JAMES DELLA VALLE BARTLETT SCHOOL OF ARCHITECTURE MASTERS PORTFOLIO
Application number: 17034944 Programme: MArch Architecture Date: 26.02.2021 E: jamesdellavalle@me.com E: zcftdel@ucl.ac.uk P: (+44) 0 7788952690
CONTENT
EBO Tobelerone Competition entry
Page 3
Lanterns of the Medina
Page 7
Between the frame
Page 14
Lost stories
Page 26
EBO School Competition Entry TEAM: STEFAN LANGEN & JAMES DELLA VALLE
Housing 6 different subjects from chemistry and lab technology to automotive design and engineering, the building hosts 21 classrooms, the first campus shop, roof top Terrace and lecture theatres. Flexible walls open and close to dynamically change the rooms use depending on class size and day of the week. The 72m long corridor houses informal seating and desks in order to promote the cross pollination of subject, skills and discipline. Penetrating the floor plates from basement to 2nd floor a series of slip cast concrete scoops lurch into the classroom space providing a dynamic relationship from basement to roof. Peppered through the scoops a series of informal work spaces will provide quite and hidden places to read and relax out of sight, whilst large incisions in other scoops allow for users to visually connect between the floors. Locally sourced alpine wood will be steamed and bent into the interconnecting classroom walls in which change in shape vertically and horizontally. The programmetiseation of the walls allow for the development of storage and seating space within the class rooms. Encapsulating the facade a series of layered skins will force the student gaze directly toward the centre of the schools campus and up out to the alpine vista.
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FINAL RENDER. 1:100 MODEL
LANTERNS OF THE MEDINA BARTLET T YEAR 2 [UNIT 2]
The project stands to bridge the divide between a growing younger population in Marrakesh with a traditional older demographic through the local appreciation of the Medians street performers. The architectural intervention concerns a forgotten market building that Situated at the heart of the Jamma el Finaa square will act as the canvas for the viewing and speculating of the street performers. Influenced by Arabic Mashrabiya screens, a series of bespoke brass skins are woven into the fabric of the existing building concealing walkways for the local souk spectators to view the local street and market performances form. Responding to the local site perimeters the skins provide shade to the local during the harsh summer sun, whilst flooding the market place below with sunlight during the winter period. The project further speculates the carving of more skins into the fabric of the media to create and illuminate the souk by night leading locals to form the old to the new town of Marrakesh.
UNIT 2 P1. MATERIAL STUDIES INTO TRANSLUCENT SKINS
LAYERED SKINS
LANTERNS OF THE MEDINA
1:1 FRAGMENT MODEL
1:100 AT A2 FINAL SECTION Layers of brass lanterns are layered and wrapped around one another to conceal winding walkways above whilst local street performers perform in carved out pockets of the market below. The bespoke lanterns shield the local souk spectators form the harsh summer sun whilst flooding the market with light during the winter months.
1:50 AT A2 FINAL PLAN
BETWEEN THE FRAME WINNER OF THE BARTLET T MEDAL & THE ENVIRONMENTAL DESIGN
A photography gallery laments the death of timber construction in the post-fire-raged city of Chicago, slowly rotting like the ‘vinegar syndrome’ of the negatives it displays. The architecture left standing offers a shrine to Chicago’s past and broadcasts a call to arms for the city’s future. Drawing upon modern cinematic and staging techniques the gallery embeds the forgotten negatives of Chicago’s history within its walls whilst capturing vistas of the city beyond. The gallery espouses high-resolution milling whilst simultaneously reviving low-resolution lost forestry techniques of lumber felling as a means to construct bespoke mass timber walls. Plagued by the eventual rot of the negative, the ultimate collapse of the architecture leaves a shrine to the city. Defying the rot, the darkroom gradually becomes re-embedded into the fabric of the ever-growing city, forever occupying the brief slice of time between the recent past and the near next, developing images of and by the city ad Infinitum.
STAGING THE COPPICE BARTLET T YEAR 3. PROJECT 1
Speculating the fall of a dead tree in the coppice, the three plate diorama acts as an optical reference marker for the trees capture. Subjects to its relationship to the lens; the resolution of the tooling changes to capture the up-most detail of the forest floor. Proposed to stay and decay on site the plates would be visible for the local woodland goers.
A SHIFT IN RESOLUTION
THE FORESTERS TOOLS The gallery espouses high resolution milling whilst simultaneously reviving low-resulting lost forestry techniques of lumber felling as a means to construct bespoke mass timber walls.
TRANSLUCENT TIMBER VEILS
THE WALL. THE HOLDER OF STILLS
THE SPRINGBOARD. THE PEG
THE FORESTERS TOOLS. THE SPRINGBOARD. THE WOODLAND TAPESTRY
FINAL BUILDING SECTION 1:100 AT A2
FINAL BUILDING PLAN 1:100 AT A2
THE DARKROOM DECLARES Responding to the twin crises of the climate breakdown and biodiversity loss, the darkroom stands as a paradigm shift from the global addiction to carbon heavy building materials; encapsulating Chicago past, the darkroom acts a glimpse to the city’s sustainable future.
A SHIRE TO THE CITY Memories of the past are safeguarded amidst the otherwise everchanging fabric of the city. Taking custodianship over the darkroom the city dweller carves evocations of Chicago equivocal past into the remnants of the felled gallery.
LOST STORIES PERSONAL PROJECT
The completion and hand in of my third-year final portfolio left many unanswered and unresolved interests that I wanted to explore, develop upon and research further. The project lost stories responds to these unanswered avenues whilst being situated close to home in Somerset. Evocations of the lost stories of forgotten folk law and tales surround dead woman ditch are carved and inscribes into the walls of a small lumber chapel. Drawing upon bronze age lumber craft and fully automated robotic milling the chapel stands to be the first fully automated and assembled timber structure. Sourced, milled and assembled on-site the chapels form wraps around itself to create a cocooning shelter for the local walkers and ramblers to take shelter within.
WOOD CRAVINGS TEST MILL [CURRENTLY BEING MILLED]
THE CHAPEL In a bid to educate and highlight the local communities heritage, the chapel is situated in a local gallery for all to witness. Embedded on a plane of local terrain, the gallery visitors have an opportunity to experience the smell and feel of the local moors, whilst the inscribed tales on the chapel walls depict the local tales.
THE FOREST. THE FILM One of the key drivers behind the lost stories project is exploring and learning new ways in which I can express and communicate my architectural designs. These are a few stills from a fully immersible and virtual film I am currently developing to showcase the lost stories architecture.