskind.com/work/london-metropolitan-university-graduate-centre/ Figure 10: Watts, A 2019, Metal Exoskeleton system, Available from: ProQuest Ebook Central
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Figure 11: Holl, S 2007, Nelson Atkins Museum, https://www.stevenholl.com/projects/nelson-atkins-museum-of-art Figure 12: Hadid, Z 2015, Dominion Building, https://www.zaha-hadid.com/architecture/ dominion-tower/ Figure 13: Hadid, Z 2014, Braid Ceramic Concept, https://www.designboom.com/design/zaha-hadid-design-porcelain-collections-rosenthal-02-13-2019/
Figure 14: SANAA, 2014, Gifu Kitagata Apartment Building plan, https://afasiaarchzine. com/2011/12/sanaa-18/ Figure 15: SANAA, 2014, Gifu Kitagata Apartment Building, https://afasiaarchzine. com/2011/12/sanaa-18/ Figure 16: TRIAS, 2017, Architecture Museum, https://www.archdaily.com/803381/triasproposes-museum-to-house-jorn-utzon-archive-in-sydney Figure 17: TRIAS, 2017, Architecture Museum model, https://www.archdaily. com/803381/trias-proposes-museum-to-house-jorn-utzon-archive-in-sydney Figure 18: Rault, P 2019, Grand Parc Bordeaux, https://www.theguardian.com/artanddesign/2019/may/12/grand-parc-bordeaux-lacaton-vassal-mies-van-der-rohe-award Figure 19: Hertzberger, H 1966, Student housing Weesperstraat plan, https://www.ahh. nl/index.php/en/ Figure 20: Hertzberger, H 1966, Student housing Weesperstraat, https://www.ahh.nl/index.php/en/ Figure 21: Hadid, Z 2019, Oslo Metro Station, https://www.dezeen.com/2018/12/06/zaha-hadid-architects-a-lab-stations-oslo-metro-fornebubanen/ Figure 22: PLA, 2012, Chengdu Park, http://www.pla-gp.com/pro_land_b.html Figure 23: Holl, S 2007, Nelson Atkins Museum, https://www.stevenholl.com/projects/nelson-atkins-museum-of-art Figure 24: Holl, S 2016, Visual Arts Building, https://www.dezeen.com/2016/10/10/ visual-arts-building-steven-holl-university-iowa/ Figure 25: Taillandier Architectes AssociĂŠs, 2019, Villa T House, https://www.archdaily. com/930346/villa-t-house-taillandier-architectes-associes
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