Joseph Dent Architecture Portfolio Stage 5 Newcastle University by Joe Dent

JOSEPH DENT 110078809 ACADEMIC PORTFOLIO STAGE 5

4_5

6_39

SEMESTER 1 CRITICAL INTRODUCTION

SEMESTER 1 PLAN ROTTERDAM

A summaritive introduction to the main

Work from the ‘Metropolitan

design project of the semester - Plan

Imaginaries’ project, situated in

Rotterdam.

Rotterdam, The Netherlands.

40_41

42_43

44_89

SEMESTER 1 REFLECTIVE CONCLUSION

SEMESTER 2 CRITICAL INTRODUCTION

SEMESTER 2 RE-MATERIALIZE ROTTERDAM

A review of what I learnt in se-

A summaritive introduction to the main

Work from the ‘Spectres of Utopia and

mester 1, and how I wanted to

design project of the semester - Re-Ma-

Modernity’ project, situated in Rotterdam,

proceed into semester 2

terialize Rotterdam.

The Netherlands.

90_117

118_123

124_125

SEMESTER 2 TECHNOLOGY PORTFOLIO

FURTHER PROJECTS CHARRETTE

STAGE 5 REFLECTIVE CONCLUSION

Work from the ‘Spectres of Utopia and

A summaritive review of a one-

A summarative review of the year

Modernity’ project, situated in Rotterdam,

week charratte project: ‘A hole

as a whole, and how it has shaped

The Netherlands.

in one week’.

my outlook on architecture.

New Work

Amended Work

In this semester I worked in the ‘Metropolitan Imaginaries’ studio;

masterplan. The tension between the contextual and autonomous nature

which, as a group of 12 students, primarily aimed to identify and inter-

of scheme, reflects some of the almost ‘nervous’ proposals by the local

rogate ‘fragments’ of the metropolitan condition of Rotterdam, culmi-

Government, with high amounts of money proposed to be invested in

nating in a group masterplan which critically reflected and re-imagined

flood prevention in existing areas of the city, alongside floating schemes

these ‘fragments’ at an architectural scale.

which appear to anticipate a seemingly inevitable fate of Rotterdam.

The project challenged me to critically analyse a city, identifying key

My own research into Rotterdam’s culture of work perhaps inevitably led

elements which generate the cities identity. These ranged from the his-

me to study Rem Koolhaas’ firm, the Office of Metropolitan Architec-

torical background largely shaped by damage in WWII, and cultural

ture (OMA), which he set up in Rotterdam in 1975, and has remained as

movements including those of the creative class between 1970-2000.

the firm’s head office, recently adding a sister research practice - AMO.

In particular, I focused on Rotterdam’s long-perceived character, which

In the semester, I have researched a great deal of not only the practice’s

survives to the current day, as a ‘city of work’. It is this character which

built work, but also the nature of Koolhaas’ influence on the practice of

I chose to interrogate in the semester as my ‘metropolitan fragment’ -

architecture within OMA/AMO, with research and analysis manifested

how the city generated this identity, how it situates itself against it today,

in the form of writings and diagramming on Koolhaas’ architectural the-

and how the future plans for Rotterdam react to it in their developments.

ory becoming a key focus. My critical reactions on this, particularly on

Alongside this aspect of Rotterdam’s identity, the studio has also ex-

the impacts of the intense nature of Koolhaas’ work on the practice as

plored how the city positions itself as a ‘World City’, with its declining

a whole, have shaped my outcomes in the project - the diagram, work-

port and rising sea levels threatening its economic and physical existence respectively, we

“metropolitan condition of Rotterdam”

ing hours, and OMA ‘alumni’ being particular focal points. Koolhaas’ ‘design by

sensed an aura of paranoia within Rotterdam at an early stage, which

research’ approach had a strong influence on my design process for the

shaped the nature of our proposal from the early stages of the project.

project, with many of his writings shaping my design moves, in doing so

The scheme generated in our masterplan and supported by our groups

challenging me on how I think about architectural design.

manifesto, imagines a floating city within the Maashaven Basin, which

The outcome of my project is a ‘hyper-work’ scenario, which is built

responds both to proposals for floating communities in this area of the

on the perceived notion of Rotterdam as a place to spend the working

city, and the continually developing Wilhelminapier, nicknamed ‘Man-

week, with strong conceptual links to the ‘Central Business Districts’,

hattan on the Mass’ for its high-rise developments.

founded in America and now spreading across World Cities of Europe

Our scheme draws on the polder landscape of Rotterdam, perceived as

and Asia. Rather than fighting the cities working identity, my proposal,

reclaimed land built above the water level, in doing so reading as an

celebrates, exaggerates and glorifies it, taking after the dynamic work-

established part of the city. However, the scheme is actually a floating

ing culture of Koolhaas’ OMA, the energy and density of which con-

proposal which only connects physically back to the surrounding land

trasts the world-perceived dull, grey sparsity of Rotterdam. The scheme

in two places, designed to rise with water levels, leaving the city be-

accepts the decline of the port, resiliently defining itself as a modern

hind. In this way, our design was a ‘city within a city’, which essential-

centre of work, a congested, dynamic metropolis of its own right within

ly extracted key elements of Rotterdam, preserving them in a resilient

the generic metropolis of the city of Rotterdam.

SEMESTER 1 CRITICAL INTRODUCTION 5

SEMESTER 1 PLAN ROTTERDAM As part of the ‘Metropolitan Imaginaries’ studio for the ‘Plan Rotterdam’ project I was involved in producing a group masterplan with 11 other students. Following a week-long study visit of the Netherlands we set out in the project to explore the widespread perception of Rotterdam as a metropolitan city. Through identifying and interrogating fragments of this perceived metropolitan condition of the city, my project focused on the culture of work, and how work becomes a culture in itself; specifically within Rem Koolhaas’ Rotterdam based practice OMA.

“work becomes a culture in itself”

Right: Final group masterplan model, showing scheme from the Erasmus Bridge in relation to De Rotterdam and the Wilhelminapier. // Perspex and 3D print.

Above: Erasmus Bridge and Wilhelminapier from the north bank of Rotte River. Near Right: Schouwburgplein public square. Middle right: Boompjes district and the Red Apple by KCAP. Far right: Destroyed City statue by Ossip Zadkine. GC2.1, GC4.1+2, GC7.1

With our site positioned in close proximity to the recently developed

‘human scale’ buildings and street-scape, with taller towers above -

Wilhelminapier, it was important to react both individually and as a

something I generated in my own scheme.

group to it; both its physical form and degree of success as a masterplan.

Rotterdam’s identity as modern ‘metropolis’ is largely due to substantial

In our masterplan we created a scheme which responded to the vertical-

damage in WWII, which erased the heart of the city. The statue ‘De-

ity of ‘Manhattan on the Mass’ Wilhelminapier, whilst generating more

stroyed City’ depicts a distraught figure, capturing the tension that exists

density, something it lacked, which we felt had led to its current empty,

in the city’s struggle to define itself without its historical core.

uninspiring atmosphere. This tactic is intended to create a ‘culture of

The unique, polder landscape of Rotterdam with tall, modern buildings

congestion’ which Rem Koolhaas writes about generating in his compe-

that almost read as if they have emerged out of the water itself are not

tition entry for Parc de la Villette, which became a key precedent for our

unprecedented in Rotterdam outside Wilhelminapier. I viewed this land-

studio’s masterplan.

scape as a key part of Rotterdam’s identity, and one that was important

The sparsity of people - especially in public spaces - was something I

to respond to in our masterplan. An important part of this landscape’s

noted throughout Rotterdam, not only in the Wilhelminapier but also in

character however, is its high risk of flooding - with some parts of Rot-

the Schouwburgplein square. This led to an observation of the group that

terdam 6m below the ever-rising sea level. This generated our floating

Rotterdam has a problem with public space. A more successful public

‘city within a city’ an autonomous masterplan which is read at first as

space was noted adjacent to the Schouwburgplein, in the form of the

something that is completely contextual, but is intended to rise with the

Lijnbaan, a denser, more compact development which combines more

sea above the current city.

Above: Collaged photograph showing the proposed masterplan in context from the top of the Euromast; a key viewing point of the scheme. GC4.1+2

Opposite: Model photo showing schematic masterplan in relation to the Wilhelminapier. Below top: Symposium photo showing model in relation to strip diagrams. Below bottom: Symposium photo showing the drawn and modeled strips. GC2.1+2+3, GC3.1+2+3, GC4.1+2

After intense research and analysis of our site and wider Rotterdam as a group, we curated an exhibition for the Plan Rotterdam Symposium. The exhibition was composed of two strands, the first a 1:1000 perspex model that showed our early intentions for the masterplan, an autonomous island in the Maashaven Basin comprised of 12 adjoining strips, each 50m wide, with each student occupying a strip with their individual proposal. The scheme was a ‘social condenser’ which drew on the work of the Constructivist Movement and Rem Koolhaas Parc de la Villette competition entry. Our aim was to create a ‘culture of congestion’ horizontally across the strips, as well as unprecedented events at the boundaries between contrasting programs. The perspex light-box model’s aesthetic derived from some of the early models produced by Rotterdam based firm OMA, with the aim of recalling the masterplan’s precedents. The second strand of the exhibition was an initial 1:250 diagrammatic plan of each of our inhabited strips in the island. These were our first drawn responses to the metropolitan fragments we had identified through not only visiting the city, but also reading Patricia van Ulzen’s book ‘Imagine a Metropolis’, which examined the generic metropolitan image of Rotterdam between 1970-2000.

In response to comments from the Symposium, and in an aim to present a cohesive and unique masterplan strategy, we produced a group Manifesto. The Manifesto included the 13 stages in which the masterplan was defined, with a clear and concise explanation of each. At the back of the manifesto we included a glossary of 38 terms, with each term given a specific definition in relation to our studio’s project. This was done to give further clarity and cohesion not only to us as a group, but also to enable a better understanding of the project from the outside, with some of the terms which we used as a group having a particularly specific meaning within the project’s context. The idea to do this derived from the ‘dictionary’ running through Rem Koolhaas book S,M,L,XL, in which he attempts to establish a ‘Koolhaasian’ language which goes towards grounding his ideas throughout the text.

Fragment [fraɡm(ə)nt] A specific element of the metropolitan condition identified in the city, that is isolated to highlight its characteristics. 14

Above: Full manifesto complete with glossary. Top left: Individual manifesto page - ‘Allocation’. Bottom left: Glossary definition - ‘Fragment’.

Opposite: Taxonomy of building diagrams, showing buildings representative of key architects to have left OMA. Below: ‘Family Tree’ diagram.

My research of Rotterdam’s culture of work derived from Patricia Van

itself. This is demonstrated most explicitly in Koolhaas’ book S,M,L,XL

Ulzen’s text ‘Imagine a Metropolis’ in which a key quote emerged:

in which diagrams and charts displaying data about OMA are taken al-

“Willem Jan Neutelings of Neutelings Riedijk Architects prais-

most to a point of self-obsession - a graph depicting Koolhaas’ number of

es the slogger’s mentality of Rotterdam, pitting Amsterdam against it as

nights in hotels as well as miles flown for the practice a notable example.

a leisure city: ‘(...) Amsterdam is really a city for culture, leisure and

This self-diagramming of OMA led me interrogate the culture of work

tourism. Rotterdam is really known as a city of workers, related to the

within OMA through diagram myself focusing on two key strands which

harbour. So, this particular atmosphere, which is rougher on the level of

interested me most about the firm - it’s ‘starchitect’ alumni and the intense

architecture, but also on the level of the people, makes it a very pleasant,

amount of hours required to be worked by all its staff.

inspiring city to work in.”

I was drawn to research the key architects that have left OMA as I saw an

This quote led to my study of the working culture of Rotterdam, leading

element of tension in the departures, between the dictatorship of Koolhaas

to practice of architectural offices in Rotterdam - most famously OMA.

and the breaking away of talented architects that leave the near ‘regime’

In contrast to Neutelings, who worked for OMA in Rotterdam, Koolhaas

of the practice. I took particular interest in buildings where the ‘alumni’

also talks about the Rotterdam as a dull, boring and grey city to work in,

had left during or immediately after the project, where the building they

which he believes makes it the perfect city of work with little distractions.

worked almost becomes a ‘monument’ to them and their time at OMA, a

My reading of OMA’s office was that, in the ‘dull’ city of Rotterdam, it

building which served to launch their individual careers - often the start

is framed as an exciting and dynamic presence in contrast - which leads

of their own firm.

us to view the culture of work - particularly that of OMA - as one of the

In there first step toward diagramming this, I created a ‘family tree’ dia-

main strengths of the city.

gram depicting the notable architects that had left OMA and gone on to

Through my research of the practice, one thing that I was intrigued by

form well-known practices. I then created a taxonomy of simple repre-

was their use of the diagram, as a way of not only a tool to help explain

sentative line drawings of the key building by notable alumni, completed

building proposals, but also as an analytical and reflective tool of the firm

after, or immediately before there departure from the practice.

The diagram I arrived at was a re-imagining of Koolhaas’ ‘City of the Captive Globe’ - an appendix in his early text: Delirious New York’ his manifesto for Manhattan and his vision for the city. The City of the captive Globe is described by Koolhaas as ‘devoted to the conception and accelerated with of theories and proposals, and their infliction on the world’, with each theme built upwards off a granite block. Within this, the globe gains weight with the ideas of the testing ground spanning out from it. For my critical reinterpretation of this diagram, I laid out the buildings from my taxonomy in a timeline, with their position within it dictated by project dates and the buildings use. These are overlaid over the original Koolhaas grid of the City of the Captive globe, with the globe itself centred on the year 1975, the founding date of OMA. By this move, the globe, which swells in ego with the creations of the city begins to reflect my observations of Koolhaas, whose stature and ego transpires to grow with each successful building and architect protégé over time, despite his denial of ‘starchitect’ status. The building diagrams overlap and create tensions between each other and the grid itself, representing the tensions between the individual architects.

Near left: 1:1000 plan diagram. Far left: City of the Captive Globe from Delirious New York // Rem Koolhaas, Madelon Vriesendorp GC2.1+3, GC3.1+2+3, GC7.1

Below: 1:1000 long section/elevation of my strip. Opposite: Section diagram showing formula and it volumetric implementation.

Following my research into some of the main architects that had left OMA,

ing, which starts to act as a reflection of the firm.

as well as into Koolhaas himself - culminating in my plan diagram I started

Out of my research, it became apparent that the intense working culture

to consider how I could generate an architectural response to this. From

spreads throughout the firm, right through to the interns that are worked

looking into how individuals experience working at OMA, the main thing

just as hard as the other architects that work for the practice - or ‘collabo-

that stood out was the intense hours they were required to work - ‘Amer-

rators’, as OMA calls them.

ican architect Joshua Prince-Ramus remembers that his first “day” on the

To represent the vast number of hours worked for little to no recognition by

job lasted 48 hours’. I then set about exploring how I could expand on my

these two groups, I spanned towers from the shapes crated by crossovers

plan diagram, to represent the hours worked volumetrically.

of different buildings in my plan diagram, which goes toward representing

To enable this, I set about generating a formula to speculate how many

the tension that being stretched by different projects can create in an office.

hours each architect had worked for OMA. From researching articles and

The facade area of these towers is generated using the same formula as

interviews with OMA staff, at all levels, I determined that the average

used previously. Each tower represents the average hours worked by each

OMA working year consisted of 15 Hours per day, 6 days per week, 48

member of staff listed as working on the project depicted in the diagram.

weeks per year. From this multiplying these figures together in a formula,

I determined that the average time worked at OMA by each employee

I determined that the average OMA working year consisted of 4320 hours/

was approximately 4 years, determined by an interview with former OMA

year. By then multiplying this number by the total number of years each

partner Van der Chijs “We want to refresh and renew our organisation on

architect (including Koolhaas himself) had worked for OMA, I was able

a permanent basis. We really want every year at least 25 percent of our

to generate a figure for the number of hours each architect had worked for

people to be new.”

the practice. To represent this as at appropriate building scale, I extruded

In implementing my research through the diagram and formula on my

each building diagram, where 100 hours worked by each architect was

strip, I created a section that resembled the bar charts in S,M,L,XL, which

represented by 1m2 area of the facade. I applied the same principle to the

shows the increasing scale of both the practice and the work it produces.

City of the Captive Globe grid, which was extruded to represent the total

The final move of the schematic design was the creation of the ‘half globe’,

hours worked by Koolhaas had worked for OMA. I used this base grid as

derived from dissection of the original year with 1975 - the founding date

a platform for the rest of the buildings to span off. In this way, the scheme

of OMA -on the timeline. The globe has multiple meanings as a part of

represents my observation of how Koolhaas has almost subserviently cre-

the scheme. The globe often appears in OMA’s designs, mysterious in its

ated a platform that the architects I have looked at have spanned their

appearance and inconsistent with Koolhaas’ typical doctrine of ‘program

individual careers off.

first’ it perhaps represents a side of Koolhaas’ psyche which he doesn’t

Through representing the hours worked by each architect, the scheme be-

want to be seen. The globe in my scheme reads as though it is looking out

come a series of ‘monuments’ to each architect - specifically to a mon-

over the employees represented in the other buildings, with an ego that

ument to the time that they have invested in to OMA, with those who

swells with their contribution to OMA’s success, twinned with a paranoia

worked longer at the firm being represented more prominently in the build-

of them leaving. 21

The final scheme becomes a monument of time given to OMA. With Rem’s time as the foundation, the key architects monumentalised in grand atriums on top of the plinths, but the hours worked by the rest of the interns and collaborators on those projects dwarfs both of these, represented by towers that stretch almost infinitely toward the heavens. The outcome’s monumentality recalls Koolhaas’ early paper projects, particularly those included as appendixes in Delirious New York - namely the Sphinx Hotel and the New Welfare hotel. I drew heavily on the representation of these projects in a 60/30 collaged axonometric, reinterpreting the original references used in this imagery - the raft of Medusa and the story of the pool. The raft perhaps referencing burnout former OMA employees, escaping in the same way as those using the raft to escape the stress of the city in Koolhaas’ depictions.

Opposite: Axonometric drawing of my final scheme. Below: New Welfare Hotel Scheme from Delirious New York // Rem Koolhaas. GC1.1+3, GC2.1+3, GC3.1+2+3

Below: Program diagram. Upper near right: Facade of De Rotterdam, Rotterdam. Upper far left: Entrance plaza of the Timmerhuis, Rotterdam. Lower middle right: Road entrance of the Kunsthal, Rotterdam. Lower far right. Interior view of the Educatorium, Utrecht. GC5.1, GC7.1+2

Since being founded in 1975 OMA firm has made its mark

Generic city’ which talks about the office as ‘the build-

on the city, its most notable projects being the Kunsthal and

ing block of the generic city’, soon to be replaced by the

more recently De Rotterdam, which I was able to visit whilst

hotel, which is almost a heightened state of the office, as

in the city. The firm has had famous projects throughout the

their is no leaving the condition of work. This program

Netherlands and indeed the rest of the world, but in Rot-

represents the intense work environment that the build-

terdam the practice’s more recent work has been received

ing’s concept derives from.

with much more mixed acclaim than what has gone before

The hotel and office accommodation is contained within

- exemplified by Guardian Architecture Critic Oliver Wain-

the tall but narrow towers that represent the interns and

wright in his review of the Timmerhuis:

collaborators, with the buildings representing the archi-

“The interiors mine the office’s back catalogue,

tects forming sparse atriums, that are almost purely mon-

with glowing resin cupboards, backlit safety glass and cor-

umental in their purpose. Each building sits on the granite

rugated plastic sheeting (all of which were deployed with

plinths representing Koolhaas, which could be read as a

more finesse first time around in the Rotterdam Kunsthal in

supportive foundation of OMA, or its ultimate egotistical

1992).”

monument, depending on the differing views of Koolhaas

This perhaps alludes to an almost ‘signature starchitect’

which I have come across, and are undecided on myself.

style that Koolhaas has doggedly tried to avoid through his

The scheme reflects De Rotterdam both in program and

career, something I represented in the buildings’ materials

apparent function follows form approach. De Rotterdam

in my scheme, where the taller buildings representing more

is a project which Koolhaas’ own opinion of is unclear,

recent work reuse and almost parody the materials of those

but could certainly by read as a monumental edifice with

used in buildings representing OMA’s early work.

program inserted in to it. It seems to be regarded by Ollie

Programmatically, the scheme is mixed use between gener-

Wainwright of the Guardian as a ‘legacy project’, some-

ic office space and hotel accommodation, referencing not

thing I think my project reinterprets, as well as comment-

only Rem’s early projects but also drawing on his text ‘The

ing my own opinion of what defines Koolhaas’ legacy.

Left: Perspective view of the exterior from the south. Below right: Perspective interior view of an atrium. GC3.1+2+3, GC5.1

Through collaged perspective views, I provided a sense of how, despite the verticality of some of the forms, the scheme creates an intimate feel at ground level, recalling the successful street-scape of the Lijnbaan as well as generating the culture of congestion Koolhaas describes in his Parc de la Villette competition entry. As with the office and hotel accommodation, the atrium aspect of the program derives from Koolhaas’ text ‘Generic City’, and is just as vital to the buildings Koolhaas describes in his manifesto for the future city.

“The atrium is void space: voids are the essential building block

of the generic city. Paradoxically, its hollowness ensures its very physicality, the pumping up of the volume the only pretext for its physical manifestation.” The granite floor of the atrium alludes to it monumentality, and is represented in the same way in which marble is represented in Madelon Vriesendorp’s depiction of the City of the Captive Globe in Delirious New York.

The offices in the scheme recall the intensity in terms of both produc-

ing and going, assumed the presence of other important accommo-

tivity and working hours of the Central Business District skyscrapers

dation elsewhere. Hotels are now containers that, in the expansion

born in the United States, compacted on identical floor plates stacked

and completeness of their facilities, make almost all other buildings

vertically create the culture of congestion together with the flexi-

redundant ... The hotel now implies imprisonment, voluntary house

bility that Koolhaas describe in the skyscrapers of New York. They

arrest.”

have an energetic, dedicated atmosphere that reflects the culture of

In this sense, the hotel room is the ultimate state of work, where the

work withing Rotterdam. The immense verticality together with the

displacement form home and lack of escape from work can often

compact floor plates emphasises, pressurises and heightens this con-

lead to burnout, something common within OMA.

dition, creating a ‘hyper-work’ aura, like that of OMA.

Again, my imagery bears conceptual and literal references to OMA

In the ‘Generic City’, Koolhaas states that the hotel is becoming the

co-founder Madelon Vriesendorp’s paintings in the ‘Manhattan Proj-

generic accommodation of the city:

ect’ series, one of which, Flagrant Delit. 1975, was included on the

“That used to be the office - which at least implied a com-

cover of Delirious New York.

Below: Hotel room perspective collage. Left: Office perspective collage. GC2.3+GC3.1+2+3, GC5.1

Above: 1:2500 site plan showing our groupâ&#x20AC;&#x2122;s masterplan in relation to its immediate surroundings. GC1.1+3, GC4.1+2, GC5.3

Due to the autonomous, stripped nature of our masterplan, with each strip

ing spaces being created, and the exploitation of voids in sparsely populat-

containing widely different themes and programs, the project as a whole

ed areas of the site. These design moves derive from the ‘unprecedented

had become almost a series of ‘petri-dishes’, which gave each individual

events’ that Koolhaas talks about in the Parc de la Villette competition

scheme a linear site in which to sprawl out on. As our buildings began

scheme, and lend the masterplan areas of visual and programmatic coher-

to develop we worked as a group in accordance with the masterplan, to

ence, as well as some areas of tension - which is almost more important

‘re-articulate’ our designs to respond to the strip directly adjacent to it, as

to the masterplans nature, as part of its commentary on what defines a

well as the plan as a whole. This lead to buildings being aligned, interest-

metropolis.

Left: Model photograph showing the group masterplan from the east edge of the basin. Below: Model photograph showing my scheme in the context of the masterplan, as well as in relation to De Rotterdam and Wilhelminapier. GC1.1+3, GC4.1+2, GC5.3

Above: 1:5000 site section/elevation showing our groupâ&#x20AC;&#x2122;s masterplan in relation to Rotterdamâ&#x20AC;&#x2122;s cityscape, in particular the Euromast, Wilhelminapier and the Erasmus Bridge. GC3.1+2+3, GC4.1+2, GC5.3

Above: Collaged photograph showing how the proposed masterplan continues the skyline of Wilhelminapier, from the north bank of the river by the Erasmus Bridge. GC4.1+2, GC5.3

Right: 1:5000 site plan showing our groupâ&#x20AC;&#x2122;s masterplan in relation to the Maashaven basin, and the wider context of Rotterdam. GC4.1+2, GC5.3

The autonomy of the strips is interrupted by a boulevard which perpendicularly dissects all 12 strips. This links all the strips, emphasising the stark changes in program for those travelling along the island. The boulevard links the masterplan back to the Maashaven Metro stop, which links the island back to its wider context along with a cycle path from the Katendrecht to the Tarwewijk. With its density and verticality, our masterplan directly responds to the Wilhelminapier, and together with it starts to shift Rotterdamâ&#x20AC;&#x2122;s architectural centre to the Kop van Zuid. GC1.1+3

SEMESTER 1 REFLECTIVE CONCLUSION 40

The main way in which my approach to architectural design has changed

refining one particular style of presenting my final scheme, I have used

this semester has been a shift in focus toward design as a product of

more relevant precedents to inform the visual style, which helps convey

research, not just of singular buildings but the wider contexts of the

some of the theories that I have consulted upon in the design process.

movements, histories and theories that they derive from. The ‘Tools for

This has lead to me presenting a more convincing argument when pre-

Thinking’ lecture series has open me up to wider breadth of architectural

senting my final outcome, as the visuals connect more strongly with the

theory and research, which has encouraged me to expand on my knowl-

narrative than in some of my previous projects. I am looking forward

edge of the architectural contexts that my designs take place. This has

to exploring representation within architecture further in my linked re-

lead to clearer design decisions and has helped in ‘unlocking’ problems

search project, which will explore themes of the visual aspect of archi-

with the scheme. I feel that this has been a constructive approach at

tecture in greater depth.

the urban city scale, in reacting to the context as a whole. I am looking

As the main project in semester 2 will focus more on the detail and

forward to testing this approach at the detail scale, exploring how a re-

construction of architecture, I have become more acutely aware of and

search-led approach can inform it, whilst retaining rigorous pragmatism.

intrigued by how buildings are read at different scales, and whether the

In ‘Plan Rotterdam’, I have learnt to take a ‘critical approach’ to the

same narratives run all the way through. This will be something I will

building’s context, themes and program, exploiting my observations

investigate in my design work, but also in my Tools for Thinking essay,

through the architectural scheme itself. The approach of generating a

in which I am looking at how a building can be ‘re-read’ after a new

form from an abstract diagram, with the insertion of program coming

building is built to adjoin it. I will be looking at how different ‘readings’

later on in the process was a reverse of my usual ‘program-first’, form

of a building happen at different scales, and how architects achieve (or

follows function approach. This was a way of designing which was out

don’t achieve) a coherent narrative throughout.

of my comfort zone, and whilst it presented itself with some problems,

Taking these interests and priorities into the second semester will hope-

left a flexibility in the nature of the program which allowed it to change

fully help inform my process and outcomes. However, I think it is im-

as my stance on the subject topic became more informed.

portant to explore new and different ways of approaching design, to gain

As research has become a more prevalent tool in my design, I have come

a breadth of techniques and avoid my outcomes becoming repetitive or

to reflect this more and more in my presentation work. As opposed to

stale as a result of a 1 dimensional process.

In semester 2 I worked in the ‘Spectres of Utopia and Modernity’ studio;

ed a high level of technical and environmental resolution, which was

which, as a group of 7 students, aimed to recuperate utopia and moderni-

to be in keeping with the design and thesis of the project. This added

ty in a choice of 1 of 8 selected buildings, all constructed in the modern

an additional layer in which to express my concepts within the project,

period between 1900-1960.

building on what I had learnt in Semester 1.

My project centred around the Groot Handelsgebouw, constructed as

The shift in focus in this project also demanded a different and more

a wholesale building immediately after WWII. My project explored

varied representational style than the project in Semester 1, which chal-

themes including Modernity vs Postmodernity in architecture, the struc-

lenged me again to think differently about how I represent my ideas and

tural frame and twinphenomena, culminating in a design which was thoroughly

“close attention at various scales”

design through drawings. As a result of the intense design process my proposal was developed

grounded in research and a wide array of architectural theory.

under, the outcome was comprehensively resolved at a wide range of

I looked at the writings of architects and architectural critcs including

scales, right from the urban and the social, down to the technical and

Aldo van Eyck, Herman Hertzberger, Louis Kahn, Robert Venturi and

the human. Part of this was due to my interest in architectural concepts

Colin Rowe. This gave me a good critical standpoint to both analyse my

running throughout all scales of the project, but was also a necessary re-

existing building, as well as proceed with an intervention that reacted in

sponse needed to tackle an exceptionally large building, which required

keeping with my research and visceral instincts.

close attention at various scales to achieve a considered result, which

As well as a solid grounding in architectural theory, this project demand-

truly engaged with the buildings size.

SEMESTER 2 CRITICAL INTRODUCTION 43

SEMESTER 2 RE-MATERIALIZE ROTTERDAM For this project, I was part of the ‘Spectres of Utopia and Modernity’ studio, which was again based in Rotterdam. After choosing a building in the city built between 1900-60, we were assigned the task of identifying elements of the original building which we considered to be ‘Modern’ in terms of Jurgen Habermas’ text: Modern and Postmodern Architecture, 1981. This lead to attempting to identify any utopic desires of the original project, informed by various texts on the subject and the building itself. Following this, we set about attempting to recuperate Modernity and utopia in our buildings. The existing building I choose was the Groot Handelsgebouw, designed between 1946-53 by Hugh Maaskant and Willem van Tijen, located in central Rotterdam, by the train station. To inform my project, I followed closely writings Dutch Structuralists Aldo van Eyck and Herman Hertzberger, as well as numerous other architects and architectural critcs.

“attempting to recuperate modernity and utopia”

Right: Model showing the south facade of the Groot Handelsgebouw, the existing building worked with in this project // Dowel and cardboard.

For the first week of the project, I participated in the ‘Thinking Through Making’ week, which engages the whole school in making workshops, experimenting with new materials that aren’t typically associated with architectural building. These included Jesmonite, expanding plastic foam and aryldite containing coloured pigment. One of the workshops I engaged most with was an exercise that involved feeling materials without seeing them, and then describing what those materials reminded me of, and how they made me feel. This added another dimension to the they way in which I think about materials within architecture, and helped in my material selections later in the project, especially when concerned with addressing an emotional functionalism.

Above: Final exhibition of ‘Are you Listening’. Far left: Plastic foam joint. Middle left: Broken cup fixed back together with gold aryldite. Near left: Jesmonite plate.

Bergpolder Flats

Bijenkorf

Site Site

Program

Solid/Void

Circulation

Boundary

Structure Solid/Void

Van Nelle Fabriek

Program Site

Program

Geometry

Circulation

Structure

Enclosure

Circulation

Enclosure

Spangen Quarter

Housing De Eendracht

Lijnbaan

Site

Program

Site

Enclosure

Entry

Circulation

Site Pattern

Program

Solid/Void

Boundary Solid/Void

Public Access

Site

Program

Solid/Void

Circulation

Geometry

Public Access

Following an intense period of reading and researching the modern movement and how it changed during the courses of WWI and WWII, as well as how it progressed into Postmodernity, we researched as a studio a set of 8 existing buildings in Rotterdam which were built between 19001960. We studied these buildings through a series of analytic drawings based on those drawn by Richard Meier, highlighting structure, enclosure and circulation among other key features of the buildings design. We then choose a single building to study throughout the semester, which we would research more closely before subsequently designing an intervention for. I chose the Groot Handelsgebouw, designed as a Wholesale building immediately after WWII by Hugh Maaskant and Willem van Tijen, the building now operates as offices for over 100 companies, a program which I kept, whilst making significant changes to the way in which it worked within the building.

HandelSgebouw Groot HandelSgebouw

Site

Program

Geometry

Circulation

Structure

Enclosure

Top left: Diagrams studying a selection of key buildings built in Rotterdam between 1900-1960, informed by Richard Meierâ&#x20AC;&#x2122;s analytic drawings. Above: Set of 6 diagrams studying the Groot Handelsgebouw.

Below: Hand drawn existing elevation with original window panels. Bottom: Existing elevation drawn without window panels to reveal frame. Bottom right: Construction photographs of Groot Handelsgebouw, showing in-situ concrete frame. Right: Lincoln Centre, New York, NY Lower right: East facade of Groot Handelsgebouw.

Whilst studying the Groot Handelsgebouw, I

lieved this architecture was more closely associ-

was quickly drawn to the relationship between

ated to the ‘Mannerist Modernism’ described by

the buildings heavy concrete frame and its win-

Robert Venturi in Complexity and Contradiction

dow-panel infill. After studying many buildings

in Architecture, and seen in the architecture of

of the modernist period which had bold, honest

Philip Johnson among others at the Lincoln Cen-

structural frames, I read the structural frame as the

tre, New York. I felt that these decorative panels

‘truth’ of the existing building, which the decora-

had in part led to the buildings facades as reading

tive infill panels took away from, particularly on

as very still, quiet and uninspiring. I found there

the east facade, where the panel protrude in front

to be much more life and dynamism in the con-

of the columns. While this building appeared to

struction photographs, which show the buildings

have some of the tell the tale signs of a modern

in-situ concrete frame before the decorative pan-

building, after closer study, they appeared to be

els were inserted. I believe these images reflect

mere tropes of Modernism, which had become

more the ‘bustling hive of activity’ Hugh Maas-

confused with the ornament of shops fronts. I be-

kant intended the building to be. 51

Following my initial observation on

citement of the frame that was sub-

the buildings frame and infill, I made

sequently left behind. This led me to

the design decision to remove what

look at a lot of work of the Construc-

I considered to be decorative win-

tavists, as well as explore the origins

dow panels from the existing build-

of the structural frame in Chicago,

ing. Following this, I explored in

IL. Reading Colin Rowe’s essay on

drawings and models what would be

th Chicago Frame drew my atten-

left behind after the removal of the

tion to the way in which a structural

pre-cast concrete modules, which re-

frame can merely ‘puncture’ as space

vealed that pre-cast concrete panels

as opposed to shape it, and the draw-

covered the actual structural columns

backs that this had in the architecture

of the building. The faux columns

of many of the early skyscrapers of

created greater support my analysis

Chicago. Due to this, I wanted the

of the building as ‘Mannerist Mod-

structural frame of my building to

ern’, almost Postmodern, in design. I

shape the layout of the design, rein-

also examined the dynamism and ex-

forcing and not infringing it.

Top left: Constructavist drawings by Iakov Chernikov. Top right: Reliance Building, Chicago, IL. Left: Model photos showing building with and without existing infill panels. Above: Structural

Previous Module

Joe Dent ~ Spectres of Utopia and Modernity

frame of building, showing single module with existing infill panels.

After analyising the building in both plan and section, the overwhelming repetitive nature of the column grid was clear. This led to the building being very rigid and monotonous in both plan and section, with no level changes moving through the building, and very little variation in spaces, both internal and external. Referring to the dynamic nature of the structural frame in Constructavist artwork as well as building precedents (included the METU Campus architecture building), I began to subtract from the building, both in plan and section. The aim of this move was to open the building up more to the city, as well as internally, which would allow more air and light deeper into more varied internal and external spaces.

Existing Drawings / Referen Existing Drawings / Referen

Joe Dent ~ Spectres of U Joe Dent ~ Spectres of U

Existing ExistingDrawings Drawings//Referen Refere

Joe JoeDent Dent~~Spectres Spectresof ofU

Top left: Existing long section, hand drawn. Upper left: Existing upper floor plan, hand drawn. Far left: Iakov Chernikov, Architectural Fantasies 101 series. Lower left: Internal photograph of METU Architecture building. Above Right: Exploded isometric showing subtraction of panels and structure.

Left: Existing site plan. Below left: Development drawings showing possible routes through the building as well as plan subtraction proposals. Below right: Piet Blom’s ‘Noah’s Ark’ project. Bottom right: Sicilian Avenue, Holborn, London.

Existing Drawings / References/ Strcutural Diagrams Existing Drawings / References/ Strcutural Diagrams

Joe Dent ~ Spectres of Utopia and Modernity Joe Dent ~ Spectres of Utopia and Modernity

In deciding where to subtract from the

occupants of the building itself. This sub-

building in plan, I worked intensely at

traction was informed by the work of both

an urban scale, researching how the ur-

Piet Blom and Aldo van Eyck, who creat-

ban space had around the building had

ed complex networks of interconnected

changed over the buildings lifetime. A key

neighborhoods, with varied public spaces

change recently was the encroachment of

throughout. Both Blom and Van Eyckâ&#x20AC;&#x2122;s ur-

the new train station into the public square

ban designs were informed by Amsterdam

to the Groot Handelsgebouwâ&#x20AC;&#x2122;s east. After

suburbs they knew well. Therefore, as well

comparing photographs and plans of this

as mapping routes through the site, I over-

change before and after, I observed that

layed maps of various villages of London

this public space had been weakened by

that I knew well, as a way to start subtract-

this shrinkage, something I observed when

ing from the building to create more diverse

I visited. This informed my decision to

public spaces, like the ones I encountered

open the courtyards of the building up to

living in London. After the subtraction, it

this space, to extend it, and create a mean-

became clear that my intervention had to

ingful series of varied public spaces within

connect and infill between some of the ar-

the plot of my building. These spaces could

eas of building which remained, but in a

be easily accessed by tourists and locals

much more diverse and dynamic way than

emerging from the trains station, as well as

before, both internally and externally.

Below: Model photo of Amsterdam Orphanage, Aldo van Eyck. Opposite: Proposed site plan, 1:2500

In designing the intervention to the building I studied close-

cerned with the well being of the individual, as opposed to

ly the readings and buildings of Aldo van Eyck, in particular

the ‘strict functionalism’ characterised in many modernist

his writings on the vast number and twinphenomina in ar-

projects, which could be seen to alienate the occupant.

chitecture and his Amsterdam orphanage project, which was

My structural infill aimed to set out to complete a com-

a clear expression of his theories in these texts.

plex landscape along with the remaining building, that the

Van Eyck states that in buildings with repetitive elements,

module could be dispersed throughout, to try and generate

the original element must be of sufficient quality to be re-

emotional functionalism in the building. The new build was

peated - to avoid monotony of the element within the build-

to be set at half levels to the existing, approaching and oc-

ing - something I felt the original buildings module lacked.

casionally connecting to the old building, whilst shaping a

Once an initial module is designed, it can be repeated

diverse series of urban spaces in-between.

throughout the rest of the building in various configurations.

I devised the new structure to be set out on a grid of 3.6m

Van Eyck believed that if the initial set of elements in the

column centres, half that of the existing buildings 7.2m col-

initial module could be related to and understood by some-

umn centres. This move was to break the building down

one within the building, before being rolled out in complex

from what I felt was a very much an automobile scale, to a

and varied patterns throughout, the individual would relate

smaller, more relatable human scale.

to the building more deeply, through understanding of a

The new buildings and spaces in-between in my proposed

complex whole, a ‘labyrinthine clarity’ which avoids mo-

designed start to resemble much more the old city to the

notony but does not overwhelm with disorientation. These

north of the station as opposed to large masses and voids to

complex patterns allow more variation in plan and section,

the south. This was an intentional move to create at atmo-

which creates a more diverse sets of spaces for the occupant

sphere within the plot which felt more like the dense bus-

to experience. Van Eyck valued these qualities in architec-

tling spaces of the old town, and less like the sparse voids

ture as he felt it addresses an ‘emotional functionalism’ con-

of the new.

Following Van Eyck’s writings of twinphenom-

persed throughout the building with an internal

ena - countering the big with the small, the vast

‘street-scape’ in-between. The aim was to create

number - designing a module of good enough

a module suitable focused work, with the street-

quality to be repeated, as well as in keeping the

scape suitable for noise, encounter and relaxation,

nature of the project - centred on the detail, I de-

without the two very different requirements of

signed a 1 person working module. This was the

these spaces diluting one another, as they do in

first in a series of modules all to be constructed

most contemporary offices.

from the same set of parts. The module was sep-

The design of the module was heavily inspired by

arated both acoustically and thermally, so as to

Mondrian and the artists involved in the De Stijl

create a specifically controlled environment for

movement, who used grids to create dynamic and

the occupant. These modules would then be dis-

varied compositions.

Opposite: Exploded axonometric showing all the components of the 1 person module. Above: ‘Kit of parts’ for the 1 person module. Right: Piet Mondrian, ‘Composition with Large Red Plane, Yellow, Black, Grey and Blue,’ 1921.

Upper left: Module plan, 1:50. Far left: Module section showing artificial lighting and services.

Below: Module section showing natural

daylighting.

Right: Module section show-

ing heating and ventilation. Le Corbusierâ&#x20AC;&#x2122;s Modulor Man.

Far right:

The 1 person module has interior of dimensions

can be opened and have interior shutters, so nat-

of 1475x1475mm, so that 2 fit within the new

ural light levels can be adjusted as desired. As

column grid and 4 fit within the existing column

well as a general light, there are task lights for

grid. For a space of this size to be both a com-

both seats, both positioned to avoid glare. The

fortable and pleasant environment to work in, I

module can be heated via electric underfloor

referred to Le Corbusierâ&#x20AC;&#x2122;s Modulor as well as re-

heating, as well as naturally ventilated via air

cent ergonomic desk work studies to determine

vents which connect to those of the new facade

furniture heights within the module, which has

of the building. The module also has electricity,

a desk, 2 different sitting positions and storage,

phone and Internet access. The aim of the module

as well as levels at different heights for leaning,

was to design a utopic space for working, which

working or reading in different positions. The

is closely related to the human body to create a

module has 2 different windows, both of which

feeling of intimacy, within a vast building. 63

The desire to have bespoke joinery within the module came from a wish to create a sense of specific fitness for purpose, with quality in mind, in a counter act to low quality, default furniture that populates many offices spaces. For this, I drew on the designs of Louis Kahn furniture at both the Fisher House, and Exeter Library. I felt that both of these captured the sense of utopic work space I wanted to create, with close attention to detail, material and natural light. The planes and visible structure in my own furniture also possessed influences from the De Stijl movement.

Below left: Exploded axonometric of the low seating joinery. Below middle: Exploded axonometric of the desk joinery. Below right: Exploded axonometric of the chair. Opposite top: Joinery at the Fisher House. Opposite bottom: Joinery at Exeter Library

Furniture Assembly

Below/opposite: Full range of modules to be positioned throughout the building. Below right: Herman Hertzberger’s studies of ergonomics and the module.

Following the design of the 1 person working module, and establishing a kit of parts that could be perceived and related to within it, I designed subsequent modules required in the building, using the same kit of parts, in different numbers and configurations. These included working spaces for 2 or more people, meeting spaces, as well as retail spaces for the ground floor, which was to remain as public shops and cafes. These further modules added complexity, program variation and architectural richness to the design, without losing the relatable essence of the first module. The range of spaces created were influenced by Van Eyck’s Amsterdam Orphanage as well as Herman Hertzberger’s Centraal Beheer, an office building in Amsterdam. 66

Existing

Subtraction

New Structure

Landscaping

Modules

Following the design of the modules, I dispersed them to create an example layout over an upper and ground floor plan. The intention for the building was for businesses to rent the specific amount of modules they needed, so that their workspace expanded and contracted as they did, making the building rapidly responsive and flexible to their needs. The individual nature of the module, together with the large scale of the building, meant that all businesses, from self employed start-ups to multi-national corporations could be based alongside one another at the Groot Handelsgebouw. My references for the layout of the modules included the Centraal Beheer and Archizoom’s No-Stop City, both of which employed grids and modules dispersed in plan to create very different spaces. A facade system was designed to enclose the modules in a climatically controlled ‘street-scape’.

Opposite Top: Narrative Diagrams. Opposite left: Centraal Beheer, Herman Hertzberger. No-Stop City, Archizoom. Exploded isometric showing key structural components -modules, facade, new-build and existing.

The ground floor plan shows proposed intervention

Rotterdam, which I felt had a real feeling of sparsity,

within the Groot Handelsgebouw, with retail and cafe

partly as a result of its poor open spaces. Inspired by

modules only featured on this level, it is completely

the Amsterdam Orphanage as well as Kevin Rocheâ&#x20AC;&#x2122;s

public, and designed to bring both tourists and locals

Ford Foundation Building, the spaces in my design

alike into the building. from the train station and the

feature a rich range of surface materials, seating and

city centre. The public spaces between the buildings

play areas designed as places of encounter, built

range in size and atmosphere, with some having a

homecoming withing the city. I feel that these spac-

real civic feel, and other much more private. I felt

es rejuvenate the feeling of monumentality and opti-

that creating quality public space was so important in

mism the building once possessed.

Below: Proposed ground floor plan, 1:500. Right: Courtyard of Amsterdam Orphanage, Aldo van Eyck. Far right: Courtyard in the Ford Foundation Building, New York, NY.

Some of the larger public spaces created has more of an open, civic feel, with lots of space for events and activities, possible for large social gatherings, making it a valuable space for the city - for tourists and residents alike. The materials for the exterior make up a palette of natural materials, with different surfaces defining different kinds of space. The quality of the materials also define the spaces as monumental places of gathering and encounter in the city. The palette for the building itself is made up cooler, rougher materials including polished concrete, brushed steel and glass for the street-scape, and warmer materials including American cherry timber for the modules. These give a rougher, edgier feel to the interior streetscape, contrasted to the cosier more intimate feel to the modules.

Cream Travertine Tiles

White Marble tiles

Water

Grass

Planting

Soil

Main exterior floor

Exterior Water platforms

Small Exterior Pond

Exterior Grass

Exterior Planting Beds

Tree Planting

900x600mm

75x75mm

Pre-weathered Steel

American Cherry Timber

White Painted Timber

Polished Concrete

Brushed Steel

Glass

Beams and Columns

Module Panels

Ceiling Boards

Interior Floors

Street-scape Module Frame

Infill

Above: Render of a larger area of public space. Opposite: Material palette for the key materials of the exterior and interior spaces.

Above: Render showing proposed public courtyard.

Opposite: Tell-the-Tale detail showing

new-build intermediate floor construction, 1:10.

For the new build elements of the building I

meant that the new-build structural frame

used a steel structural frame. To emphasise

and therefore grid, was almost entirely vis-

the structure as the ‘truth’ of the building I

ible, inside and out. The impact of the thin

wanted the steel structure to be read both

steel frame next to the existing, over-engi-

externally and internally. To achieve this

neered concrete frame starts to reveal the

without creating a cold bridges through the

exciting possibilities of the frame, whilst

structure, I used two C beams, mirrored to

honestly declaring the structural strategy of

work like an I beam, with rigid insulation in

the building. This becomes even more evi-

between to create a thermal break. Likewise

dent in the small courtyard spaces, that are

for the columns, I used two T beams mir-

strongly defined by the frames of the various

rored to read as an ‘+’ shaped column. This

sections of buildings enclosing them,

In the upper floors of the building modules can be

can relax, eat lunch, converse and generally inter-

rented by companies and laid out in infinite config-

act with one another, without disturbing people

urations according to their requirements. My lay-

working in the sound-proof modules. These in-be-

out of the 3rd floor plan was informed by some of

tween spaces are populated with movable seating,

the complex patterns of the Dutch Structuralists,

games tables and other street furniture, to create a

including Herman Hertzberger at the Centraal Be-

dynamic and varied environment. The street-scape

heer. The street-scape in between is open to all who

not only provides a landscape for employees to get

work in the building, giving it the genuine inter-

to know each other better, but also business people

action, buzz and atmosphere of an intimate street-

from different companies to network and discuss

scape in the city. Here, occupants of the building

possibilities.

Below: 3rd floor plan - Example of work floor layout, 1:500. Bottom right: Pattern development for Centraal Beheer.

As the building progresses up, through subtraction, the floors taper in and reduce in area. Although this reduces the overall GIA of the building, this move allows more natural light to lower levels, as well as diversity in spaces between levels. These open streetscapes can then be populated with modules in infinite combinations and configurations as shown in the plans previously. A key reference in designing the floor plans, as well as the layout of the modules, was the Amsterdam Orphanage, which features a diverse range of spaces, large and small, public and private, with varying thresholds in-between them. For Van Eyck, these thresholds were as important as the spaces themselves, as their liminal experience aligned closely with the human condition of ambiguity.

6th Floor - 1:1000 0 1 2

0 5 10 10

7th Floor - 1:1000

0 5 10

5th Floor - 1:1000 8th Floor - 1:1000

5 10 20 20 0 50 10

40 40

9th Floor - 1:1000

80 80

3rd Floor - 1:250

0 1 2

Floor - 1:1000 7th Floor 4th - 1:1000

0 5 10

20 0 5 10 4020

0 5 10

5th- Floor 1:1000- 1:1000 3rd Floor - 1:2508th Floor

0 5 10 0 5 10 20

0 5 10

0 5 10 20

20 40

0 5 10

0 5 10 20

20 40

Upper Floor Plans

Dent ~ Spectres of Utopia and Modernity

Floor - 1:1000 6th Floor -2nd 1:1000

0 5 10

0 5 10 20

20 40

Floor - 1:1000 7th Floor4th - 1:1000

Upper Floor Plans Joe Dent ~ Spectres of Utopia and Modernity

3rd Floor - 1:250

1st Floor - 1:1000

0 5 10

Floor - 1:1000 6th Floor -2nd 1:1000 0 1 2

6th Floor - 1:1000

0 5 10

Upp Above: Floor plans (ascending left: 1st, 2nd, 4th,

Joe Dent ~ Spe

5th, ascending right: 6th, 7th, 8th, 9th) 1:1000. Far left: GA of Ground floor plan of Amsterdam Orphanage. Near left: Zoomed in ground for plan and sections of Amsterdam Orphanage.

Through my subtraction and subsequent

an optimal working environment. The

intervention to the building, I created a

new facade in the existing structure is set

much more dynamic section, in which the

back from the original position, this move

spaces and spatial transitions and much

was primarily made to declare more em-

more varied and meaningful, and the is

phatically the original structure of the

greater change in levels as well as visual

building, to achieve an effect much closer

and physical connection between them.

to the construction photographs that show

The close attention to level change is not

the bold frame as the principle element of

limited to the inside of the building but

the building. This also allows insulation

also articulated in the public realm to cre-

to wrap on the inside of the existing col-

ate more meaningful spaces. In this way,

umns, creating a thermal break to stop the

the building has become an exciting land-

existing cold bridge. The cold bridge of

scape for the modules to be set into, right

the exposed floors is resolved by insulat-

in amongst the bustle of the building, yet

ing both the floor and the soffit, so each

separated thermally and acoustically, for

space is insulated individually.

Bottom: Proposed long section, 1:500. Below: Tell-the-Tale detail of join between the new and the old building, 1:10.

Below: Elevation showing new facade within the existing frame, 1:25.

Opposite bottom:

Section showing module clipping on to facade, 1:25. Opposite left: Infill at Salk Institute, CA, Louis Kahn. Opposite right: Facade at Ford Foundation Building, NY, Kevin Roche. Opposite middle: Facade of Amsterdam Orphanage, NL, Aldo van Eyck

The emphasis of the existing structural frame can be seen in the proposed elevation of a single column width. For the facades themselves, I have employed a glass and steel system, which fixes between a concrete up-stand and the soffit. The frame of the facades is informed by the levels of the working module, which were determined my Le Corbusierâ&#x20AC;&#x2122;s Modulor Man. Therefore, all the facades of the building achieve a human scale, as well as acting as a frame for the modules to be bolted into, and then removed when necessary.

Below: Integrated section, 1:50. Left: Tell-theTale detail showing join between the new and the old, 1:10, Bottom: Centraal Beheer, Herman Hertzberger.

The integrated section revealed the visual and physical con-

The services of the building all revealed, running along the

nectivity between the half levels of the new build structure

buildings exposed frame. This means that modules can be

alongside the existing, as well as the environmental consider-

simply ‘plugged in’ to the services via the frame, and there-

ations of the street-scape. Air vents running along the entire

fore the frame becomes the ‘life support’ of the building in

top and bottom of the facade allow single sided and cross

more than just its structural capacity.

ventilation in areas of up to 6m and 10m respectively. In areas

The join between the new and the old building is made by a

larger than this, joinery units which act as heating, contain

steel beam that reaches out and joins onto the existing col-

a mechanical ventilation system for that space. The street-

umn at its midpoint. This clear join enables the new build to

scape can then be heated via a heating unit within the seating,

be read as simply sitting alongside the old, touching it but

as well as by the substantial solar gain possible from the large

not permeating into it. Together, the two structures create a

areas of glazing.

harmonious and dynamic landscape for the modules to be

Plant can be positioned in the half height spaces at ground

dispersed throughout. Due to this, it is the clearly perceived

level in the new structure, which can all be accessed from the

parts of the modules that are the same throughout the building

exterior as well as interior. For any larger plant that requires

and therefore unify it, satisfying the individuals understand-

more room, modules can easily be removed to create space.

ing of the whole, through the individual.

For the new build elevation, it was possible to use different section of steel to allow the structural frame to be read inside and out. The width of the steel elements, nearly 3 times thinner than the concrete columns of the original, help define the new structure from the old. C beams were used to create depth and shadow in the elevation, avoiding the ‘flatness’ of many contemporary building constructed in a steel frame. The columns on the interior were ‘+’ section, to allow the modules’ corners to fit easily into them, and to emphasize the grid within the building.

Above: New build elevation,

1:25, Opposite

left: Module connection to new build facade, 1:25. Opposite right: Mechanical vent/heat system connection to new build facade. Opposite bottom: Render showing new build street-scape.

Due to the designs complexity, adaptability and in-

urban to the individual, I have attempted to unlock the

finite configurations, the building becomes a really

buildings vast possibilities, breaking away from the

dynamic and varied series of spaces that will change

monotonous repetition and autonomy that character-

throughout the day as well as over the years. Opening

ized the building before. The bespoke and innovative

the building up to create more facade area allows not

program of the building also allows it to be much more

only more ventilation and solar gain, but also much di-

agile in adapting to businesses needs. This new way of

rect sunlight and daylight into the building, to make it

working feels appropriate to be tested in Rotterdam,

much more connected to the outside world as the light

characterised as a â&#x20AC;&#x2DC;city of workâ&#x20AC;&#x2122;. This optimistic de-

changes over the course of a single day. Through tack-

sign attempts to transform the nature of work from a

ling the building at a diverse range of scales, from the

dry, stale state, to one that is vibrant and full of life.

Below: Section showing new facade in existing structure, as well as joinery containing mechanical ventilation and a heating, 1:25. Opposite, Interior render showing atmosphere of the streetscape in the converted existing building.

SEMESTER 2 TECHNICAL PORTFOLIO For the 2nd semester design project ‘Re-Materialize Rotterdam’, building technology was to be at the forefront of the design process, fully integrated into the final proposal. All of my technical work has been included in project section, as it is required to support the design thesis. This section of the portfolio supplements the previous section, showing precedents, products and details that have informed my technical and environmental design.

“precedents, products and details”

Right: Image showing the interior facade of the Ford Foundation Building, New York, NY, designed by Kevin Roche.

Construction photo of the existing building showing steel reinforcement to concrete columns

Groot Groot HandelSgebouw HandelSgebouw

As for this project I was intervening in an ex-

as the building turns the corner, over-engineered

isting building, it was important to properly un-

and further upsetting the building layout.

derstand the structure, materials and build ups in

The key thing I identified early on was in-si-

the existing, before designing my interventions.

tu, steel reinforced concrete frame. Due to the

I researched the building intensely, finding con-

buildings original function as a wholesale build-

struction photographs, details, plans, section

ing, the structure was over engineered to allow

and 3 dimensional drawings, before producing

for heavy goods and machinery to be dispersed

analytical drawings and models myself. The

throughout the building. The interior columns

Groot Handelsgebouw is approx 220x85m in

were octagonal and 850mm in diameter, exte-

plan, with 9 stories. The building cranks in ac-

rior columns were rectangular and 600x600mm

cordance with the main road that runs along the

in dimension. The columns were on 6700mm

south perimeter of the site. This crank disrupts

centres. Floor to ceiling height is approximately

the column grid, which is not elegantly desired

3200mm.

SiteSite

Program Program

Geometry Geometry

Circulation Circulation

Structure Structure

Enclosure Enclosure

Analysis drawings of the Groot Handelsgebouw

Model of the existing structure of the Groot Handelsgebouw, 1:500, dowel and cardboard

r red

ral e erti-

the Groothandelsgebouw building, much like a system of connected vessels which can transfer potential to the weaker functions present. There are greater chances for different people groups to integrate when access is shared between different functions.

Existing upper floor plan

GROOTHANDELSGEBOUW Hugh Maaskant 1953, Rotterdam

VERTICAL CONNECTIONS

All of the functions present share vertical connections at the Groothandelsgebouw building, much like a system of connected vessels which can transfer potential to the Existing ground floor plan weaker functions present. There are greater chances for different people groups to integrate when access is shared between different functions.

INTEGRATED PUBLIC GATHERING SPACE

All of the functions present share vertical connections at the Groothandelsgebouw building, much like a system of connected vessels which can transfer potential to the weaker functions present. There are greater chances for different people groups to integrate when access is shared between different functions.

Isometric of existing building envelope

between different functions. In terms of scale, the Groothandelsgebouw building is quite

massive due to the fact that it contains several functions that would typically be found in a more sprawling city block - it is truly a city within a building regarding scale.

between There different are severalfunctions. different functions present at the Groot-

handelsgebouw building such as: shops, ofces, restaurants, and dwellings. Presently, there are over 160 tenants in the Groothandelsgebouw building, which means that there is a wide range of functions present in the building.

In terms present large to For exam of ofce

GROOTHANDELSGEBOUW BUILDING

Exploded Isometric of the existing building, showing floor plates and envelope DWELLINGS

OFFICES The ground, first and ninth floors are unique in shape, with the re-

maining upper floors identical to one another, ‘pancaked’ on top of

one 5 another. FUNCTION The floors are madeINTEGRATION up steel-reinforced in-situ concrete,

URBAN DENSITY

therefore becoming an inherent part of the structure along with the

The Groothandelsgebouw building is located in the dense urban context of Rotterdam. The building seems to respond and positively impact the surrounding context. For example, public gathering spaces in the form of lobbies have been placed at nodes corresponding to the site context.

Somebeams. of the functions are integrated at the Groothandelsconcrete

gebouw building. For example, the triple-height main lobby

The offers infill within the frame isofalmost entirely made up ofthe slight varivisual integration different functions across

ations ofpresent. the sameOtherwise, window module, which houses 7 lights of within a void there is no physical integration

functions present. pre-cast concrete frame. The centre glass panel can be opened by the occupier.

NO CONNECTION (VISUAL OR PHYSICAL)

Large scale plans show that the exterior columns of the building are covered byVISUAL pre-castCONNECTION concrete panelsONLY , hiding the true structure of the building on the exterior.

PHYSICAL CONNECTION

Exploded Isometric of the existing building, showing columns and circulation cores.

Photograph of the Groot Handelsgebouw from the east, shortly after it completion, 1953

Zoomed in area of the existing upper floor plan, showing the layout designed by Arconiko

Current photograph of the Groot Handelsgebouw from the south east.

Photograph showing an internal courtyard of the existing building

As well as the C sections that cover the columns, other pre-cast elements include the walkway floor panels in the interior courtyards, the brise soliel panels on the exterior south facade windows, and decorative panels on the east facade. These pre-cast concrete elements would have been included in the design due to their quick manufacturing times at the end of WWII, but seem to reduce the quality of the buildings, adding decoration and hiding structure, which cover up some of the honest, modern aspects of the building. My intention was to remove the vast majority of these elements, to strip the building back to its structural frame. Flying buttresses and copper flashing add to the elements that feel more postmodern than modern, and therefore needed to removed to unveil the modern nature of the buildings structure.

Photograph showing the internal courtyard windows and walkways.

Detail of the pre-cast concrete C sections that cover the columns

Photograph of existing windows and pre-cast concrete column cover

Photograph of flying buttresses and copper flashing at roof level of the existing building

Photograph of existing windows of the east facade

Custom crane used to remove pre-cast concrete elements from existing building

Plywood walling as a safety barrier for existing panels being removed from a building

I decided that I wanted to reveal the structure of the building more clearly by removing the pre-cast panels which were outdated and having a negative impact on the buildings appearance and environmental strategies. The complexity of removing these panels, especially at height, makes it a major technical consideration. Companies including â&#x20AC;&#x2DC;Aggregate Technologiesâ&#x20AC;&#x2122; specialise in the removal of pre-fabricated elements from concrete frame building. The images above show the custom crane used as a part of the removal of panels from a high rise building in Houston,

Existing east elevation with windows and column covers, hand-drawn

Texas. Plywood safely walls were erected during the removal, as an added level of safety to the process.

East elevation showing facade with windows and column covers removed, hand-drawn

Photograph of existing shop fronts of the east facade

Isometric showing single module of the existing building with the window and concrete column covers in place

Construction photograph of the east facade of the Groot Handelsgebouw,

Construction photograph of the south east corner of the Groot Handels-

showing the in-situ concrete frame before pre-cast panels were added

gebouw, with the in-situ concrete frame before pre-cast panels were added

Exploded Isometric showing the removal of the existing pre-cast panels of the building, followed by the planned subtraction of parts of the concrete frame

100

Images of processes used for concrete structure demolition.

Construction photograph of the interior of the Groot Handelsgebouw, with the in-situ concrete frame before pre-cast panels were added

Following the removal of the pre-cast panels, an exposed concrete frame closely resembling the original frame shown in the images of the buildings construction. Following this, My design decision to subtract significantly from the existing in-situ concrete frame. I chose to remove columns, beams and large area of floors, which would be a substantial excavation job. A contractor such as â&#x20AC;&#x2DC;Cutting Technologiesâ&#x20AC;&#x2122; would be used for this - likely employing a wide variety of cutting techniques for different areas. These include diamond wire sawing, diamond core drilling, robotic hammering and slab sawing. The intention is that much of this concrete could be reused in the city, for foundations, roads and other infrastructure projects. At the exposed edges of the concrete left following the excavation, great care and precision would need to be taken to achieve as straight and clean edge as possible. These edges would then be polished and filled in with concrete where necessary, to create a neat finish for new material to be fitted into the existing.

Construction photograph of the courtyard of the Groot Handelsgebouw, with the in-situ concrete frame before pre-cast panels were added

101

Current interior photograph of an entrance lobby in the Groot Handelsgebouw

Long Section of the proposed design, Existing structure shown in black, new in light blue, and the module in pink

The substantial excavation would also include the stripping out of outdated and fitting and services, as well as all the suspended ceilings and floor tiles. This would leave the existing building as an exciting, open, light, landscape. It was now important to design new structure and infill of sufficient quality maintain the existing structures boldness and innovative structure.

102

Part of an existing section of the Groot Handelsgebouw

Current interior photographs of an entrance lobby in the Groot Handelsgebouw

103

Construction photograph and drawings of the frame of the Richards Laboratories

Sliding window shutters

Exterior of the Richards Laboratories

Infill panels to the Yale University art gallery, showing windows and drainage detail.

Window cill drainage detail

Construction model of the Richards laboratories

104

Zinc flashing channels

Proposed section showing infill to existing structure

Proposed elevation showing infill to existing structure

Numerous of my precedents for my project

The infill in both of these buildings have much

were designed by Louis Kahn, including the

more design intent than to merely ‘seal’ the fa-

Richards Laboratories and the Yale University

cade. The frame of the infill breaks the facade

art gallery. Both of these projects feature a bold

down to a more human, relatable scale. Care-

structural frame with high quality infill, which

fully articulated glazing allows light in, which

doesn’t take away from the prominence of the

can be controlled by the occupant using interior

frame.

blinds, a quality I achieved in my design with

I noted the clear distinction in material in

sliding timber shutters within the modules.

both these buildings help further emphasise

A folded metal section at the base of the infill

the frame, as opposed to the Groot Handels-

at the Yale art gallery acts to draw rainwater off

gebouw’s existing concrete window frames

the window and down to the ground, so as not

that merged visually with the frame, diluting

to stain the facade, a detail I echoed in by infill

the clarity of both elements.

design with a folded zinc flashing at the base.

Yale University art gallery facade

Details and elevations of Yale University art gallery

105

Existing pre-cast concrete windows of the Groot Handelsgebouw, shown from the interior

GEODE Design options

Thermal performance

Trame (Horizontale or Verticale)

The precise performance depends on a combination of the size of the frames, the thickness of the glass, the type of infill and the options chosen. The values below are provided for indicative purposes only. Further information is available upon request.

Common structure with 52 mmthick profiles. Choice of mulliontransoms members from 4.53 cm 4 to 2133 cm4 to meet the needs of each project.

Reinforced acoustic and thermal protection. GEODE Acoustic is an option designed for the GEODE system. Trame Horizontale for environments requiring heightened thermal and acoustic performance.

Ucw coefficient of curtain walling without protection (W/m².K) Ug insulation coefficient of glazing (W/m².K) Triple glazing

Distinctive design details. GEODE Trame is an additional design option offering the option of highlighting the vertical or horizontal profiles on the building’s envelope.

+ int.

0.6

0.8

insulating Grid

Beaded

Glazing from 6 to 32 mm. Up to 42 mm for the Geode Acoustic option.

Structural Glazing

Trame

Grid v. Acoustic

Maximum weight

Trame Horizontale

Infills are held in place with a continuous aluminium pressure plate, or a specific polyamide pressure plate with fitted vulcanised gaskets, on the transom or mullion.

0.9

1.0

1.1

Horizontale

1.1

1.3

1.5

1.7

1.9

1.3

1.4

1.5

1.6

1.8

1.9

1.2

1.3

1.4

1.5

1.6

1.8

1.9

1,2

1.3

1.4

1.5

1.6

1.8

1.9

1.1

1,2

1.3

1.4

1.5

1.6

1.8

62 Grid

0.9

1.0

1.1

1,2

1.3

1.4

1.5

1.6

1.8

1.9

1.4

1.5

1.6

1.7

1.8

2.0

2.1

MSG*

100% glazed on the inside: transparent glazed section + opaque spandrel panel 2 frames per level: W = 1.35 m x H spandrel = 0.70 m + transparent glazing = 2.50 m. insulating, extruded polystyrene, 50 mm thick (Up = 0.54)

1.9

SSG

1.8

1.9

2.1

2.3

2.4

Beaded glazing

1.7

1.9

2.1

2.2

2.4

* insulator ACERMI 40 mm (Up = 0.66)

Ucw coefficient of curtain walling without protection (W/m².K) Ug insulation coefficient of glazing Triple glazing

Trame Structural Glazing Trame

GEODE VISIBLE GRID

1.0

insulating

1.2

1.0

Grid v. Acoustic

Trame Verticale

+ int.

insulating

0.9

0.6

Double glazing 0.8

Grid

Minimal strain. On large mullion or transom spans glass deflection is reduced using a special pressure block.

1.1

1.0 + int.

Horizontale v. Acoustic

0.6 + int. insulating

Concealed opening vents. Projecting tophung, parallel, tilt/turn and emergency access opening vents provide natural ventilation whilst maintaining consistent sight lines.

Double glazing

0.6

1.0 + int. insulating

1.1 + int. insulating

1.0

1.1

1.3

1.5

1.7

1.9

1.1

1.2

1.3

1.4

1.5

0.9

1.0

1.1 1.1

1.2

1.3

1.4

1.5

1.6

Horizontale v. Acoustic

0.9

1.0

1.1

1.2

1.3

1.4

1.5

62 Grid

0.9

1.0

1.1

1.2

1.3

1.4

1.5

1.3

1.4

Horizontale

MSG*

1.1

1.2

1.3

1.4

60% glazed on the inside: glazed transparent section + opaque curtain wall 2 frames per level W = 1.35 m x H transparent glazing = 1.50 m + curtain wall = 1.00 m. 50 mm thick extruded polystyrene insulator (Up = 0.54)

1.5

1.4

1.5

1.6

1.7

SSG

1.6

1.7

1.8

1.9

2.0

Beaded glazing

1.5

1.6

1.7

1.8

* insulator ACERMI 40 mm (Up = 0.66)

G E O D E T R A M E H O R IZ O NTA L E

G E O D E T R A M E V E RT IC A L E

Drawing of the existing facade panels Glazing infill: 6 mm to 42 mm. Façade: flat or faceted up to 10°. Concealed opening vent: projecting top-hung, parallel, open-in, tilt-turn, emergency access.

Options: - GEODE Acoustic - GEODE single glazing from 6 to 11 mm

106

Options: - GEODE Acoustic - GEODE 62 for large glass units - GEODE single glazing from 6 to 11 mm - GEODE Flush cap

Glazing infill: 6 mm to 32 mm. Façade: Flat. Concealed opening vent: projecting top-hung, open-in, tilt-turn, emergency access.

Glazing infill: 6 mm to 42 mm. Façade: flat or faceted up to 20°. Concealed opening vent: projecting top-hung, parallel, open-in, tilt-turn, emergency access.

Options: - GEODE single glazing from 6 to 11 mm

To replace the existing infill module, I wanted to use a system that had better environmental properties than the existing glazing, as well as control over the frame dimension, for it to fit perfectly to the modules dispersed throughout the building. I chose to use a glass curtain wall system both for the existing and new build infill, which in both cases would be fixed between a new concrete in-situ up-stand and the concrete soffit. The system specified is the Geode Trame Horizontale fitted predominantly with glazing panels, with full length air vents near the top and bottom of the facade. This frame expresses a bold horizontality to the building, with near invisible beaded mastic vertical joints. The facade would be designed to bespoke dimensions and the frame would be clipped onto by the modules within the building. Double glazed glass, the shading created by setting the facades back as well as the air vents would help prevent over heating, while the

Glass and steel curtain wall to concrete joins

near full height of the glazing would provide solar gains

Photography: Wenzel

to keep the building warm in colder months.

Technal glazing system

Proposed glazing infill to existing

107

‘+’ column detail, Mies van der Rohe

Crown Hall, IIT, Mies van der Rohe

Ford Foundation building, New York, Kevin Roche

Part of my intervention in this project included a new build steel structural frame, I chose steel as I wanted to contrast the heavy concrete frame of the existing building with a visually thin and elegant structure. As the structural frame was one of the key focuses in the design, I wanted it to be read inside and out, to show how the building is constructed. I also wanted to play with different steel sections to create different shadows and visual frame, to create a structure with depth and drama, as opposed to one that is quiet and flat. Key precedents included Kevin Roche’s Ford Foundation building, New York, and Ludwig Mies van de Rohe’s buildings at the Illinois Institute of Technology campus in Chicago, specifically Crown Hall. My keen interest in these building was in part due to the nature as function spaces of work, where attention had been paid to the detail of their respective expressive frames, which create, bold, beautiful architecture, out of standard steel and glass components. To achieve the visual effect I wanted, whilst avoiding cold bridging through the structure, I used 2 C beams with insulation in between, to essentially act as an I beam, with one taking the load of the floor plate, and the other the load of the facade. For the columns I applied a similar principle, using 2 T section to act as a ‘+’ section. These structural elements work together to create depth and shadow play in the facade. Internally, regular I beams were used, which were exposed and housed cable trays for the services.

Interior facades of the Ford Foundation building

108

Proposed steel frame detail

Steelwork from the Ford Foundation building

Elevation of proposed new build, steel frame structure

View showing steelwork joining to a concrete column at the Ford Foundation Building

Structure of the Reliance Building, Chicago

Standard steel connection joints

Example software for the design of structural steel frames

109

Proposed section showing join between the new and old structure, as well as reinforced beam in the existing building. existing structure shown in black, new structure in light blue.

Timber beam join to concrete wall

110

Tell -the-tale detail showing join of the new structure to the existing

Steel beam at the Casa Borgo

2 key details of my project were the new building joined on to the existing, and were new structural elements were required within the existing building, following subtraction of structural elements including columns and beams. I wanted the join from the new to the old to be simple but expressive, to simply reach out and touch the old, so as to read as a linking element as opposed to one that intrudes. I was interested in the steel elements that Scarpa used in his interventions, particularly at Castelvecchio and Casa Borgo. This clear definiSteel beams corner junction at the Casa Borgo

tion between new and old was exactly what I was attempting to achieve with my join. I went about it using a detail similar to that often used when a timber element is fixed to the ground or concrete, where a steel plate is bolted into the timber to separate them, so that no moisture gets into the timber from the concrete. This separation with a steel plate, which is clearly bolted in to the concrete expresses as least intrusive join as possible, in my case between the new steel beam and existing concrete column. Reinforcement of the existing structure occurs where a single column has been removed (the most possible structurally for the existing building). On the beam above, two C section steel beams would be fixed either side of the existing beam, bolted together through the beam. The would be approx. 600mm deep.

Steel beam reinforcement of existing concrete beams

111

Proposed new build frame showing module plug-

Heat/vent unit contained in bespoke

ging into services

joinery

Exposed services in an office building

I wanted the services of my building to be ex-

are seen as antidotes to the regular stale

posed, so that they would be perceived visual-

office environment, characterized by sus-

ly, allowing the occupant to understand more

pended ceilings and default finishes. The

clearly how the building works, as well as be-

services were positioned in cable trays

ing easy to replace, alter or upgrade to allow

fixed to the interior structural frame of

the building to be a dynamic and flexible to

the building, which makes the frame read

change as possible.

further as the ‘life support’ of the whole

I believe that this creates a more exciting and

building, strengthening the frames promi-

engaging environment to work in, where noth-

nence and importance to the building. The

ing is hidden, and can be seen in Facebook’s

modules and heat/vent units could then be

new offices in California, as well as in many

easily ‘plugged in’ to the services, allow-

factory to office conversions, both of which

ing great flexibility layout.

Exposed services at the Pompidou Centre, Paris

Internal Photographs of Facebook offices, California

112

Modules that link directly to the facade (which includes all the working modules) and naturally ventilated via single-sided ventilation. Areas of the street-scape that are less then 12m wide are cross ventilated via the air vents that run top and bottom the length of the facades. Areas greater than this are mechanically ventilated using the system concealed in the seating unit which clips onto the facade.

Proposed section showing details and environmental strategies, 1:50

113

For the modules themselves, I wanted each one to feel like a bespoke piece of furniture, tailored to human ergonomics and needs, whilst designed with a strong sense of the grid and the frame. My main inspiration came from 2 sources. Firstly the furniture of the de Stijl movement, designed by Gerrit Rietveld amongst others. The strong sense of structure and planes with such dynamism was a key part of what interested me about these pieces. Secondly, I was greatly inspired by the joinery in Louis Kahn’s Fisher House as well as at Exeter Library. These beautiful timber constructions, one with a desk for writing, the other a bench for reading, both positioned adjacent to a window for natural light, struck me as really utopic places to work or relax, where one could easily concentrate on what they were doing. The ventilation system incorporated to the joinery at the Fisher House inspired the notion that a single piece of joinery could do multiple things, both practically and environmentally.

Furniture designed by Gerrit Rietveld

Furniture Assembly

Module -’Kit of Parts’ - 1:50

Exploded axonometric of proposed joinery for modules

Furniture at Exeter Library

114

Axonometric of joinery at the Fisher House

Photograph of the joinery at the Fisher House

Specified â&#x20AC;&#x2DC;kit of partsâ&#x20AC;&#x2122; for the 1 person working module

The 1 person module featured timber panels

one of the windows, and lower down, to al-

connected by expressed thin steel elements.

low a different sitting position. Both windows

The levels of all the surfaces were informed by

could be shut off via timber shutters, with the

both Le Corbusierâ&#x20AC;&#x2122;s Modulor Man and mod-

upper window possible to open. The module

ern computer and close work ergonomics. The

was enclosed by a steel frame housing timber

module featured two places to sit, with every-

and insulation panels, to seal the module ther-

thing possible to reach from the sitting position

mally and acoustically. Ventilation was creat-

at the desk. The second sitting position was in

ed through air vents at the top and bottom.

Joinery with timber panels and steel frame

Exploded Axonometric of the proposed 1 person work module

115

The module featured underfloor heating which could be controlled by the occupant, while the street-scapes heating happened via the heating units featured in the bench joinery fixed to the exterior facades. Modules had abundant access to natural light, which could be controlled using shutters, when additional light was required there was a general artificial light, as well as 2 task lights, positioned in both seating positions to avoid glare. In the street-scape, I again wanted to reinforce the structure as the â&#x20AC;&#x2DC;life supportâ&#x20AC;&#x2122; to the building, and so positioned spotlights on a wide flood setting, up-lighting the ceiling, to created a diffused space Section of the addition to the Kimbell Art Gallery, showing spot lighting fixed to beams

throughout the space, whilst highlighting the beams with light. This was inspired by both Louis Kahn at the Yale University art gallery and Renzo Piano at his addition to the Kimbell Art Gallery. All lighting products are specified from Iguzzini.

Photograph of the interior of the Kimbell Art Gallery, showing spot lighting fixed to beams

116

Lights within beam at the Yale University art gallery

Environmental renders of the 1 person working module. Left to Right: Artificial lighting, natural lighting, heating and cooling

Interior render of the proposed showing up-lighting via spotlights

Range of lights used for the proposed building, specified form Iguzzini

117

FURTHER PROJECTS CHARRETTE The Charrette was a week-long project done in collaboration with students of all years throughout the architecture school. My project was entitled ‘A hole-in-one-week’, the brief for which required us to make a 9 hole ‘crazy golf course’, to be set up on campus. Within my group, we created the 9th hole of the course, using recycled materials including glass bottles and tin cans. The project allows the application of architectural thinking to unfamiliar tasks, and create a built outcome.

“application of architectural thinking to unfamiliar tasks”

Opposite: Photograph showing the tin can section of the final ‘hole’ in use.

Opposite: Photograph showing the full â&#x20AC;&#x2DC;holeâ&#x20AC;&#x2122;, complete in-situ.

120

121

Below left: Students playing the final stage of the hole. Below right: Chicken wire and newspaper tube suspended spiraling around tree. Near right: Close-up of glass bottle section of hole.

122

For our ‘hole’, we wanted to creatively re-use old materials, in a way where their initial appearance was retained, to make people view them in a different light. We composed the hole of three separate instillations, that look beautiful in their own right as sculptural objects. The brief pushed us to create these objects to be not only purely aesthetic, but have the ability to be interacted with as part of the crazy-golf hole. This gives the world of art and particularly recycled art greater accessibility to the wider public - who may have previously perceived the instillation as ‘junk’. The hole was situated on a piece of grass seldom used by students on campus, with the culminating shot taking place up a ramped wire and paper spiral which wraps round a tree - an integration with the landscape that gave the hole a stronger sense of context.

123

SEMESTER 2 REFLECTIVE CONCLUSION 124

Stage 5 as a whole has led me to vastly increase my theoretical knowl-

the importance and opportunities of architectural representation. This

edge, through research of not only buildings and architects, but broader

term I was involved in creating an instillation for the Mountains and

architectural theory from a wide range of histories and contexts. This

Megastructures symposium, which aimed to represent the expedition

has helped not only in my critical approach to the design projects, but

of George Mallory through the Everest Death Zone, covering themes

has greatly informed my wider opinions and interests in the architectural

including the ambiguity of whether or not he made it to the summit, the

field.

way in which the journey was filmed, and how to represent death itself,

I chose my studio for the second semester based on my desire to further

in the form of an instillation. Creating this alongside my peers, together

push my way of working, with a new tutor, as I had done in the first

with attending the symposium and learning from the various speakers

semester. I also chose the studio as it involved designing an interven-

and instillations, engaged me a broader spectrum of architectural re-

tion to an existing building, something I have a keen interest in from

search than I otherwise would have experienced.

my previous design work, research and experience in practice. I was

The second part of my linked research next year involves investigating

also interested in researching utopia, and its relevance to architecture, a

virtual reality, its past, present and future possibilities within the archi-

desire which has developed this year following the Tools for Thinking

tectural field. Studying this area which I have never looked into or used

module. I found the work of Aldo van Eyck, Herman Hertzberger and

before is a further step I have taken during this degree to push myself

Louis Kahn helpful references for this subject, and became increasingly

and explore new aspects of architecture, to greater inform my interests

inspired by their writings and architecture as a result.

and opinions on the subject.

Linked Research has added to the Tools for Thinking module in fur-

I feel that by stretching myself this year, and experimenting with design

ther broadened my research beyond what I have looked at before, with

and representation techniques outside my comfort zone, I have set my-

the latter engaging me in a completely new side of architecture for me.

self up well as I progress into my thesis project, a challenge that I am

Alongside James Craig and Matt Ozga-Lawn I have been looking at

greatly looking forward to.

125