3
Stage
Portfolio Jemima Smith Newcastle University 2017-18
1
2
Table Of Contents
Critical Reflection
4
Charrette
7
Primer
11
Staging
45
Graduation Project
53
Thinking Through Making
101
Tectonic Integration
109
Field Trip
145
Bibliography
155
3
Critical Reflective Analysis Building upon Building: The New Outlook Tower I initially chose this studio as I was interested in the idea of using something old to create something new. It linked to my dissertation subject, which was about analysing the preservation of a specific building which had been reconstructed and arguing whether this could be classified a preservation or whether it had been altered through the reconstruction process. Through my dissertation I understood the principles of preservation, and how there are many different forms, and that it is dependent upon opinion as to what extent something can be classified as preserved. Taking this forward to my design project, I wanted to push the boundaries with my preservation of the Outlook Tower: creating something new, modern and innovative inside the shell of something very traditional, but using its history to define this new intervention. During primer the studio worked together to compile a profound knowledge and understanding of Patrick Geddes, and we created our own exhibition exploring the different floor themes which he had installed during his time of ownership with the tower. Our research highlighted many different concepts which were evident in his work as a botanist, sociologist, teacher and more of his many professions. This was extremely useful for the staging phase of our design process, where we moved to individual projects and began to define a concept and a programme to influence our designs. Focussing on Geddes’ concept of the holistic learning of the environment and bringing the countryside to the town, my main focus of the proposal was to connect the courtyards which run through the royal mile of Edinburgh. Whilst doing so, I have also given them a new purpose – to grow herbs and plants which can be cultivated and used within the tower to produce new medicines and herbs. This was inspired by Geddes’ interest in improving the health of all, which using herbal remedies can be done in a very naturistic way. The project has evolved my interest in connecting nature to architecture, and has also made me aware of the importance of green space and outdoor living, and that it is accessible to all. Continuing the interest further, I will aim to create the maximum exterior space possible in future projects, emphasising its design so that it is integrated with the architecture in design also. It is fair to say that this year has been the most challenging to date, however it has also helped me understand the ways of working which I find most enjoyable. My love for model making has heavily improved the design of my graduation project. It is a way in which to completely understand the 3D aspects of a design, immediately highlighting any discrepancies which may not be noticed in a drawing. Although initially puzzled by the relevance of Thinking Through Making, my output massively influenced the materiality of my proposal. It is essential to envisage the true materials in reality as well as on a computer screen in
4
order to comprehend their textures and weights and test that they will create the desired output. Comparing the progress of my skillset over the last two years, my digital work has improved greatly. Throughout the year I have developed my knowledge of photoshop, whilst learning Sketchup and using it for the first time in my graduation project. It has improved the quality of my representational work, in particular my perspective drawings. They have started to represent the true materiality, atmosphere and experience of a space, in a more realistic and believable way.
5
6
1 Charrette A Monument to the Utopian Vision of Pets
7
The Cat
The aim of this charrette was to create a statue to act as a monument to the everyday pet, exploring how a public space can be made interactive by the use of art. For this reason, we wanted to make the statue interactive. Taking inspiration from the German Pre-School displayed below, we focussed on emphasising the experience of being inside a cat, replicating the sense of looking out and interacting into a human’s world. Constructed with a timber frame and then surrounded with mesh, the statue is made of fabric covered with papier machÊ. The use of arms as the moveable object stemmed from the appearance of a lucky cat, which is represented also by the gold. The importance of this to an architectural development is in understanding the importance of a building to be adjustable to its usage and its visitors, as it is the inhabitants of a building which make it the building that it is.
Fig 1
8
9
10
2 Primer Patrick Geddes and the Outlook Tower
11
The Site
The site is located on the Royal Mile, in the Old Town of Edinburgh. It is passed on the way to the castle, one of Edinburgh’s most notorious attractions, therefore successfully funded by the continuity of visitors to the attraction. The tower is south facing, therefore on a sunny day can take full advantage of the large glazed windows on the south facade. Behind the site is a small courtyard space currently accessed through a narrow passageway. The space is used to park a car in one corner.
12
13
Camera Obscura and World Of Illusions
The Outlook Tower is currently known as the ‘Camera Obscura and World of Illusions’. With its six floors of interactive exhibitions, the tower is currently the oldest purpose built attraction in the city. Whilst there are some passing references to the tower’s previous owners; Maria Short and Patrick Geddes, in the preservation of the top floor where the Camera Obscura is still in use to project a ‘virtual tour’ of the city for visitors, the floors beneath hold the “World of Illusions”. These interactive exhibits demonstrate aspects of optical illusions, light and colour. When creating this exhibition the owners have also extended into the neighbouring building. Unfortunately in terms of architectural qualities internally, the spaces are currently very small and crowded, and the illusions make it difficult to comprehend the route through the building. This interpretation of the tower is not sympathetic to the ideologies of its predecessor Patrick Geddes.
14
15
Patrick Geddes
Geddes is known as a botanist, sociologist, educator, artist and town planner. He learned to see rural and urban life whole and to study all living things, including man, in relation to their environment. He initiated a number of social experiments designed to improve housing and living conditions in the old town, with the aim of educating people to want what he wanted. His concepts were based around the words ‘neighbourhood’ and ‘community’, where his vision was to create integrated communities, where the towns were intertwined with the countryside. Buying the tower in a public auction in 1892, he renamed it The Outlook Tower, to change people’s outlook. He used the Camera Obscura to change the way people looked at life and the interaction between town and country, focusing on the town and the countryside surrounding it. The whole tower, from top to bottom reflected or suggested the complete range of human knowledge and experience, present as well as past.
Fig 2
16
“This is a green world, with animals comparitively few and small, and dependant on the leaves. By leaves we live.� Patrick Geddes
17
Conservative Surgery
The term ‘Conservative Surgery’ came from Geddes’ biological background, as it was originally a medical term meaning to avoid unnecessary amputations. It looked to: -Minimise the unnecessary destruction of the built heritage -Avoid significant disruptions to the daily lives of the local residents -Respect the social and cultural traditions of the community This can be seen in the diagrams below, by his cleansing of slum areas whilst in India. He created gardens which formed free and open space. It can be seen that through close inspection into what is worth preserving and what is not, it is possible to create open spaces with as little destruction as possible. Shown below is the impact of his proposal for the city of Madura, India, where he replaces only two houses and removes four, but those which are smallest and in most disrepair. It is then possible to create a small public square, which allows more light and air to be passed through for the residents of the street. Text from ARC3015 [Theory Into Practice]
Fig 3
18
Fig 4
19
The Valley Section
“It takes a whole region to make the city” Patrick Geddes (Leonard, 1994:11) Geddes first published his idea of the Valley Section in 1909 to illustrate his idea of the ‘region-city’. The Valley Section illustrates the application of Geddes’ trilogy of folk, work, place to analyse the region - It is a complex model which combines physical condition, geology and geomorphology and their biological associations, with natural or basic occupations such as miner, hunter, shepherd or fisher, and with the human settlements which arise from them. The Valley section is a longitudinal section which begins high up in the mountains and then follows the course of a river down the mountains and through a plain towards its estruary at the coast. It comprises a number of valleys. Along the bottom of the diagram he notes the so-called natural, i.e. best adapted, occupations represented by different trades and crops. Geddes argued that if these occupations exist in harmony with their particular environment, human societies would materialise in the form of such human settlements as can be seen along the valley section.
20
Fig 5
Work
Folk
Place
21
Social Laboratory and His Exhibition
Patrick Geddes founded the tower as “the world’s first sociological laboratory”. It represented the essence of Geddes’ ideologies; his holism, visual thinking, and commitment to understanding the city in the region. In the foyer outside the Camera Obscura were different coloured stained glass windows with subjects such as ‘botany’ and ‘zooology’. He installed a series of exhibits on progressively broader geographic themes as one descended the tower. The storey below the Camera Obscura was devoted to Edinburgh and the surrounding region, and contained a chronological display of prints, maps, sketches and photographs showing the city’s growth from pre-Roman to the ‘muddling and crowding’ of the nineteenth century. Geddes’ hope was that visitors would exit the tower with a new perspective on the Scottish capital, and an understanding of how they could play an active role in its future through schemes for social improvement.
22
Camera Obscura
Edinburgh
Scotland
Language
Europe
World
Fig 6
23
The Camera Obscura
The term Camera Obscura derives from the Latin phrase ‘Dark Room’. An outdoor scene is projected through a small opening onto a surface as an inverted and reversed image. A mirror is placed on the roof at an angle of 45 degrees, catching a reflection of the scenery. The mirrors can be moved using a handle turning system of gear wheels so that a panorama image can be projected. Geddes used the Camera Obscura as the first element to his exhibition in the Outlook Tower. He took his visitors to this space first, rushing them upstairs to start their journey at the top of the tower.
16th Century
17th Century
1892
24
1932
Mirror tilted at 45 degrees, reflecting the image into the space below
A lens magnifies and enlarges the image reflected by the mirror
Handle connected to gear wheel system allowing for turning of the mirror to showcase the panorama image
Viewing space in the Camera Obscura, where visitors gather around a white wooden table on which the image of the city is projected
25
26
27
Prospect
The map collage shows some of the routes of study that could be inspired by the outlook tower’s view. The water of Leith, to the north west, inspires biology and natural science. The geometric plan of the New Town to the North invokes architectural study and fulfilling the human desire for order both physically and socially, whereas the old town, in which the tower sits, with its winding lanes and narrow courts implies research into history, and its inevitable disorder.
28
“This science is a vast and wholesale suppression of other truths, until its reintegration with the results of other studies� Patrick Geddes
29
Edinburgh
30
“The Edinburgh storey is devoted to the city. Its relief model maps, geological & other, are shown in relation to its aspects and beauty expressed in paintings, drawings, photographs...�
Patrick Geddes
31
Scotland
The Scottish floor of Geddes’ Outlook Tower was dedicated to the telling of Scottish history and geography, combined with certain Geddes theories. The map shows some historical places of importance, the lochs and mountains and whisky distilleries currently active in Scotland. Places of battles are also shown; Geddes would have seen these as crucial to his Scottish exploration as they show Scottish values and the beliefs of the people. The lochs of Scotland are another key aspect seen here, representing the fishing trade and some tourism for Scotland. On the floor of the Outlook Tower which was dedicated to Scotland, a large map, correctly orientated towards the points on a compass, was printed on the floor showing the visitors exactly where they were focusing on. We have created an adaptation of Geddes’ famous Valley Section, relating it to the whiskey making process in Scotland, showing how it begins in the fields with the contracting of farmers and the harvesting of grain, then moves to the mountains for distillation, maturing and then bottled. It is then sold and commercialised in the city. It relates to Geddes’ theory as without the city, the farmers would have no income, therefore be unable to produce, and the city wouldn’t be able to thrive without the mountains or the crop fields, as they’d have nothing to sell.
32
“Each social formation, through each of its material activities, exerts its influence upon the civic whole; and each of its ideas and ideals wins also its place and power.� Patrick Geddes
33
Primer Exhibition
34
35
Geddes’ Key Themes within the Tower
36
For full video please follow this link: https://vimeo.com/243476324
37
Miralles Inspired Collage
This collage, based upon the Royal Mile in Edinburgh, highlights the series of courtyard spaces inspired using Geddes’ town planning principles. I wanted to represent the atmospheric qualities in transporting from a narrow but open high street, through small alleyways, into unexpected courtyard spaces. I have highlighted the contrast between the green spaces, and the grey. The green is found only at the park, and is not integrated into the urban streetscape.
38
39
40
2.1 Primer Process Work
41
Setting up the exhibition
42
43
44
3 Staging Creating a ‘New’ Outlook Tower
45
Initial Concepts - Environmental
Patrick Geddes used his social experiments and the design of gardens as a form of teaching about the environment. Following this environmental theme into my design project I initially wanted to redesign Geddes’ floor themes: ranging from global issues to household, and how we as individuals can reduce our carbon emissions to limit negative impacts on the environment. This changed as the concept developed, however kept its educational strategy. I started by looking at the current green spaces in the old town of Edinburgh, noticing that currently they are separated from the urban areas into large green spaces, rather than being intertwined with the built environment as Geddes had hoped.
Household Community City Developed World Developing World Global
46
47
Defining the Site and Initial Massing Experiment
When defining the site, one of the main decisions was deciding which buildings to demolish. As the theme focussed on environmental issues, it was important to reduce the amount of destruction. The two massing diagrams opposite explore the different ways in which the tower could be extended to accomodate the extra spaces in addition to the environmental exhibition levels. Looking at the building currently adjacent to the tower (pictured below), it is evident that it plays little importance or contribution to the surrounding architecture, and also completely alters the exterior appearance of the Outlook Tower. For this reason I chose to demolish this building, in order to design a more appropriate architecture which highlights the speciality of the tower, bringing it back to the imposing volume it once was.
Fig 7
48
Initial Massing Concepts
Site Analysis Diagram
PROGRAM
BRIEF AREA (m ²)
HEIGHT (m )
TECHNICAL REQ UIREMENTS
Offic es
150
3
Da ylig ht with m inim a l sunlig ht to red uc e g la re on sc reens, Blind s over wind ows c a nc ella tion, a c c ess c ontrol system suc h a s swip e c a rd s or keys for offic e sec u tem p era ture c ontrol system , und er floor or wa ll- m ounted d uc ting for c om p ute
Aud itorium
300
6
Sea ts in c urved a rra ng em ent so viewers a re b oth fa c ing forwa rd s in their sea t p la tform s d esig ned with a c oustic a l d a m p ing m a teria ls to m inim ise footfa ll nois la tera l reflec tions, reflec tions from a c eiling c a n often p rovid e ea rly reflec tions (reflec tive). Ac oustic a b sorp tion req uired a t the b a c k wa ll – this c a n b e using or a c oustic d rywa ll. Artific ia l lig hting req uired (d ownlig ht for g enera l illum ina tio lig hting ).
Exhib ition Ha ll
200
3
Even d a ylig hting with a rtific ia l lig hting used to a c c entua te sp ec ific work p iec e
Lib ra ry a nd Resea rc h Centre
300
4
M a xim um noise c a nc ella tion, p ower outlets for la p top a nd c om p uter use, sun
Shop
100
3
Artific ia l a nd d a ylig hting to em p ha sise shop p rod uc ts, sec urity b a rriers to p rev
Ca feteria
150
3
Sunlig ht, ventila tion, servic ing for kitc hen fa c ilities suc h a s frid g e/ freezer/ ovens, Concept Floor Themes
Volumetric Studies
49
Developed Concept - Connecting the Tower to its site
In terms of ensuring that the environmental concept is evident in the architectural design of my proposal, I decided to connect the Geddes inspired courtyards in the Old Town of Edinburgh. Initially, I looked at connecting these using a roof garden over one of the adjacent buildings, which could grow plants and represent Geddes’ interest in botany. It would enhance the characterisation of the Outlook Tower in its local surroundings.
Concept Redefined
50
51
52
4 Graduation Project Edinburgh’s Medicinals: A Connection of The Old Town
53
Site Plan 1.1250
The concept of my project is the production of new herbal medicines and remedies, researched and produced on-site by scientists. This stems from my primer research. Looking at Patrick Geddes, his concepts were based around the words ‘neighbourhood’ and ‘community’, where his vision was to create integrated communities where the countryside is intertwined with the town. His aim was to integrate open spaces into the city, leading to his theory of conservative surgery, in which he depicts what is worth preserving and what is not, therefore creating open spaces with as little destruction as possible. According to Geddes, open spaces marked a return to the original peaceful purpose of cultivation terraces for planting and gardening. Taking this primer research into my own project, the core strategy of my design is connecting the Patrick Geddes inspired courtyards which are found hidden through the Old Town of Edinburgh. Relating to his past as a botanist, these are used to grow herbs and plants, which are then used in the tower to produce herbal and medicinal remedies.
Text taken from ARC3015 Theory Into Practice
54
55
Public/Private Circulation Diagram
My strategy within the tower is inspired by the concept of the small passageways which lead to the courtyards. They led me to the design of ‘pods’, containing an exhibition space, a viewing gallery and a public workshop space, all to promote the learning of the processes happening on the ground floor. A large focus of my design is the separation of public and private entrances, with the private occupants entering through a private courtyard garden. It is important that the offices and research centre, and also the production space are separated from the viewing spaces as to reduce contamination and injury. The public entrance is highlighted using a solid blue line. From the street level this is evident with a change in brick direction. The facade of the extension is also angled in order to highlight a widening at the entrance, leading people around the cornered pathway into the public foyer/lecture theatre space. Geddes’ spiral staircase that he used to usher visitors up to the camera obscura has been transformed to a circular glass lift, ensuring accessibility. Visitors make their way directly to the top of the tower, and back down an alternate staircase, visiting each pod as they descend out to the courtyard space at the opposite end of the building.
Public Occupation Private Occupation
56
57
58
Basement Level 1.200 - Lecture Theatre, Public Library, Shop and Tea Rooms
59
Processes of herbal production
On the ground floor of the Outlook Tower will be the production space of the herbal medecines and remedies. The space is separated into three sections; medicinal, cosmetic (balms and ointments) and the third for herbal teas. In the diagram below is the process of drying the herbs and then creating herbal ointments.
Harvest herbs early in the morning before the midday sun
Beeswax, oil and shea butter
Best flavours from bud stage (before flowering)
Heat in a glass bowl over a pan of simmering water
Rinse thoroughly in cold water
Remove from heat and cool. Add essential oils for scent and dried herbs. DAISIES - HEAL BRUISES
60
Shake to remove excess water
Pour into bottles
Dry in food dehydrator 1-4 hours
Leave to set in fridge
Ground Floor 1.200
61
First Floor 1.200 - Public Workshop (Tower), Research Centre (North Building)
62
Second Floor 1.200 - Viewing Gallery
63
Third Floor 1.200
64
Fourth Floor 1.200 - Product Exhibition
Fifth Floor 1.200 - Camera Obscura and Roof Terrace
65
South Section, Initially 1.50
66
67
South Elevation 1.200: Polycarbonate Facade
This image demonstrates the facade of the new extension on a cloudy day or when the lecture space is in casual usage. The polycarbonate acts as a way to bring a maximum amount of daylight into the space, whilst keeping focus on the opposite facade which is a glass curtain wall, highlighting the courtyard space behind it, bringing the nature into the interiors. The polycarbonate contrasts to the heavy stone of the existing walls of the tower, forming a light and unimposing obstruction to its appearance.
Precedent: Laban Dance Centre, London. Demonstrates the combination of polycarbonate with large panellings of glass wall, with little detailing evident on the exterior of the facade - maintains a clean appearance.
Fig 8
68
69
South Elevation 1.200: Timber Blinds
On a sunny day, moveable timber blinds can be pulled across the polycarbonate facade of the lecture theatre to allow for a darker space, allowing lectures to take place in a more practical space, for example so that an electronic screen can be seen without glare appearing from behind it. Light is still able to enter through sections of triangular glazing in the roof design so that visitors not wanting to take part in the lecture series can still navigate their way through to the basement of the tower.
Precedent: Bravos House, Brazil. Example of adjustable timber blinds and the experience from inside looking out at them.
Fig 9
70
71
Inset Herb Boxes in a polycarbonate facade visible from the street
This perspective demonstrates the new facade I have designed of the Outlook Tower. It is currently a partition wall as I have demolished its adjacent building. I am rebuilding it imitating the other three walls (traditional masonry construction), however am adding a polycarbonate addition to this, visible upon entrance. It will visually connect the tower and the extension, accentuating that this is the entrance, and the two buildings are part of the same complex. Displayed in recessed boxes to this polycarbonate will be varying herbs and plants. This will explain to the visitor the whole concept of the building as they decide to enter. In addition to the polycarbonate wall, the image highlights the glass lift which continues out of the encasing stone ‘box’, which directs visitors up to the camera obscura on the top floor. This lift is inspired by the spiral staircase that Patrick Geddes once used to usher visitors to the top of the tower.
72
73
The connection between old and new
The new extension connects at the basement level through to the redesigned Outlook Tower. This connection is accentuated by the change in materiality from Edinburgh’s stone to white oak timber. The timber represents the naturistic concept of the herbal remedies, and also is a warm and inviting material - suitable for the entrance to the building. The layout of the lecture theatre is kept simple, with the stage visible from all angles. This is wilth the intention that visitors can sit and stand as they wish, without feeling obliged to stay for the entire duration. It also accomodates for people passing through straight to the tower.
74
75
View from one of the pods: the viewing gallery
This image shows how from the viewing gallery you can watch the productions taking place on the ground floor. The pod is balcony rather than full height walls to feel as though you are in the space - you experience the same acoustics and smells. A section of the floor is glass panelled to allow a 360o view of the space - replicating the idea of the camera obscura but creating this inside the tower.
76
77
Model 1.100
78
79
80
81
82
83
Revised Roof Structure
The new roof structure maintains the concept of triangles, however each triangle stretches the width of the building, eliminating the need for a column in the middle of the lecture theatre to support the loads. It also means that the rainwater no longer collects in the dip in the middle of the building, instead the triangles are sloped so that the rainwater can run off them into a drain which can be angled to water the bed of herbs which lies in the courtyard below the entrance platform.
Precedent: Alfriston School Swimming Pool, DUGGAN MORRIS ARCHITECTS Triangles used in a structural way to not only support the load of the roof but also to create a dynamic shape and experience internally.
Fig 10
84
Waterproof Sheeting Vapour Control Layer
85
86
4.1 Graduation Project Process Work
87
Concept Development - Strategy within the Tower
The courtyards along the Royal Mile are currently accessed through narrow passageways. This sense of passage from the open street, through a narrow enclosure to an unexpected open space is a key theme transferring through my design proposal and has led to the design of ‘pods’ within the tower. These replicate the entrances to the exterior courtyards. The pods are primarily glass, to allow a view out of them to the production space on the ground floor, leading the tower to be a sort of ‘live exhibition’, continuing Geddes’ use of the tower as an educational exhibition centre. The pods sit on structural steel beams, to avoid columns blocking the view to the ground floor. This diagram opposite (taken from my detailed technology report) highlights the existing and the new design within the tower, shown in blue and green respectively.
Used also in ARC3014 Professional Practice Report
88
89
Concept Development - Courtyard Spaces
Looking at the precedent below in Poznań, Poland, I was inspired to integrate the growing spaces with the public seating. It creates an ‘installation’ which is situated so that it picks attention from the street - highlighting the hidden open space behind the extension.
Fig 11
90
91
Lip Balm Experiment
Using beeswax, cocoa butter, calendula oil and refined coconut oil, all melted in a pan, I was able to create a balm. I used a pippette to transfer this balm into tins. The focus of the experiment was to see how the dried herbs should be mixed with the balm to enhance the appearance, taste and smell of the final output, in order to help me understand what appliances and processes would be needed to be allowed for in the design of the production space. It helped me realise that the herbs should be put into the pan at the first stage, so that when the other ingredients are melting, the fragrance is transferred into the liquid. This means making batches of each flavour separately rather than all of the flavours together.
92
93
Development Model 1
This model represents my initial design idea. Although the connection between the extension and the tower was clear, I started to look at the precedent below: the Can Ginestar Public Library extension, where it is interesting how Josep LlinĂ s connects the new extension to the existing building. One way I could do this was by continuing the roof shape from the adjacent building to the extension to make a visual connection.
Fig 12
94
95
Development Model 2
Using a section of glazing to accentuate the mirrored roof shape of the adjacent building, and also by creating an exaggerated resemblance of the curvature of the plan of the building (the south facade), I have aimed to articulate the architectural qualities in a new, modern way.
96
97
Development Model 3
This model demonstrates the stage of experimenting with the materiatility of the new extension, and how this can correlate with the materiality inside the tower. I used a different material for the floor surface of the path to highlight the change in brick direction, and to also highlight the contrast between existing and new. The diagram below explains the platform level leading visitors to the entrance of the complex, and also the initial design of the interior of the lecture theatre space.
Taken from ARC3014 Professional Practice Report
98
99
100
5 Thinking Through Making A Material Study
101
Glass as a connector between the existing and the new
My thinking through making model was designed with the detail of the connection between the existing and the new. My initial idea was to use a glass walkway at the end of a narrow alley to intrigue visitors and give them a preview of the courtyard space which was accessible through the Outlook Tower. I practiced using stone in concrete with the aim of recreating the stone facade of the tower, and also moulded an indentation for the glass to sit in, experimenting with the ways of connecting the glass to the stone - creating an invisible connection.
102
103
104
105
Mud-Brick Making and Interactive Design
106
107
108
6 Tectonic Integration Materiality and Atmosphere
109
Steel Structure and Glass Pods inside the tower
Taking a snapshot of my 1.20 section from the part 2 technology submission - focusing on the construction detail of one of the pods, it is explained that the pods rest on steel beams, which also support the existing masonry exterior walls. The perspective above it shows how these beams are visible when looking out from the pods. The pods are designed mostly of glass, enhancing the design by allowing an outlook out of them to the production space on the ground floor. As the design of the different floors create the exterior facades of the Outlook Tower to be a shell that encapsulates the interiors, the natural daylight entering through the large windows, especialy on the south facade, is able to penetrate the whole of the building. This reduces the need for artificial lighting during the day, therefore reducing the overall energy consumption.
110
111
Roof Structure of the New Lecture Space
The roof structure of the extension is angled to replicate the angular shape of the building in plan. When inside the lecture theatre, these triangular shapes cast interesting shadows on the walls, and also rise in height as the floor level rises from basement to ground level. The combination of glass and timber finishes acts as a way to differentiate between the entrance space and the casual lecture theatre, and also to allow for daylight when the timber blinds are closed. Artificial lighting is set as strips along the timber beams, not only emphasising the structure of the roof, but also allowing diffused light evenly lighting the space in the evenings. A curtain wall of glass is placed behind the polycarbonate facade to increase the levels of insulation in the walls, and also create a sense of continuity with the wall internally.
112
113
114
6 Tectonic Integration Case Study Report
115
116
Il Fondaco Dei Tedeschi
Fig 1
Group Contributors: Malgorzata Szarnecka Phoebe Shepherd John Sebastian Valencia Cortes Grace Ward
117
Overview Building: II Fondaco dei Tedeschi Location: Foot of the Rialto Bridge, Venice Address: Sestiere di San Marco, 5339, 30124 Venezia, Italy Partners: Rem Koolhaas and Ippolito Pestellini Lapavelli Project Architects: Francesco Moncada and Silvia Sandor Structural Engineer: Tecnobrevetti S.r.L. Client: Edizione Year: 2009-2016 Programme: Retail Area: 9,000 sqm Situated at the foot of the Rialto Bridge, the II Fondaco dei Tedeschi is one of the most recognisable buildings in Venice. Built originally in 1228, the building has had many uses including being a trading post for German merchants, a customs house under Napoleon and a post office under Mussolini. The building itself has been destroyed twice in fires and rebuilt. In 1506 it was constructed in the form we see now. Most recently- 1930s - it was reconstructed using modern concrete technologies. The building gained monument status in 1987, meaning that any interventions made following this had to be minimal and subtly implemented.
118
119
Fig 2
Napoleon
Fig 3
Mussolini
Fig 4
Rem Koolhaas
120
Fig 5
Original entrance to the building by boat along the canal rather than the new entrance on the street side of the building.
121
Design Intent and Experience
Rem Koolhaas’ view towards Il Fondaco dei Tedeschi was simple: to implement a series of excavations which would accentuate the features of the building whilst supporting the new structure and defining the sequence of space and circulation of the building. Walking through the building, the old structure can be distinguished from the new Scarpa style intervention made by Koolhaas; Open and closed spaces, single, double and triple height ceilings, and the addition of a fifth floor adds another layer to the rich history of the building, giving it a new use as a public retail and multi-use space.
122
123
Site Appraisal
The location of Il Fondaco is connected to its commercial past. The main entrance to the building previously faced the river to allow easier exchange of goods arriving by boats. The new entrances from the piazza, introduced by OMA, change the circulation space in the building and shift the understanding of the main faรงade from the riverside to facing the piazza.
124
125
Atmosphere and Materiality
As it was a listed building with an existing timber beamed ceiling, the services couldn’t be hidden and they became a design feature, meaning the ducts and lighting were configured to provide ‘air handling’ and lighting to the retail spaces and suggest a direction and flow of the space. The lighting behind the handrails highlights the walkway and the entrance to the next space, leading a direction through the building. These image opposite show how the roof has been altered through the renovations, and how this has influenced the need for artificial lighting
126
Fig 6
Fig 7
127
The different materiality’s within the building provide a large visible contrast between the old and new, and the renovation by the OMA introduces modern inserts through the building, which unveil the history of the different transformations over the years. The different layers of materiality suggest the idea of historical layering combining new, old and restored surfaces including scraped walls, oxidized brass, restored ancient stones, exposed concrete and new steel constructions. These uses of layering different ages of materials could encourage people to acknowledge the fact that it is both a historic monument and a modern building combined to one. The design intent of the building in its current form was to create a journey through, in which each level brings new images and materials, responding to its historic context and product range. In the conversion to retail, one of the most impressive features in terms of materiality could be said to be the marble tables in the women’s shoe department. The marble is carved using an advanced 3D carving technology in order to appear like draped fabric. In terms of atmospheric quality it could be said that the drape effect contrasts to the clean-cut edges of the other newer additions of materiality, and that it is a way to use the original materiality in a new and modern way.
Fig 8
128
Fig 9
129
Structural Strategy
The structure of the building reflects the design intent of the OMA: the layering of historical changes. The building was refurbished using a modern concrete frame system in the 30s under Mussolini’s rule, where exposing the original brickwork and the concrete alteration emphasises different historical eras.
130
131
The OMA intervention showcases different structural strategies in the building: Reconstructed wooden beamed ceilings in the arcades, concrete and steel frame interventions as well as modern, and alterations such as the installation of escalators, demonstrated by red in the section above. The top floor of the building was transformed by the introduction of a steel beam and glass ceiling covering the central courtyard, and the renovation of the 19th century pavilion situated on the top of Il Fondaco dei Tedeschi.
132
Fig 8
133
These images show the roof being constructed and how the space changed from being an open courtyard to completely adapting the building to create an indoor space. The original structure is still apparent in this space as the concrete arches remain, and the space is the full height of the building. This keeps a sense of how the building would have originally appeared, but gives it a new use as an indoor multifunctional space.
134
Fig 9
Fig 10
135
Energy and Environmental Strategies
The main energy strategy is the reuse of the existing building and structure. As the housing industry produces large amounts of waste, as well as being one of the fields influencing CO2 production, the reuse of the building minimises the effects of a new construction on the environment as well as decreasing the potential amount of waste produced by demolition.
Fig 11
Fig 12
136
Fig 13
Fig 14
137
Key Details and Moments
The thresholds into and within the building are a notable moment of the design. The contrast between the narrow crowded streets surrounding the building, which is so characteristic of Venice and the vast, open, light spaces inside the building is striking. One of the more iconic features of the design is the large semi-circle carved out of the wall adjacent to the central courtyard which is visible from the escalators as you descend towards the first and second floors. The traditional venetian marble floor tiles coordinate with the chevron pattern of the metal gates seen in and around the building. The addition of the new glass and steel floor of the central courtyard provides an interesting aesthetic on entering the building.
138
Fig 15
139
Arguably the most memorable detail in the renovation is that of the red escalator. Iconic and original the escalator generates an interesting way to move through the building. The large intersection addition opens up the mobility of the visitor through the spaces; a feature that the building did not originally have.
Fig 16
140
Fig 17
141
142
List of Figures (Case Study) 1
http://jamiefobertarchitects.com/work/fondaco-dei-tedeschi/
2
https://fineartamerica.com/featured/napoleon-bonaparte-in-his-study-at-the-tuileries-1812-jacques-louis-david. html
3
https://www.biography.com/people/benito-mussolini-9419443
4
http://oma.eu/partners/rem-koolhaas
5
https://fineartamerica.com/featured/canal-grande-overlooking-the-rialto-bridge-apollonio-domenichini.html
6
https://www.archdaily.com/789024/omas-fondaco-dei-tedeschi-department-store-is-revealed-in-venice/5756f4fee58ece5019000003-omas-fondaco-dei-tedeschi-department-store-is-revealed-in-venice-image
7
https://www.trbusiness.com/regional-news/europe/dfs-enters-europe-through-venices-benetton-owned-fondaco-dei-tedeschi/60261
8
http://jamiefobertarchitects.com/work/fondaco-dei-tedeschi/
9
http://jamiefobertarchitects.com/work/fondaco-dei-tedeschi/
10
https://www.yatzer.com/fondaco-dei-tedeschi-venice-benetton-oma
11
http://oma.eu/projects/il-fondaco-dei-tedeschi
12
idaaf.com/omas-reconstruction-for-fondaco-dei-tedeschi-is-revealed-in-venice/
13
http://miesarch.com/work/3333
14
https://www.archdaily.com/789024/omas-fondaco-dei-tedeschi-department-store-is-revealed-in-venice/5756f4f5e58ece5019000002-omas-fondaco-dei-tedeschi-department-store-is-revealed-in-venice-image
15
https://www.archdaily.com/789024/omas-fondaco-dei-tedeschi-department-store-is-revealed-in-venice/ 5756f542e58ece5019000006-omas-fondaco-dei-tedeschi-department-store-is-revealed-in-venice-image
16
https://www.archdaily.com/789024/omas-fondaco-dei-tedeschi-department-store-is-revealed-in-venice/ 5756f504e58ece6b9b000001-omas-fondaco-dei-tedeschi-department-store-is-revealed-in-venice-image
17
https://www.vogue.com/article/venice-landmark-building-redesign-architecture
18
http://oma.eu/projects/il-fondaco-dei-tedeschi
19
https://www.archdaily.com/789167/il-fondaco-dei-tedeschi-oma
143
144
7 Field Trip Italy Grand Tour 26/11/17 - 4/12/17
145
Rome
Colosseum
Auditorium Parco della Musica
Altare della Patria
MAXXI
Hertziana Library The balcony levels at the Hertziana inspired by pod designs - the ground floor is visible from every level within the design, creating a sense of openness and relaxation.
146
147
Florence
148
149
Verona
Banca Poplare
Castelvecchio
Banca Poplare
Castelvecchio
150
151
Venice
Sergio Los’ work of Scarpa’s unbuilt design Example of a connection between new and existing - glass (encased in a traditional way) to bridge the gap - inspired my initial design idea of using a glass wall as a way to create a preview to the courtyard behind.
152
153
154
List of Figures (Portfolio) 1
<https://inhabitat.com/inhabitots/this-feline-shaped-kindergarten-is-the-cats-meow/> [accessed 19/5/18]
2
Patrick Geddes Centre, <http://www.patrickgeddescentre.org.uk/> [accessed 22/3/18]
3
Recivilization, ‘165 Conservative Surgery’, <https://recivilization.net/UrbanDesignPrimer/165conservativesurgery. php> [accessed 26/3/18]
4
‘Geddes’ Conservative Surgery for Pajawa Tank, Balrampur in 1917’, <https://architexturez.net/file/1-s2-0s0169204616302353-gr2-jpg> [accessed 21/5/18]
5
Victoria Marshall, ‘The Valley Section’, 16/2/13, < http://cityinenvironment.blogspot.co.uk/2013/02/the-valley-section.html> [accessed 24/5/18]
6
Pierre Chabard, ‘THE OUTLOOK TOWER AS AN ANAMORPHOSIS OF THE WORLD’, <http://hodgers.com/mike/patrickgeddes/feature_eleven.html> [accessed 24/5/18]
7
‘Camera Obscura and World of Illusions’, 4,4,14, <https://edinburghcameraobscura.wordpress. com/2014/04/04/the-camera-obscura-how-does-it-work/> [accessed 20/5/18]
8
Amy Frearson, 11/12/16, <https://www.dezeen.com/2016/12/11/herzog-de-meuron-laban-dance-centre-newphotographs-jim-stephenson/> [accessed 22/5/18]
9
<https://www.archdaily.com/867393/bravos-house-jobim-carlevaro-arquitetos> [accessed 18/5/18]
10
Duggan Morris Architects, <https://dugganmorrisarchitects.com/news/item/2015-09/british-construction-industry-awards-2015> [accessed 24/5/18]
11
<https://www.designboom.com/architecture/atelier-starzak-strebicki-street-furniture-courtyard-poland-08-14-2017/> [accessed 26/2/18]
12
<www.floornature.com/can-ginestar-public-library-sant-just-desvern-barcelona-2000-2003-4519/> [accessed 10/3/18]
155
Patrick Geddes Statue, Edinburgh
156