Joachim Daetz - WS 04 - Ode to the View

Transforming Context

Ode to the View

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Master European Architecture Workshop 4 - Haifa Duration: 05.03.2017 - 07.04.2017 Location: Israel Professor: Michal Baroz Student:

Joachim Daetz

Title:

Ode to the View

Ode to the View

Introduction......................................................................................................................07 Site Visit..............................................................................................................................11 Individual Work.................................................................................................................19 Research...........................................................................................................................23 Tel Aviv..............................................................................................................................29 The three Monuments in Hadar......................................................................................33 Jerusalem - Yad Vashem................................................................................................39 1st Proposal - Hidden Potentials.....................................................................................43

Content

Current Proposal - Ode to the view...............................................................................55

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Group Project Introduction

The first task of this workshop was a group project. Each European Architecture student was sent to a group of 6 students from The NB Design School Haifa. Since that did not work out so well only 5 groups emerged. So me and Kris ended up in the same group of a total of nine people.

The first slow encounter with our site began with a brief lecture about Hadar, our part of Haifa that we are set to work at.

Richard Kaufmann first drew a masterplan of Hadar HaCarmel creating a second axis after the war in 1925. Its axis is almost parallel to the German Colony settlement.

Talpiot market was build for the Jewish community so they could shop in their own neighbourhood without crossing the Arabic one, which was quite dangerous at that time. Since it was so massively out of scale, Talpiot market severed, in a way, as a fortress against the Arabic settlements below. Due to unplanned settlements around Hadar it became the real centre of Haifa. Streets from West to East, which follow the topography, are no big effort for people to walk on. Streets from North to South are vertical steep connection with lesser importance for public spaces, since it is a big effort for people to walk on them.

After the lecture we drove to the site, which took probably longer then walking, since Haifa has a huge traffic and parking problem. After the short tour, we ate something on site and met back at University to start our analysis with our groups. We quickly identified three large scale buildings around Hadar that caught our interest. We decided to work with them by treating them as a shell. The ground floor became an open public square. Soon we had to decide on one of the following key terms for our site: Accessibility, Orientation, Topography, Connectors, Defining Elements, Memory. We chose Accessibility. Which has a wide range of meanings. Is it the accessibility of the buildings that we want, or is it the accessibility of the entire area of Hadar that we are trying to improve?

For a long time we had difficulties trying to figure out what exactly is meant by accessibility and what we are trying to show by that.

That could also be due to the fact that we never analysed our key term.

We got lost in ideas and instead of concentrating on our main idea we

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created more and more ideas that lead to more problems that needed to be solved.

We forgot to point out the problems that we thought this neighbourhood has, to then create concrete ideas that would solve them. Our base was strong, but we had to learn how to strengthen it, by focusing on what is important.

To clarify what is important to us: - Identification of three large scale buildings in Hadar - Treating them as shells, by just keeping the structure - Buildings (on ground floor) becoming one with the public space - Change of levels within the shells - Car free zone at certain hours of the day - Cleaning up the market - The street is a culture, create a cultural centre in the three shells - The market is creating the centre for the neighbourhood and the monuments make it a centre for the entire city.

Interesting critiques: People now a days gather where they can find Wifi, making this place a public space.

Frame our scenario of the buildings around What is happening at our public space? What do people nowadays do at public spaces?

Our space needs to be active not passive.

Design the masterplan from the inside to the outside, not as traditionally from large scale to small scale.

Think in sections, since the topography can not be ignored and even be used to our advantage.

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Questions to myself: How can we create a happy city?

What is a monument?

What is a shell?

What is a public space?

What is a good functional concept for the buildings?

What good or old architecture already exist on such topography?

What is accessibility to me?

What does a market need to work?

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Site Visit

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Level Diagram - Ofri Matek

Serial Sketch 1 - Kris Kuzdub

Public Spaces In- & Outdoor - Joachim Daetz

Serial Sketch 2 - Kris Kuzdub

Surrounding Diagram - Ofri Matek

Axonometric Diagram - Joachim Daetz

Serial Sketch 3 - Kris Kuzdub

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Noli Plan - Scaleless - Joachim Daetz

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Cinema Street Rendering - Dori Yamin

Talpiot Indoor Rendering - Gila Margolin

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Sections - Scaleless - Inbal Brakha

16 ABANDONED POTENTIALS Through the recognition of three relatively inaccessible large scale structures within the neighbourhood fabric, we are proposing to access their abandoned potential through alternative forms of public space.

We are attempting to give these buildings a positive role for the community and city context by providing an open programmed ground floor public space, and interactive evolving public oriented upper stories. These buildings are framed by the surrounding context and new public spaces that provide points of meeting, market orientation and transitional spaces. The buildings become one with the public space.

The buildings are becoming events and not just spaces, this is done by proposing programmes that will take place at various times during the days and evenings through each structure and public space, thus providing activities at times outside the market hours. We also propose a traffic free zone between certain hours.

The street is a culture, so we created a cultural centre within the three shells, which are all connected by a theme. Through working with the past programmes and history of the buildings and surrounding area, we have identified the opportunity to provide a cultural hub for artists and young people. With the upper levels catering to workshops and showcasing art, music, and film. Thus, creating the ground floor as the transition and public space to these programmes and users.

With the alteration of these abandoned buildings to create positive alternative public space, both inside and surrounding, we are providing the opportunity for activity to spread to the streets and form a more positive street culture to the existing market. The market provides the centre for the neighbourhood and the large scale building programmes create the centre for the city.

Public Spaces

Levels

Key Surroundings

Masterplan - Scale 1:1250 Figure Ground

Location

Streetview Axis Rendering

Serial Sketch 1

Interior Market Rendering

Serial Sketch 2

Serial Sketch 3

Section Bank - Scale 1:500

Section Cinema to Talpiot Market - Scale1:500

GROUP: DORI YAMIN - GILA MARGOLIN - INBAL BRAKHA - JOACHIM DAETZ - KRISTEN KUZDUB - OFRI MATEK - TAMAR KAPLAN - YAEL BENDAVID - ZLIL YOFFE

Masterplan - Tamar Kaplan

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TRANSFORMING URBAN CONTEXT

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THE NB SCHOOL OF DESIGN/TALLINN UNIVERSITY OF TECHNOLOGY

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PROFESSORS: ARCH. PROF HORACIO SCHWARTZ - ARCH. LENKA CEDERBAUM - ARCH. MICHAL BARO

Situation Model - Yael Bendavid

Situation Model - Yael Bendavid

Concept Models - Zlil Yoffe

Concept Models - Zlil Yoffe

Concept Model: Levels - Zlil Yoffe

Concept Model: Levels - Zlil Yoffe

Final Presentation

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Individual Project Introduction

After the group presentation, our individual work started. In which we should recess our idea into a final scale of 1:200. Which also meant for Kris and me to split up to find our own part of the group project that we would like to focus more on. Kris changed her keyterm to defining elements, whereas I am trying to find a better solution for our accessibility problem.

It became clear to me that I want to address the inaccessibility of the three large scale houses. Which means, to start on a small scale of the individual floorplans. Study the existing situation, to find the reason why this buildings might have become abandoned.

Before I can start my analysis I need to answer some questions, which I left previously unanswered, which lead me into a mess: What is a monument?

A monument (in architecture) is a building that goes beyond the scale of the houses around it, which at the same time has historical importance to that place and the inhabitants. Most of the monuments were planed as such, time and memory then strengthens or weakens the terminology of an Monument.

What is a shell?

A shell is an object that protects the inhabitant from external impacts.

A shell in architecture means cleaning out a building to its essential structure, to make a clean cut for a new beginning. Which at the same time leaves the outside façades mostly untouched, so it is difficult to sense that something different than expected is hidden inside.

What is a public space?

Strictly everything that is not owned by a private person. So every space in between buildings, but is that enough? Isn’t a cafe or a museum also a public space? Piazzas, parks, Libraries, train stations, beaches and pavements?

I would differentiate in public spaces that are outside and public spaces that are inside.

Outside: Park, Beach, Piazza, Pavement, Pavilion, Inside: Museum, Public Library, Cafe, University, Bank, Hospital, Malls Both: Cafe, train station, Pavilion

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What is accessibility to me?

The first thing that come to my mind is, “easy to approach�. It is also something that can be easily used, entered or reached. None of which is the case at the three large scale buildings.

What does a market need to work?

A market is a very old function that is simply based on someone who wants to sell something and someone who needs to buy something. First it needs buyer before the seller. But the seller only exist because it knows that someone else needs something that he can sell to them. Without a product and a point of interest, there is no market. The tradition of markets in the middle east is still much more traditional than in the western countries. The more west you go, the bigger a market gets, the more east you go the smaller a market gets. A typical market from Haifa would never survive in America. People from America are used to buying everything in one single place, since they need to drive long distances to a place where they can shop at all. Whereas in the middle east it is much more common to buy the groceries in many different places.

Every single person knows best for themselves where they can buy what at which price. Europe is pretty much the middle, geographical wise and market size wise. I also get the feeling that people in Israel do not plan their shopping, as I would do. They know that they have a market on their way home, or to be honest at least 30. So they can just pop into any of their favourite stores to buy the banana for the next morning.

What good or old architecture already exist on such topography?

Amphitheatres, where one of the first buildings to make an advantage of its topography.

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What is a good functional concept for the buildings?

Since we identified the streets of Hadar as a culture, with a rich history of different religions and functions, it would be interesting to create a concept for a cultural institution which focuses on street cultures around the world. With a main focus on public spaces today, without forgetting about markets and street food.

How can we create a happy city?

Idividual Work

This for me is the most difficult question to answer. Since I belief everyone creates their own happiness with their best potentials within their surroundings. As architects we can merely create diversity to try to make as many people happy as possible.

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Louis Kahn - Salk Institute - San Francisco

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Louis Kahn

March 5, 1901 – March 17, 1974

Life

He was an American architect, based in Philadelphia. After working in various capacities for several firms in Philadelphia, he founded his own atelier in 1935. While continuing his private practice, he served as a design critic and professor of architecture at Yale School of Architecture from 1947 to 1957.

From 1957 until his death, he was a professor of architecture at the School of Design at the University of Pennsylvania. Kahn created a style that was monumental and monolithic; his heavy buildings for the most part do not hide their weight, their materials, or the way they are assembled. Louis Kahn’s works are considered as monumental beyond modernism. Famous for his meticulously built works, his provocative proposals that remained unbuilt, and his teaching, Kahn was one of the most influential architects of the twentieth century. He was awarded the AIA Gold Medal and the RIBA Gold Medal. At the time of his death he was considered by some as “America’s foremost living architect.” (Source:

wikipedia)

Progressing from the International Style, Louis Kahn believed buildings should be monumental and spiritually inspiring. In his design for the Salk Institute, he was successful in creating the formal perfection and emotional expressions that he so vigorously tried to achieve. His scheme became a symmetrical plan, two structures mirroring each other separated by an open plaza.

The materials that make up the Salk Institute consist of concrete, teak, lead, glass, and steel. The open plaza is made of travertine marble, and a single narrow strip of water runs down the center, linking the buildings to the vast Pacific Ocean. A person’s view is then directed towards nature, reminding people of their scale compared to that of the ocean.

The strip of water also enhances the symmetry intended in the plan and creates a sense of monumentality in the otherwise bare open plaza that is meant to be in the words of Luis Barragan “a facade to the sky.”

Complete with this dignified water element, the Salk Institute is simply put in Kahn’s words, “the thoughtful making of space” revealed through such simplicity and elegance that it has since its completion in 1965 been regarded as of the most inspirational works of architecture in the world. (Source: archdaily.com)

Research

Work

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Learning from Las Vegas

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Robert Venturi

born June 25, 1925

Life

He is an American architect, founding principal of the firm Venturi, Scott Brown and Associates, and one of the major architectural figures in the twentieth century. Together with his wife and partner, Denise Scott Brown, he helped to shape the way that architects, planners and students experience and think about architecture and the American built environment. Their buildings, planning, theoretical writings, and teaching have also contributed to the expansion of discourse about architecture. (Source: wikipedia)

Work The book was written in late 1960’s America, at a time when the projected progressive, socialist aims of Modern Architecture were deemed a failure and massive housing blocks built only twenty years earlier as part of award winning schemes were being demolished. There was a need for something new and, within this context, Venturi’s approach can be easily rooted. Just as the Modern Movement was a reaction to Nineteenth Century Eclecticism, Post-Modernism was a reaction to Modernism. Each offered a strong critique of what had come before it, and provided a model almost antithetical to its predecessor – in this example we can chart a progression from adornment and symbolism, to purity of expression through form, to adornment and symbolism again.

Yet obviously, Post-Modernism had contemporary factors to add into the mix, including the car as King and the power of Commercialism. Venturi, as one of the godfathers of Post-Modernist thought in architecture, sought to discredit the work of the Modern Movement by placing value upon things the Modernists hated: historical and existing ‘everyday’ buildings that were explicitly symbolic. He went further and cited how our human need for symbolism and association in architecture is an anthropological one.

Referring to architecture in general, he goes on to say that applied ornament has been given a bad name by 19th century architecture, which I agree with. Decoration had become more and more ridiculous and lacking in thought or program. But in a way, the further you step away from the purity of an orthodox movement, the more stylized and ‘pantomime’ it becomes because it begins to rely on the association of form as an object, rather than signifying its place in time. I think this is a ‘problem’ with the reference to any architectural movement ‘after its time’; it gets added to an already heaving melting pot of styles, where it can be bastardized. (Source: http://architectureandurbanism.

blogspot.co.il/2010/07/robert-venturi-denise-scott-brown-and.html)

“We are not free from the forms of the past, nor from the availability of these forms as typological models, but that if we assume we are free, we have lost control over a very active sector of our imagination and of our power to communicate with others….

(Alan Colquhoun)”

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City Building According to Artistic Principles

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Camillo Sitte

17 April, 1843 – 16 November, 1903

Life

He was an art historian and architect. He traveled around the towns of Europe and tried to identify aspects that made towns feel warm and welcoming. Architecture was a process of culturization for him. Sitte received a lot of attention in 1889 with the publication of his book “Der Städtebau nach seinen künstlerischen Grundsätzen” (English title: “City Planning According to Artistic Principles”). The richly illustrated book pointed out that the urban room around the experiencing man should be the leading motif of urban planning, thus turning away from the pragmatic, hygienic planning procedures of the time. Sitte emphasized the creation of an irregular urban structure, spacious plazas, enhanced by monuments and other aesthetic elements. (Source: wikipedia)

Work Sitte’s book “City Building According to Artistic Principles” established basic principles of urban design. He strongly criticized the modern city planning that valued logic and mathematical solutions over artistic considerations. He considered contemporary gridiron subdivisions as monotonous and leading to the maximizing of land exploitation. He considered the proportions of town squares, monuments, and churches.

Planning should be a creative art and the interplay between public buildings and open spaces was paramount to good planning.

In a very large square the mutual relationship between the plaza and its surrounding buildings dissolves completely, and they hardly impress one as a city plaza. However, he admitted that this kind of proper relation is a very uncertain matter, since every thing appears on the subjective viewpoint and not at all on how the plaza appears in plan, a point which is often overlooked.

In Sitte’s view the main problem of contemporary planning was the ignoring of aesthetic values and the absence of concern with city planning as an art. It was increasingly treated as only a technical problem with the straight lines and right angles of the gridiron characterising cities, and therefore urban life.

Commercial activity had increasingly abandoned public open space.

Public affairs were discussed in the daily paper instead of plaza.

Economic growth led to the regular parcelling of lots based on purely economic consideration. Works of art were straying increasingly from streets and plazas into the art cages of the museums. And above all the enormous size to which the larger cities grew led to a consequent inflation in the size of streets and squares. (Source: http://architectureandurbanism.

blogspot.co.il/2010/01/camillo-sitte-1843-1903-city-building.html)

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Visit - Tel Aviv

On Friday the 17th of March 2017, we went to Tel Aviv for the day.

We started our tour at the “New Central Bus Station�, which is a very intriguing building, or area. It was built in the 1970s but was only opened in the 90s. It was originally opened as a mall with a bus station. But it only serves the purpose of a bus station today. There are a lot of different shops in side, but it is very hard to orientate, since it has 6 floors with thousands and thousands of square meters of space. Due to the size it is also very hard to control, its half owned by a private person and half owned by the city. Nobody knows really everything that is happening inside each day. Alot of drunk and drugged people inside, the smell of urine and faeces follows you around in certain places. On the contrary, there is also a Theatre and performance spaces inside. Also the Hebrew Language centre is on the 3rd floor, in which the walls are bursting from the vibration of the buses which are passing by above you. The owner of the Centre was quite relaxed about that and just turned on a Yiddish vinyl song to overtone the noise. Artists are moving into this building and paint the walls and even an architecture office moved into the 2nd floor. That was also the purpose of our visit. Michal new the Architect who moved into the central bus station only a couple of months ago.

After the Central Bus station we walked to see a few galleries which were spread all over the city, into the smallest and unthinkable spaces around Tel Aviv.

Then we walked down Rothschild Blvd. which lead right into the Cultural Centre of Tel Aviv. This is a beautiful complex with a public square, park, cafe, restaurants and a Theatre. The park is a really successful peace of planning. You feel very isolated from the city stress and noise, the sound of water lets you forget about where you are. People love using this space and it was quite crowded, despite the not so sunny weather.

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Tel Aviv

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The Three Monuments in Hadar

The three abandon and forgotten Monuments in Hadar are: The Talpiot Market The Cinema/Residential Complex The Bank Building The Talpiot Market was originally build for the Jews as a new possibility to do their shopping in their neighbourhood without having to cross over to the Arabic part of town, since that was quite dangerous at that time. Unfortunately, despite that great building, it was never seen as a market for the residents. It was planed by an European architect who had probably not understood the difference of markets in Europe to the Middle East. People here prefer to have their markets outside, and never inside. So the building failed in its program. Now its a spooky place where people squat. The underground floor is still used as a market though.

The Cinema Building lost importance when people stopped going to the Theatre or Cinema and became couch potatoes. It is not such an sensation to people now a days to go to the Theatre. People in the 60s dressed up nicely for the Theatre, and the whole evening became an event. Since cinemas and Theatres lost their importance to the society of today the Building was doomed for bankruptcy.

The history of the Bank building is not as clear to me, but I am guessing since Hadar lost its qualities at a certain point in history, and the city centre moved to the place where it is today, that bank decided to change its location to a more prominent site. Hadar used to be the centre of the commercial district. It was close to the port which had and has a huge importance in the financial parts of Haifa. People liked spending time there, walking up and down HeLutz street, dropping down to the Talpiot market, to do some shopping. Having a good time spending all their time on the streets of Hadar.

Our role is it to find the lost qualities to point out the problems that Hadar has, to create solutions to make the area enjoyable again.

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Talpiot Market

Talpiot Market - Scaleless

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Cinema Building

Cinema Ground level HeLutz - Scaleless

Cinema Ground level Sikrin - Scaleless

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Bank Building Groundfloor - Scaleless

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Bank Building

Original Purpose?

It used to be a Bank Building. Although I have no idea who came up with this building for that site, and how a bank could possibly have functioned in these walls.

What is inside now?

Artists have settled down in the ground floor, whereas in the first floor it looks like African Americans settled in and opened a restaurant. Overall it is a shady place which is difficult to visit and to understand.

Potentials?

The more or less abandoned bank building, has a beautiful view from the first floor facing the north of the city until the port. Its location is not really central and easy to find but the building has really good potential to become a multi purpose open public space. Its structure suggests open floors with columns, walls are not really needed as an additional structural element. The section of the building makes the building even more interesting. The levels 0, -1, -2 and -3 are all along the slope which suggests to access them on all theses levels to create an easy intriguing space which interconnects on all floors.

New Idea as a program?

Since this view is a hidden view, the building could become a place for artists, students, book lovers and performers to work at, where they will not be interrupted in their creative process. A stepped terrace like element will open up the north side of the building creating an interaction with the inside and outside. Since this proposal will become a jungle of columns, just like the Talpiot market, it can create a nice atmosphere inside the buildings with no boards towards the outside.

The interconnection of the different topographical situations around and through the building will create a perfect connector with great accessibility for pedestrians around.

The terrace, or the second street, which faces Sirkin Street should give the visitors the atmosphere of the continuation the market, just a little higher. Once you reached the end of the building going West you turn right and you will be surprised by the new view that reveals a whole new possibility to Hadar. The port and sea are below your feet, you get the feeling of freedom, peace and relaxation. Stepped terraces lead you down to a small park at the street level at the end of the building.

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Day Trip to Jerusalem - Yad Vashem

Yad Vashem is the memorial for the victims to the Holocaust, located on Mount Herzl, west of Jerusalem. The phrase Yad Vashem means Memorial and Name, it is originally from Isaiah: “Even unto them will I give in my house and within my walls a place and a name better than of sons and of daughters: I will give them an everlasting name, that shall not be cut off� (Isaiah 56:5).

Yad Vashem today is an area with may different components such as the Visitor Center, History Museum, old & new Hall of Names, Hall of Remembrance, Square of Hope, Visual Center, Children Memorial and a School. The campus grows year by year and the next project is already in the planning stage: An archive for more documents and art works.

We arrived in the morning by a private bus to be welcomed by our head of NB School of Design: Prof. David Alexander. We got a great tour with helpful stories and insights. For me, as a German, it was a very emotional tour through the History Museum since this was my first time hearing the stories from the Jewish side. The parents from Prof. David Alexander were Germans, born in Berlin, and at a certain point had to flea the country to not be put into a Concentration Camp. It was a weird feeling that build up inside me, listening to him talking about how his parents were, basically, forced out of the country from my own grandparents.

After the first tour, Prof. David Gugenheim gave us a tour through the school, which is just placed next to the Museum. He and Prof. David Alexander designed that school, so we were able to get a great insight into the building and the processes that lay behind it.

At around 14 we drove closer to the city center, where we ate delicious food at a market. To digest the food we started to walk around in the neighbourhood, we went to a poor and very religious area, pretty much social housing where children were having fun playing on the street.

Soon it was already time to head back home to Haifa, we got back onto our bus and drove home, not without buying the best dates I ever had in my life.

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Jerusalem

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Own Project - Hidden Potentials

Problems found Hadar used to be the neighbourhood of life. Today it is only used for buying groceries and not even that is done in all the places where it could happen. I found that the entire area of Hadar lacks the possibility of accessibility. It is very hard to access any of the important buildings and even the area it self is not as easy to access as it should be. If you just walk along Herzl street you will never guess that on the parallel street to you there is an entire market area (shuk).

Aims The accessibility of the site is one problem, but the accessibility of the buildings is another one. The accessibility of the three monumental buildings in Hadar was the problem that I wanted to address. All three of them are mostly abandoned but at the same time great and valuable buildings for the neighbourhood. Especially the Bank building caught my eye and I decided to work with this monument. Unfortunately the history of this exact building is very unclear to me but since my idea is to see the building as a shell it will work out without knowing too much about the history. More important to me was the topography on which the building is situated. I walked around it many times trying to understand on which level of the building I am standing right now. I looked for existing floorplans of the building and luckily found some helpful material that I could work with. From the plans I learned that the building has only 2 floor above the ground, while standing on Sirkin street, but has a total of 5 floors.

My immediate idea was to open up the shell on four different places of the building to see where exactly I would land in the building if I would enter it from that point. The results from the first model and check where quite intriguing so I decided to continue with that idea.

First Proposal My first proposal was to create a performance center for artists, soon I realised that the building has a lot more to offer than just that. So I kept thinking until I got to the point where I wanted to continue the shuk on the south side of the building, which faces the Sirkin street, which at the same time is the market street of Hadar. Facing north, opens up a

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beautiful view over the sea, I will create a stepped terrace park that is treated as a public space. The park continues outside of the shell to create an continuous topography of the site. This park which leads up to the shuk, or down from it, creates a shortcut through a public space, by doing that I am creating a reason for people to use the space, even if its just by walking through it, instead of around it. The shuk on the south side along the building offers a great opportunity for markets, cafes and small restaurants to open up a place to continue to beautiful flow of the market that already exists. The first floor then can be used as a view point over the market, on which you can sit out side on to enjoy your coffee above the busy street of the shuk. Walking out north a small path will lead you to the top of a near by residential building, which is converted to a rooftop terrace/open space.

One floor above, the roof, will be the viewpoint floor. It basically just consists of a small rim that follows the old outlines of the building. Even this rooftop terraces has an opportunity, besides of being so small, for a cafe to open up to sell beverages to people who like to enjoy the view over the entire neighbourhood of Hadar, up the Hill Mount Carmel and of course the sea.

Going down the stepped park you will reach the -1 Floor which is still surprisingly connected with the Sirkin street and the HaShemesh street, a few steps up and down are needed for these entrances to work, but it will create great accessibility to everyone coming from any direction.

The building has its biggest opening on the North-West corner where it is completely opened to ensure the maximal view for visitors. To now not forget about the artists I created some rooms on the -1 floor where artists can follow their ideas. Also the -2 floor which is by far the biggest is dedicated to the performances of art. A white/black box found its place there, for practicing and performing for events.

The basic structure of the building is the higher you go the lighter and smaller the floorplan becomes. By opening up this building so greatly on the north-west faรงade it of course opens up the view to the sea but at the same time create a reason for people to also look up the hill for the first time ever.

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Mock Ups

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Location Plan - Scaleless

1

[Zeichnungstitel] MaĂ&#x;stab: 1:200

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60

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2

[Zeichnungstitel] MaĂ&#x;stab: 1:2500

Section

Section - Scaleless

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1 Underground Floor - Scaleless

Ground Floor - Scaleless

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Rooftop Floor - Scaleless

Floorplans

First Floor - Scaleless

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Perspectives

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Current Proposal - Ode to the views

Current Proposal

My second proposal was to create a performance center for artists, soon I realised that the building has a lot more to offer than just that.

So I kept thinking until I got to the point where I wanted to continue the shuk on the south side of the building, which faces the Sirkin street, which at the same time is the market street of Hadar. Facing north, opens up a beautiful view over the sea. The park continues outside of the shell to continue also the topography of the site. This park which leads up to the shuk, or down from it, creates a shortcut through a public space, by doing that I am creating a reason for people to use the space, even if its just by walking through it, instead of around it. The building becomes a Connector, due to the great accessibility. The shuk on the south side along the building offers a great opportunity for markets, cafes and small restaurants to open up a place to continue to beautiful flow of the market that already exists. The first floor then can be used as a view point over the market, on which you can sit out side on to enjoy your coffee above the busy street of the shuk. Walking out north a small path could lead you to the top of a building, which is converted to a rooftop terrace/open space.

One floor above, the roof, will be the viewpoint floor. Even this rooftop terraces has an opportunity for a cafe to open up to sell beverages to people who like to enjoy the view over the entire neighbourhood of Hadar, up the Hill Mount Carmel and of course the sea.

The building has its biggest opening on the North-West corner where it is completely opened to ensure the maximal view for visitors. A white/ black box found its place in the center of the building, for practicing and performing for events. The stage can be continued outside of the shell since it is at the same level as the topography outside.

By opening up this building so greatly on the north-west faรงade it of course opens up the view to the sea but at the same time create a reason for people to also look up the hill for the first time ever.

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Current Situation

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View - Courtyard

View - Street

Floorplans

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2 Underground Floor - Scaleless

1 Underground Floor - Scaleless

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Rooftop Floor - Scaleless

Floorplans

First Floor - Scaleless

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Section 1 - Scale 1:200

Section 2 - Scale 1:200

Sections

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Elevations

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GF +1 m -6 m

-3 m -6 m

-7 m -3 m -3 m

UG -3 m UG -6 m UG -7 m

0m -3 m

67

-3

-2

-6

-3 -2,5 -2 -1,5 -1 -0,5

-1,5 -1 -0,5 0

Schemes

-6

European Architecture 11 Workshops at 6 Universities +1 Master’s Thesis The two-year training is structured around a series of 8 project workshops + 1 reflective workshops at 6 different higher education institutions: Urban planning as well as architectural and artistic issues – open questions virulent to the cities & regions of the participating universities – will be examined at all scales; multidimensional planning processes, design and communication strategies constitute integral parts of a democratic culture of building to transform existing buildings and urban quarters with regard to ecological sustainability. Problems will be resolved in the context of cultural heritage and pre-existing structures.

The postgraduate programme is a unique and innovative approach to international architectural education: it combines the idea of the classical artist journey with the intensive, interdisciplinary and project-oriented workshop tradition and teamwork, focusing on acute topics generating architectural knowledge and dialogue across greater Europe between cities as Tallinn, Lisbon, Helsinki, Dessau, Ljubljana, Innsbruck and Haifa.