Stage 1, BA Architecture Portfolio by José Figueira

JosĂŠ Figueira Stage I - 2015/16

Final Portfolio BA Architecture

1000MM

Final Portfolio BA Architecture

IN DEX 4

Table of Contents

2 Introduction 2 Introduction 3 Learning Summary

4 1st Semester

30 2nd Semester

52 Non-Design

86 Conclusion

6 Charrettes 10 Beyond the Frame 18 Heaton Reading Room

32 Row House Typology 40 Row House Living

54 Arc 1011 - Intro to Architectural History 58 Arc 1012 - Principles and Theories of Architecture 62 Arc 1013 - Architectural Technology 1.1 66 Arc 1014 - Architectural Technology 1.2 70 Arc 1016 - Architectural Representation

86 Conclusion

Table of Contents - Final Portfolio 1

Introduction

Introduction This booklet displays the most important selections of work throughout the year, in a way that makes it possible to understand the general lines of the projects. For example, for the Heaton Reading Room project, thereâ&#x20AC;&#x2122;s a much more developed textual side as, in a whole, the project was much more fragmented, and concepts are not (or, in the case of the reviews, were not) explicit enough in the sketchbook and the work initially presented. In this particular case, after addressing the feedback (most of it due to a lack of good representation), I felt as if, in order to stitch the previous work to the new work in a coherent way, that some explanation was needed. This leads into another point of this booklet. All new work is indicated by a red plus sign. When the whole page is composed of new work, the plus sign is, instead, on the top of the page.

Learning Summary I started this course with a lot of the skills that we were supposed to foster during this initial year, due to my previous 3 years at an arts school. This meant that I was able to improve the abilities that I already knew. I’ve developed in a better way my creative and design workflow now, I put a lot more effort in terms of sketchbook, both as a way of recording and developing my work, but as well as a way of presenting it. Parallel to this, both physical and digital model making have improved, and continue to be tools for developing and presenting designs, working with both simultaneously. Digital tools, in this sense, allow me to experiment, with a lot more accuracy, what would take several physical models (and associated with it, a lot of wasted material) to achieve. And yet, I’ve found physical sketch and final models invaluable, due to the tactibility and

presence that the digital world cannot emulate. I’ve continued to have difficulties, with oral presentations, however, I’ve noticed a considerable improvement when dealing with “pinned up” reviews. While I continue to be nervous, the presentations go well depending on the quality of the work, and it’s a much more dynamic (even if I, for example, sometimes take cue cards and even an entire script) way of presenting. Another difficulty that has plagued me since arts school has been trying to say - visually, orally, etc - something in a succinct way, but I’ve managed to do improve this area increasingly across the year. There were, however, new techniques that I was able to learn. Through all projects, I’ve tried to use them as opportunities to experiment in things like laser cutting (Heaton, Row House Living

and Typology), audiovisual (Architectural Representation), and general digital and model making techniques. In terms of actual projects, I’ve liked all of them, even if some resulted in better outcomes than others. At the end of the day, the gratification of completing a project made, in my opinion, worth all the stress associated with it. However, it is worth noting that one of the projects, the Heaton Reading Room, did have a quite awful presentation - but I was still happy with the overall design, even If I could only show it after the reviews. The Row House, and the Architectural Representation module were some of the modules that I performed better, and it is (I know now) due to a very balanced workflow, with consistent studio work in all weeks (enough to “achieve” the bulletpoints usually outlined in briefs), and a very heavy workload in the final

week/weeks. For next year, I hope to maintain this approach, and to keep pushing myself in creative terms. I hope as well to continue to engage in a dynamic studio culture, where students help each other, and learn from each other’s work. (483 words)

Learning Summary - Introduction

First Semester

The first semester opened up with a multidisciplinary project, involving students from all stages of the school. These Charrettes fostered relationships between older and younger students, and led to the first project, (A Room) Beyond the Frame, and after this one, the Heaton Reading Room project, more complex than the previous two.

2 Introduction 2 Introduction 3 Learning Summary

4 1st Semester

30 2nd Semester

52 Non-Design

86 Conclusion

6 Charrettes 10 Beyond the Frame 18 Heaton Reading Room

32 Row House Typology 40 Row House Living

86 Conclusion

Foreword - First Semester

Charrette - Play! Summer is Not Over Play! Summer is not Over asked us to reflect in the season that had just ended, and try to â&#x20AC;&#x153;bring backâ&#x20AC;?, in a environmentally conscious way, Summer to that week of charrettes. Guided by a visiting architect (Amara Roca Iglesias), it was a project that included people from all stages of the course, with special focus on first years and Master students.

C#9 - Ridin’ The Wave / Washed Up

(From the shared project sheet) “After receiving the brief, we were sent out to scavenge for unwanted materials. Once we’d gathered all of our materials and observed what we had accumulated, we brainstormed ideas that best instilled the feeling of summer. A reoccurring

theme was the form of waves as it’s directly related to the beach and thoughts of summer. It worked well with the palettes abilities to be worked and ease of creating a variety of heights and levels that would radically transform the space. The ceiling underwent several

variations due to the materials available. Initially we wanted to use cardboard to create profiles, however as we didn’t have enough we looked into the potential of other materials, particularly plastic bags.”

Charrette - First Semester

C#9 - Ridin’ The Wave / Washed Up The final result, pictured here, consisted of an audio-visual installation, that tried to emulate a beach environment. A video, projected on the screen, displayed a seascape, while the sounds of that scene - waves hitting the shore, seagulls roaming above, people walking in the beach - engulfed the room. All of this supported a physical part, made of wooden pallets and discarded materials, that, imitating dunes, created spaces for

socializing, playing, resting, or even just appreciating the seascape. On one end, these pallets morphed into a big rolling wave attached to the wall, which gave us the impression of being ready to “engulf us”, but at the same time, provided a comforting, protective feeling. The space was one of the most used in the Charrettes week, in part because of the way it was “publicized”. On the Quadrangle outside, a large “rolling

wave” covered bench advertised the space, and arrows & sea motifs guided people towards the room. To enter the room, a “tunnel” led through the doorway, creating a big impact when people went through it and looked at the unexpected seascape. It was, despite its makeshift quality, a very poetic space. It brought a sense of calmness, and, personally, it related very heavily to the work of the poet Sophia

de Mello Breyner Andresen - “Sea, half of my sould is made of sea breeze” (Mar, metade da minha alma é feita de maresia”) - which focused a lot on the sea, in all its forms.

Charrette - First Semester

Beyond The Frame

Pieter de Hooch’s “Couple with Parrot” depicts a couple, inside a palatial home in (we assume) Amsterdam. There is some doubt about its origin. While it was dated “1668”, some critics (Gudlaughsson, reported by Vey-Kesting 1967) put it somewhere in the late 1670s. (...) It’s quite a tall room, and (for the setting) very decorated, with a window bas relief (with a circular heading renaissance style) framing either another bas relief of a flower arrangement, or painting, integrated into the door frame below. The roof seems to have noticeable spaced beams, and right below it, on the brown pastel (almost copper coloured) walls, there’s a decorated crown. The floor is a diagonal square shaped pattern , that when going to the door corridor changes into plain flooring, and when going into the darkened room where the viewer stands, into a straight square shaped pattern. This ante-chamber is very dark, receiving almost only residual light from the other room.

For (A Room) Beyond the Frame, we analysed, in the context of 17th century Amsterdam and, in some cases, the whole of Holland, the architectural spaces in several of Pieter de Hooch’s paintings. In an initial part of the project, the objective was to “make up” what was missing in that space, and build them through sketch models and drawings. Through the perspective, I was able to calculate the size of the initial room (relating always to the human dimension), translating that into a sketch model. I was also able to deduce that the house was a corner house, located somewhere in the growing edges of the city, in one of the concentric canals.

(A Room) Beyond the Frame - First Semester

Beyond The Frame

Further analysis led me to conclude that it was located in the corner of the Keizergracht (Kingâ&#x20AC;&#x2122;s Canal, a residential oriented thoroughfare) and a secondary canal (commercially oriented). This backed my study of the space as a not very long house, as houses near the corners were unavoidably shorter and more constrained.

Turned to the Keizersgracht, the narrow, tall facade emerges very orderly, modest but elegant. On the side canal, the facade is more complex, with a second entrance and a more diverse composition.

The model itself was made almost without the use of glue, so I could “dismantle” the pieces if one of those were wrong. They all “slot” together, and that gives us a more dynamic, and beautiful model, in which we can understand the way the structure works in a clearer way, without compromising the aesthetical unity. In terms of windows, I felt that it was only necessary to display in great detail one of those, having put it in the studio.

(A Room) Beyond the Frame - First Semester

+ Whole page of new work

Beyond The Frame

Whole page of new work

(A Room) Beyond the Frame - First Semester

+ Whole page of new work

Beyond The Frame The house distributes itself across 3 floors and an attic. On the ground floor (previous page), the main entrance leads to the main reception, multi-purpose room depicted in the painting. At the back, the kitchen area (with a secondary entrance from the side canal, more appropriate for the maids and carers) leads to the orderly and austere staircase, letting us arrive to the first floor. This first floor would have the room for the matriarch, the room for the children, and another multi-purpose room, used for teaching the children, etc. A floor above, we come to the coupleâ&#x20AC;&#x2122;s space, a thought out succession of rooms including the bedroom, a study and a studio. Here, unlike the main room at the ground floor, the artist and his cosmopolitan and intelligent wife would work, and receive, in a more intimate space, the most prized patrons.

Whole page of new work

(A Room) Beyond the Frame - First Semester

Heaton Reading Room

The light in the site is a particular interesting, but frustrating point (...): in the winter no light actually reached it, except in the sidewalk by Chillingham Rd.

When analysing the site, I sketched all the relations between the buildings, the public space, and the people. The division between the public sphere and the private sphere is quite clear, and the analysis of the walking patterns (...) mostly as a passage (from and to Chillingham Road and the primary school) by pedestrians, and not in anyway as a resting or leisure place. Thereâ&#x20AC;&#x2122;s also a stark difference between the traffic and noise pollution on Chillingham Road, and the apparent calmness of a residential neighbourhood on Tenth Avenue.

(...) I started in a way “restricting” myself based on the analysis of the site. The first was restricting the site so it would cover the private house - a private realm, which would be intruded once the site became not only a place of passage, but also one of leisure - and turn the building to the public realms (the two roads and the school). To maintain a urban consistency and harmonize the new volume on the site, I established a line in the plan from the corner of the house to the corner of the school, which would limit the building on the Chillingham Rd. side. There was as well, for me, an “expectation of public space”, which led me to maintain the large passage, now with the same width as the sidewalk. (...)

School as a colossus, signifying its importance as a public building Rush Hour traffic on Chillingham Road

Site as a place of passage wasted potential

Heaton Reading Room - First Semester

Heaton Reading Room The creative process that followed started as a very layered brainstorm in the sketchbook. Looking first into a more structural solution that better answered to the site’s inclination (referencing the work of Fernando Távora and his signature wooden beams), approaching the problem from a more simpler way ended up being the best solution. Therefore, I started playing, referencing examples in Portuguese minimalism, with the general form and the way it interacted with the site (...) with a very strong “playfulness” with positive and negative spaces, which is reinforced with the use of blank, simple walls and flooring

From this point on, the project starts taking shape. This section is the privileged one, defining the entire project. From it (imagining the space inside), a plan and elevation are made. The idea of the space is to have a division, with bookshelves, of a space for general reading with desks, small window nooks, and a general reading space that, using large window sills for seating, would make a gathering space, blocking off sound due to the bookshelves integrated into the structure.

Heaton Reading Room - First Semester

Heaton Reading Room However, the roof line, because it tried to imitate in a way the inclination of the site, became frankly uninteresting, and structurally/ load-based useless (equivalent to a flat roof). The solution was a more pitched roof, creating a sort of â&#x20AC;&#x153;basilicaâ&#x20AC;? communal reading room, in which the view would be redirected above, to the skylight, or outside to calm environments.

When entering the building, we see, with a very light ramp accompanying it, a long bookshelf integrated in the structure, with a reading room with desks and metal windows acting as nooks turned to Chillingham Rd. The bookshelves almost “wrap” themselves around the columns, providing +160m of shelf space, 60m which will be devoted to box-based storage and other objects One of the things that has been seen before, but isn’t represented in the models (because otherwise they wouldn’t be as useful in showing the structure of the building) is that mos of the ceiling is covered in white plaster, unlike in the model, which shows it without it. This white plaster will act as a reflector of light coming from the skylight above, entering the second “room” shown above with the openings on top of the bookshelf. This room, as has been shown before, will be a “polyvalent” space, segregated from the rest of the building for possible group reading sessions, which would be turned to Tenth Avenue.

Heaton Reading Room - First Semester

Heaton Reading Room The reading nooks occupy the two walls turned to the roads. In the Tenth Avenue side, as we’ve seen before, it’s integrated into the window sill, which acts as a ground shelf (for storage, or board games and children books, like all ground shelves in the building). It’s part of the group reading space, complemented with chairs and bean bags, and the actual floor. It’s as simple as possible, because of the multiple uses the space might have. The window itself has a black frame hidden in the wall, which makes the border between the calm outside and the inside even more tenuous.

On the Chillingham Rd side, however, the nooks are the actual window frames, made of black metal and protruding off the brick facade. All different, they provide different ways of reading, from a simple sitting recess, to a wide alcove where people can actually lie reading. The building uses brick as a load bearing material, and is only covered with plaster on the inside. Next to the school, a cantilever redirects from both sides the view towards the passage and the door. From Chillingham Road, anyone walking

southwards would see the building as an extension of the school at first sight, but would see the passage because of the overhang. The zinc roof halts to a stop next to the school, having a blank wall, like the cantilever. The zinc bends around the walls, acting as a minimal black frieze for the building. While outside, brick and zinc are the main materials, inside while plaster and very light wood provide a minimal, clean space, like in the example at the bottom

Heaton Reading Room - First Semester

1000MM

+ Whole page of new work

Heaton Reading Room 1000MM

(...) The pavement acts as the mould on which the pieces of this outdoor space rest. The concept of ruin and wild are very present here, and I wanted to turn these usually hostile concepts into a welcoming space, based around little pockets of â&#x20AC;&#x153;social circlesâ&#x20AC;?. Therefore, between resistant high grass planted in the fringes of the pavement, angular stone benches provide space for reading, talking, taking in the sun or enjoying the shadow of the school, providing a pleasant scenery for the people inside the room.

Heaton Reading Room - First Semester

+ Whole page of new work

Heaton Reading Room

1000MM

Through this project, I tried to establish a dialectic of ruin and wilderness, opposed to a clearness and simplicity of the inside of the room. The project rises almost as a monumental pyramid on the Tenth Avenue side, with the rows of plants and benches leading our eyes to it. The â&#x20AC;&#x153;crumbledâ&#x20AC;? wall to the side reinforces that ruinous aspect (usually associated with the sort of monolithic or/ and monumental buildings the reading room, at its own scale, seeks to emulate).

Tenth Avenue

Chillingham Road

Whole page of new work

On the Chillingham Road side, the massing seems far less monumental, revealing the true scale of the building. It â&#x20AC;&#x153;fits in the streetâ&#x20AC;?, harmonizing the gap between the school and the houses.

Chillingham Road Elevation

Tenth Avenue Elevation

Heaton Reading Room - First Semester

Second Semester

The Second Semester, design-wise, was focused on a very common Western typology, the row house. Starting with a research project on a particular row house project (refining our model and booklet making abilities simultaneously), it proceeded to a project for an artist and their family, in the Ouseburn, Newcastle.

2 Introduction 2 Introduction 3 Learning Summary

4 1st Semester

30 2nd Semester

52 Non-Design

86 Conclusion

6 Charrettes 10 Beyond the Frame 18 Heaton Reading Room

32 Row House Typology 40 Row House Living

86 Conclusion

Foreword - Second Semester

Row House Typology “In the suburb of Jungerhalde, in the outskirts of Konstanz, the city authorities felt the need for a more dense and mixed living environment, rather than the spaced out detached houses in existence. A competition, calling for low-cost row houses, was won by the local firm Shaudt Architekten, with a industriallooking proposal where row housing boasted an individual, flexible and low cost solution to the problem posed, (including catering both to students and single families) whilst still maintaining a coherent and aesthetic urban presence. This led to a row of houses mimicking the local roof lines and typology. Nestled between two other volumes, it establishes a visual continuity, be it at street level or from a vantage point, acting as a wall dividing the rural and the urban...” For this project, the group created, first of all, a framework and general points that we could perceive from the Row House. This led to a clearer connection between the booklet and the model, with one person as the “editor” (providing a more coherent work) of each of the parts, and the rest of the group working, as needed to each of the parts.

Row House Typology - Second Semester

Row House Typology

Row House Typology - Second Semester

Row House Typology

Row House Typology - Second Semester

Row House Typology

Row House Typology - Second Semester

Row House Living This project on Row House Living led us to visit the Ouseburn Valley, a neighbourhood in Newcastle home in the past 30 years to a growing community of artists, and before, the industrial powerhouse of the city. The site, on James Place St, is located at one of the “entrances” of the valley, near Byker and bordering the Byker Wall. On the front, the tree lined James Place Street leads to the Cumberland Arms pub, a social hotspot, and to a series of paths down the Ouseburn. My analysis worked always with the three concepts the client, Charlotte Powell, considered very important for the project: - Palimpset (translated as a layering of past identities, turned to the future, like her art) - Complementary juxtapositions (relating to a dichotomy of materials and spaces) - Wunderkabinet (a cabinet of wonders, much like John Sloane’s museum-home in London)

Row House Living - Second Semester

Row House Living Trees, and trees-capes, became the main point of focus for me in the project (although a lot more concepts are involved, which can be seen throughout the sketchbooks, but also a bit in the script I had prepared for the review). During the visit, I became particularly interested in the way the trees related to the bridges, with a parallelism between â&#x20AC;&#x153;the trunks and the pillars, the decks and the tree topsâ&#x20AC;?.

Progress of differing pictorial and structural languages

Row House Living - Second Semester

Row House Living

...both physical and digital models (...) continue to be tools for developing and presenting designs, working with both simultaneously. Digital tools, in this sense, allow me to experiment, with a lot more accuracy, what would take several physical models (and associated with it, a lot of wasted material) to achieve. And yet, Iâ&#x20AC;&#x2122;ve found physical sketch and final models invaluable, due to the tactibility and presence that the digital world cannot emulate. (Learning Summary)

Laser cut experimentation for the perforated facade (1:50 and 1:20 scales)

Row House Living - Second Semester

Row House Living +

Row House Living - Second Semester

+ Whole page of new work

Row House Living

Whole page of new work

Row House Living - Second Semester

Row House Living

1:100 Section & Elevation/Facade Detail

+ Script For this project, we had to design a 3 bedroom house with a studio for an artist (you) that had history in the site, and demanded a thought out approach to it. Your work - based on layering and, in my view, a certain dualism, corresponded to the Ouseburn Valley, which from my visits to it, revealed itself as a deeply layered place, where the historical, social, architectural factors have evolved “stacked” on what was there before. This layering led me, during an exploration of the valley and after our client meeting, to think of the relationship between opposite concepts that we had talked about, and specifically, the relationship between the trees and the bridges in the Ouseburn - how the organic and artificial worked so well, and how they looked similar to me (trunks as pillars, decks as tree tops). The site, located near the top edge of the valley, and acting as a point of entry to it, consisted of a tree lined road off a main road, with the Cumberland Arms at its end. Its plot is located at the spot where a pedestrian path meets with the road, “clearing” trees at its front. This led me to adopt that visual reference drawn during the visit, which throughout the house tries to join the organic, manual, warm, with the artificial, industrial, cold. For example, the facade, in perforated metal depicting the scene above in a natural way, is contrasted, when entering, by the minimal, artificial language of the scene in the stairwell, which is made of a far more organic material (wood). This entrance, with a threshold step changing from a cold floor to the warm, light wood that is used in the rest of the flooring, and in here, walls and ceiling, has to its side space for hangers and space for “mountains of coats and shoes”, and when we go upstairs, we have the opportunity to take in another concept that permeates this house, as we are immediately “surrounded” (without it being over sensorial) by objects, places and details of wonder - looking in front, a whole in the wall displaying something, turn around to climb the stairs, something in an extended step that was just over your head moments before, look down and underneath some perforated steps, a large statue. Not only this, but the trees-cape itself, engaging with the transparency of a polycarbonate sheet, makes you “wonder” as you climb the stairs.

Row House Living Ouseburn Valley - James Place St. José Figueira, Stage 1, Sapl

1:200 Site Section

1:200 Site Plan

1:50 Building Section

This is one type of layering that, contrary to the facade that, whilst “closed off” makes the house a hidden refuge, keeps a connections between the two sides, and is used many times throughout the house. On the top floor, a detailed but minimal desk space “hangs off” the corridor, which on one side leads to the flexible children’s bedroom, and on the other to the family bathroom, which preferably will have a statue of something winged set against the skylight. If we go through the other way, behind the “trees-cape”, we reach the parents bedroom, a loft-like space, with large windows turned to the treetops and, in winter, Gateshead and the Tyne, and to the side, a closet and balcony area. Back on the ground floor, behind the treescape, directly underneath the parents bedroom, is the grandmother’s bedroom (and in the future, your), similar size to the one above, but with much more storage for the rest of the family, a en-suite wet room and a working and reading space, the latter with a small, low lying window at seated eye level that is the only permanent interruption in the facade. The “heart of the house”, The eating area, a simple space characterized by a heavy table and light chairs, is divided by another translucent treescape from the kitchen, which at one end has a laundry space with a laundry chute from the upstairs bathroom, and on the other a glass door access to a courtyard. This courtyard is disrupted by the living room, a sort of “extension” out of the main volume of the house, slightly sunken, and very open towards it. Connecting this living room with the back and courtyard is the angled walkway, the “continuation” of the houses’ spine,, which tries to block through several ways the view of clients coming from the back . This very deliberately “fragmented” courtyard is harmonized by extra volumes, connecting angled and straight steps, benches, tables, raised beds, etc. On this side of the courtyard, the studio raises itself, bringing the translucent polycarbonate material this time to the outside, in rotating windows, which block the view inside and outside. This allowed the studio to have much more flexibility in the context of the house, whether an extension of the courtyard, or a refuge within a refuge. On top, there’s an access for a terracotta patio, with a view not to the outside, but to the inside.

Stairwell

Parents’ Bedroom & Veranda

Family Bathroom Stairwell

Grandmother’s Bedroom

Wetroom

Children’s Bedroom Dining Room

Kitchen with Pantry/Laundry space

Studio First Floor & Terrace Living Room

Studio Walkway

Courtyard Garden

Studio Ground Floor

Stairwell & Entrance Hall

Gated Parking Spot

1:100 Plans

Row House Living - Second Semester

Non-Design Work

The Non-Design work can be divided in three, distinct parts. The Architectural Technology modules used the projects developed in Architectural Design as a framework to develop technology coursework (one in each semester). The Principles and Theories of Architecture and Architectural History had more essay-based work, relating to one part (our choice) of the curriculum. Architectural Representation, on the other hand, were almost design project on their own, but with a lot more focus on the representation (analog and digital), with the concept taking a supplementary role.

2 Introduction 2 Introduction 3 Learning Summary

4 1st Semester

30 2nd Semester

52 Non-Design

86 Conclusion

6 Charrettes 10 Beyond the Frame 18 Heaton Reading Room

32 Row House Typology 40 Row House Living

86 Conclusion

Foreword - Non-Design Work

Intro to Architectural History

Hadrian's Wall (also known as the Roman Wall) is located in the North of England, spanning 117 km (80 Roman miles) from Wallsend, next to the river Tyne, to Bowness-on-Solway, on the Cumbrian Coast. Built from different materials across its length, at the time of its completion (130 A.D) it ranged in height between 3.6m and 6m, with a series of forts along its span (with every Roman mile, a smaller castle, and between those castles, two observation towers).

A Comparative Analysis of Hadrian’s Wall and other large scale barriers across time Essay Question: Choose other similarly building-influenced works built and consider differences between their designs and their effects. Include references to their architectural, politic and cultural contexts. Student Number 150366542

Figure 1 (English Heritage, 2014): Map of the Roman barrier, with the wall proper in red. The true length of the defensive barrier it is part of is bigger, if we consider the River Tyne west of Wallsend and the coastal fortifications east of Bowness (dotted) de facto part of that defence.

It was, for most of the Roman rule of Great-Britain, its northernmost frontier (barring a few years when the Antonine Wall marked that border), built by Emperor Hadrian in order "to separate the Romans from the barbarians" (Scriptores Historiae Augustae, Vita Hadriani 11, 2, quoted in Whitworth, 2000, epigraph), but whether it was started during Hadrian's visit to the frontier or beforehand (and, according to Whitworth (2000, p.3), possibly inspected by the emperor during his visit) is still a matter of debate. However, Hadrian had more in mind the stabilization of frontiers throughout the Empire after previous expansion, and the wall wasn't simply an egotistical project - it served a real purpose and came at a negligible price, solving, for some time, Caledonian aggression, and acting deliberately as a custom line for trade and passage (Spring, 2015, p.263).

(Bill Storey, 2009)

Figure 2 (José Figueira, 2016): Imposing itself on the landscape, the wall, painted white (Ballantyne, 2016), was as much of a symbol of Roman power as it was a barrier. In the sectional cut, its visible, on the northern side, a deep V-shaped trench, which made the enemy’s escape from it nearly impossible. On the southern side, the Vallum, a ditch surrounded by mounds acting as a support infrastructure to the military personnel, is now mostly gone.

Much in the same vein, The Great Wall of China in Northern China (unlike Hadrian's Wall, a collection of walls built by several Imperial dynasties across more than 2 thousand years, from the 5th century B.C to the 17th century A.D, with a combined length of around 21,196 km) and the Great Wall of Gorgon in North-eastern Iran (195 km long, second only to the Great Wall of China in length, and built with characteristically red bricks during the 5th or 6th century A.D in the Sassanid Era) were

The wall of Gorgan, on the other hand, had a double function as a barrier - it protected, with the Caspian Sea, the fertile Gorgãn plain from possible White Huns invasions from the North, but in a more relevant way, it acted, with the Alborz mountains to the south, as a trap for invading tribes and armies (Chaichian, 2015, p.86). Whilst initially thought out to have been much older, it is now agreed to have been built, in its brick form, after Hadrian's wall (Chaichian, 2015, p.55), and just like the Great Wall of China, previous rammed earth iterations have all but disappeared. This correlates with what has happened in Hadrian's Wall - the sections and parts that weren't actually built, but simply dug or rammed are in a much dire state than what was built up - despite the fact that what was built up has been greatly used throughout the region in construction (Whitworth, 2000, p.15).

more than just simple defensive walls. Figure 3 (Ding Zhou, 2014): Section of the Ming Wall near Jinshanling, Northern China

The wall in China, whilst initially built by several different states as border walls, was partially torn down and unified when the Qin, one of those states, conquered and assimilated the territories. And despite lasting only 14 years, they immediately built a wall, in their case, not only as a defence mechanism, but also as a way to affirm themselves and create national unity, after reuniting China in a particular brutal way (Spring, 2015, p.214). This is opposed to other, longer lasting dynasties, like the Ming dynasty, which instead built their version of the wall (the brick and stone version we know today, whilst the several walls spanning the initial 5th century B.C ones to the Ming's were built, quite simply with rammed earth), in a direct response - like Hadrian's - to a northern threat and shifting borders, but as well, although to a lesser degree, because of a "peculiarly intense sense of Chinese superiority made it impossible to treat with inferior nomads" (Spring, 2015, p.224), being preferred to simply "wall them out”.

Figure 5 (Bob Thompson, 2012) : Section of the Han Wall in the Gobi Desert, out of rammed earth and reeds, now almost completely gone. Figure 6 (Maveri, 2011) : Section of the Vallum of Hadrian’s Wall, in one of the best preserved tracts, near Harlow Hill

However, despite these different purposes, they all fall under one same broad category - they are barriers of people, animals, products - all physical things blocked by physical walls. And this has been the general purpose of walls for much the recorded time, although with an increasing departure from the solid walls previously mentioned, with the Nazi Atlantic Wall (a system of reinforced concrete coastal fortifications across the entire Atlantic coast of Nazi occupied Europe) and the Iron Curtain (in places, nothing more than a closely watched border, but in central Europe, a chain link and concrete wall dividing the East and West parts of the continent) being two very recognizable examples of this "deviation" from the traditional built up linear wall.

Figure 4 (China Focus, 2013)

Intro to Architectural History - Non-Design Work

Figure 7 (Photos Normandie, 1944) : Pictured in a French beach, this system of fortifications was never fully implemented, despite being a very important instrument of propaganda in the Nazi regime - during the landing in Normandy of Allied forces, they were stormed in mere hours. Figure 8 (Cuchulainn, 2009) : Barbed wire fence in the Czech Republic, part of the central European Iron Curtain

This last one marked an even greater change, because it was put in place, less to bar physical things, but primarily to stop ideas (Chaichian, 2015, foreword XX). As a barrier between the capitalist West Germany and the socialist East Germany, it was the very symbol of the Cold War, of a clash of ideals of two very distinct economic and ideological blocs. In an act of insulation from capitalist values, the USSR used that "curtain", and the buffer countries between it and Western Europe until its "fall" - in our collective memory as the moment when its most characteristic stretch, the wall separating Berlin, was rendered useless after the "unexpected" repeal of travel restrictions between the two nations, but, in reality, the string of revolutions in 1989 that saw the dismantlement of that ideological buffer zone. In this sense, the "destruction" of the physical barrier was almost purely symbolic, as without constant surveillance, it was nothing more than a fence. Today, and as a remnant of this conflict, the Korean Demilitarized Zone still acts as the materialized ideological barrier "protecting" one nation from the other.

Figure 9 (Pablo Necochea, 2011) : The Berlin Wall, from West Germany. Illuminated by streetlights, the “death strip” was part of a wide barrier with snipers and dogs patrolling it.

In the present day, the rhetoric used for the construction of new (mostly border) walls falls under two main targets - migration and terrorism - usually shielding developed countries from the global South, creating "a worldwide great wall of globalization that has become virtually impossible for migrants from the South to scale" (Davis, 2007, p.172, as quoted in Vallet, 2014, p.3). However, those still aren't, at all impregnable, and act more as a reassurance of one's security and identity, than an actual line of defence (Ritaine, 2009, p.161, as quoted in Vallet, 2014, p.3). Looking back to Hadrian's wall, this reassurance is, in its context, fairly clear. Although in his case, the wall didn't influence visually the people of Rome and its hinterland , it did to the people of Britannia, because even if it only stopped raiding to a certain degree, it served as a reminder of their governments' efficiency and dominance. (Spring, 2015, p.263) Overall, it's safe to say (and considering Hadrian's Wall as the oldest example of a still existing built up linear barrier) that, throughout times, despite some change occurring when it comes to walls and borders (mainly in their design after the turn of the 20th century, with the dematerialization of the wall), they're still engineering and architectural works driven by a sense of visual reassurance, with the intention of acting, in a tangible way, as a barrier - which, increasingly, like in the US-Mexico border, seems to be wishful thinking. “Walls may even be said to be illusory, for they give rise to (...) alternative routes.” (Vallet, p.3), and this is, finally, as true of the American border fence as it is of the Hadrian Wall, as neither were, or will ever be, impregnable. References Chaichian, M (2015) Empires and Walls: Globalization, Migration and Colonial Domination, Studies in Critical Social Sciences Davis, M (2007) In Praise of Barbarians: Essays Against Empire, Haymarket Books Publishing Limited Everitt, A (2010) Hadrian and the Triumph of Rome, Random House Trade Paperbacks Jeavans, C.(2016). Hadrian’s Wall: Roman power symbol | BBC NEWS. [online] News.bbc.co.uk. Available at: http://news.bbc.co.uk/1/hi/england/2931730.stm [Accessed 25 Apr. 2016]. Laycock, S (2012) Britannia - The Failed State: Tribal Conflict and the End of Roman Britain, The History Press National Editorial (2016). Walls reflect poor policy decisions | The National. [online] Thenational.ae. Available at: http://www.thenational.ae/opinion/editorial/walls-reflect-poor-policy-decisions [Accessed 25 Apr. 2016]. Pugh, E (2014) Architecture, Politics, & Identity in Divided Berlin, Pittsburgh: University of PIttsburgh Press Ritaine, É (2009) La barrière et le checkpoint: mise en politique de l’asymétrie. Cultures & Conflicts, L’Harmattan Spring, P (2015) Great Walls and Linear Barriers, Pen and Sword Vallet, E. (2014) Borders, Fences and Walls - State of Insecurity?, Farnham: Ashgate Whitworth, A. M. (2000) Hadrian’s Wall: Some Aspects of its Post-Roman Influence on the Landscape, Oxford: Archaeopress - Publishers of British Archaeological Reports

Intro to Architectural History - Non-Design Work

Principles and Theories of Architecture

Architecture Essay - Mercado do Bolhão Student Number: 150366542 The building I have chosen is the Bolhão Market (Mercado do Bolhão), located in Porto, Portugal. A fine example of French beaux-art inspired neoclassical architecture, I have chosen it not only because of the building itself, but also due to its human dimension: the building perfectly embodies the spirit of the city’s working class to this day, and this is a big part of why it is good. The Bolhão Market was built in 1914, for the Porto City Hall by the architect António Correia da Silva. It is outstanding in architectural terms both for its beaux-art design (heavily inspired by the architects traditionalism and relation to the École des Beaux Arts, and, much like the work of another local architect, Marques da Silva, of the foreshadowing of the subsequent modern “Porto Style” of architecture 1), and the use of reinforced concrete in conjunction with cast-iron structural elements. Located outside the pre-Discovery Era city centre, in the grounds of an 1839 open air market, it was built out of necessity of providing a new food market for the then expanding city. The neighborhood it is located in is known for being a shopping area, with quite a lot pedestrian-oriented streets and two big shopping malls snaking between the 18th and 19th century buildings.

It has a mostly horizontal profile in a sloping terrain - the north entrance of its rectangular plan is situated in the 2nd floor of the building, while the southern entrance is on the ground floor. The buildings surrounding the block the market is located on seem to converge on it, but somehow the market still imposes itself on its neighbours, impressing passer-by's despite the relative simplicity of the neoclassical decoration and barebones storefronts. The building truly draws us in, by framing the inside through the entrances, inviting us to a seemingly more pleasant and calm environment. Pinto de Almeida, B. (2015). Álvaro Siza entrevistado por Bernardo Pinto de Almeida. U.PORTO, [online] (9), pp.28, 29. It’s accepted in the portuguese architectural community that, while Marques da Silva anticipated the modernity of portuguese architecture, it was “Carlos Ramos (...) the introducer of contemporaneity in the School (of Porto)”, in the words of Siza Vieira

When entering through the northern entrance (or viewing from the southern gallery), all the stalls below dramatically flow to the other end of the market. The city buzz of cars and people and performers on the outside give way to a panoply of smells and noises characteristic of a market. All around the courtyard where the main stalls and shops are located in, the second floor gallery has, on the northern end, stalls, protected from the sun by curtains (that despite being attached to fittings always have a calming flowing effect), while on the southern end (where the building starts to have a height comparable to the rest of the urban fabric) they are substituted by second floor shops, most of them empty, which adds to the buildings eyrie feeling.

The galleries have a roof supported (like the rest of the building) by beautiful ironwork, half of it reinforced with scaffolding due to decay and corrosion. Both the roof of the concrete building and of the galleries are sloped, with simple but repetitive decorative ironwork on their gutters and ridges. This reinforces the flowing effect of the stalls, directing our view along the multiple lines that go to a single vanishing point. Above, the building frames the skies of Porto. Pigeons and seagulls roam freely throughout these spaces, receiving little pieces of food from the merchants and tourists, and with its slightly picturesque aesthetic, it feels quite

Principles and Theories of Architecture - Non-Design Work

metropolitan, a welcoming change from the shopping malls and hip stores that dot this urban area.

more pleasurable for browsing the fresh produce in the cold air, and the light that manages to pass through the acrylic roofing comes in a slightly tinted green or blue shade. The produce on the stalls supporting this roofing are illuminated either by the vestiges of indirect sunlight, or, if clouds hinder it, by fluorescent lights (giving the fruit and vegetables an almost sickly glow). The way the stalls are positioned, almost like columns dividing church aisles, and the way light directly or indirectly affects the spaces again add to its cathedral-like feel.

Despite the occasional shouts of merchants, of knifes cutting meat or of pallets being put away, the whole building comes across almost as cathedral-like. The galleries work, in a certain way, as a typical cloister. Conversations are much more instinctively hushed in its dark pavements. The stairways that connect both levels to the side entrances, which are on a mezzanine level, reinforce that feeling of separation, refuge from the surrounding streets.

If you descend these stairs, the building, with its rows of covered stalls and corridors, seems almost as a city within a city, that reveals itself with a sort of "central plaza" with a fountain, the place where the women of the market socialize and get water for their stalls. It is the heart of the market, right in its centrum, with a late 50s bridge above connecting the galleries on the second floor. However, when descending through the main, almost palatial outdoor steps in front of the northern entrance, the dramatic view of the stalls mentioned above slowly engulfs you as the corridors come at eye level. Some, covered in either acrylic or more opaque makeshift roofing, are either a blessing during the summer for shoppers, or gloomy and empty during the winter, when the pockets of sunlight in the pavement are far

However, the most important part of this building, and the reason â&#x20AC;&#x2039;why it is good, and what makes it work (despite its physical decay) is its people. Their welcoming smile never seems sickly under the weak fluorescent light. They very much represent the spirit of the city - a liberal, fighting spirit, of human resilience and innovation. In that sense, the people in it are part of the building, as indistinguishable from it as the â&#x20AC;&#x2039;beaux-art decorative elements or the structural concrete and iron portions. Despite being rebuffed several times by capital-based governments, they (the building and the people, both slowly decaying) still resist. While both the building and the people age, the market just maintains itself as better as it can (and in this point several parallels come into evidence between the age of the building and of its people - if we assume that both the people and the physical building are indistinguishable, then a leg injury is as damaging as a rusting structural element, as both cause the blight of the building), in a show of resilience that is not unknown for a city that has always made do with what it had. When I go inside the market, I feel much more connected to my roots, and have a much stronger sense of civic pride and of history than in more typical and iconic buildings in the city. I could, however, be accused of somehow romanticizing urban and infrastructural decay, poverty and unsafe conditions. Throughout the text, it seems that I glamorize the state of corrosion of the structure, likening all the sensorial images of life in the market (of which not only is this decay part of, but also the ageing population and the general abandonment) to a "picturesque aesthetic". But on the contrary, I

understand that most of these details that make it "picturesque" have very real consequences. I won't lament losing the opportunity to feed seagulls pieces of leftover meat or bread from a butcher or café if this means that the ground floor will be protected from bad weather with. The planned renovations that include a direct access to a metro station and a "reinterpretation" of the current stalls (which are almost a regional icon) in aluminium and other more safe materials (instead of the current wood and stone ones)2 will not make me sorry that some modern addition will be made to the building, and that it might lose some of its imagined “authenticity”. The civic pride I have mentioned before is much more to due to the resilience and desenrascar (Portuguese expression meaning "to make do with what you got") of the people and the whole market, that managed to endure despite the increasingly hard conditions.

References - Ballantyne, A. (2002). Architecture, A very short Introduction. Oxford: Oxford University Press. - Carvalho Quaresma, M. (1995). Inventário artístico de Portugal. Lisboa: Academia Nacional de Belas-Artes. - Carvalho, P. (2015). O novo Bolhão e o velho Bolhão encontraram-se no projecto de reabilitação. [online] PÚBLICO. Available at: http://www.publico.pt/local/noticia/nova-cara-do-bolhao-apresentada-aos-comerci antes-1693242 [Accessed 25 Nov. 2015]. - Pallasmaa, J. (2012). The eyes of the skin. Chichester, West Sussex [U.K.]: Wiley. - Patrimoniocultural.pt, (2015). Mercado do Bolhão. [online] Available at: http://www.patrimoniocultural.pt/pt/patrimonio/patrimonio-imovel/pesquisa-do-patri monio/classificado-ou-em-vias-de-classificacao/geral/view/155837/ [Accessed 28 Nov. 2015]. - Pinto de Almeida, B. (2015). Álvaro Siza entrevistado por Bernardo Pinto de Almeida. U.PORTO n9, [online], pp.28, 29. Available at: https://sigarra.up.pt/up/pt/web_gessi_docs.download_file?p_name=F2111016550/ UPorto_n9.pdf [Accessed 3 Dec. 2015]

This, in a way, denotes a fairly symbiotic relationship between the material/structural and the human dimension. I have said in the first part of the essay that the building embodied "the spirit" of the working class in Porto (implying that was the thing that made this building good). The building itself is well organized, almost mimicking the general layout of modern supermarkets, and that’s quite interesting. But what truly makes it good is that, through its people it managed to serve the area's population against all odds. The building supports the merchants, and in turn the merchants support the building.

2 Carvalho, P. (2015). O novo Bolhão e o velho Bolhão encontraram-se no projecto de reabilitação. [online] PÚBLICO. The project for the market includes moving all produce stalls for the ground floor (which accounts for two thirds of the floor space of the building), leaving the galleries for restaurants, and turning the unused roof attics into student accommodation, very much in the same way another market in the city - Mercado do Bom Sucesso - was transformed into an hotel, gourmet restaurants and a small market.

Principles and Theories of Architecture - Non-Design Work

Architectural Technology 1.1

Primary

Secondary

ARC1013 Coursework Student No: 150366542 62

Tertiary

The structure of the building is an integral part of how the space works and looks. On the school side, where a personal “public right of way” constrained the construction area, the cantilever provides both a shelter, and an indication of the entrance of the building, leading the eye along its suspended lines to the door. The side walls, providing mostly balance, enclosure the rows of columns. In the back, between those columns, in 3 of the 4 spaces, large “frameless” windows provide view to the outside wild garden, creating, in the extended sill, a continuous seating space (with the 4th space, like all windowless structural nooks in the building, bordering bookshelves). The middle row of columns acts almost as a “wall”, with beams (part of the secondary structure) joining and stabilizing them, acting as bookshelves. Open to both sides, they allow light to filter through either way, but block some sound from group readings.

Between these two rows, an almost “basilical” group reading space is created due to a higher roof line, and the repeating columns on either side, with the materials (white plaster and light wood) creating a minimal environment dedicated solely to reading. The white plaster has the added benefit of slightly reflecting the light entering through the skylights, illuminating more thoroughly the spaces. When entering the building, its immediately noticeable the way the structure either selectively blocks or lets the light pass.

Student No: 150366542

Architectural Technology 1.1 - Non-Design Work

Architectural Technology 1.1 The structural part was mostly thought out before this task was assigned. Therefore, in relation to the span and depth of the components (next page), it’s mostly “checking” if the work done before would fare well structurally. In order to do this, I’ll use the formulas below (with the exception of the overhang, where I’ll use 7 instead of 20) comparing the end result with the smallest depth (many of the beams have quadrilateral shapes that aren’t rectangles), which must be larger or equal to that result. In the cases where it’s smaller, an explanation accompanies that result. The materials, unless otherwise stated, are all pitch pine, chosen for the availability of long sections.

Top

Overhang Inclination A Inclination B

Bottom

Imposed load

Dead load

Top = 0.75kNm2 x 6.12x1.10 = 5.049kN Bottom = 0.75kNm3 x ([9.78x0.86]/2 + [6.15x0.30]/2) = 3.846kN Overhang = 0.75kNm3 x (1.50 x 4.72 + 1.50 x 4.21) = 10.05kN Inclination A (30º) = 0.75kNm3 x (6.12x6.19+[6.19x1.87]/2) = 32.75kN Inclination B (52.6º) = (60-52.6)/30 x 0.75kNm3 x (2.17x1.10 + [1.64x2.17]/2 x [6.19x2.17]/2 = 2.65kN

Main Profile = 115x4 + 2.814x6 + 58.25x4 + 22.8x4 +12.38x4 = 850.604kg Front Rafters = 6.1x3x12 + 5.5x11 = 280.1kg Site Rafters = 13/2x11 + 3.1x6 + 2.63x5 = 103.25kg Back Rafters = 9.29x3x6 + 5.63x5 = 195.37kg Other Components = 13 + 30.87 = 43.87kg Zinc Roofing = (96.46m2+15.73m2) x 5.70 = 639.483kg Thermal insulation (Glass fibre) = (96.46m2+15.73m2) x 0.5 = 3kg

Total Imposed Load = 54.345kN

Total Dead Load = 2115kg = 20727N = 20.727kN

ARC1013 Coursework

Overhang (explained as example)

1 Decreases its depth progressively between the two values halfway 1.50x0.37m to 1.50x0.21m However, both of these work

13a

1.50/7= ~0.2142 (marginally close to 21cm) Weight=1.50x0.37x0.042x670kg/m 3=15.61kg per equal beam (10 beams like it) Weight of unequal beams (using average depth) 1.5x([0,21+0.36]/2)x0.042x670x9 = 108.27kg

3 6 5

13b

Roof Beams

14a 7 10 15

14b

F2 12

F1 K

J I H G D

2 (I-Beam with a column support) 4.80/20= ~0.24 (0.20 real depth) (due to being an I-Beam, and having another exact piece like it on the other side of the 13cm joining piece, I didn’t worry much about this discrepancy) 2.10/20= ~0.105 (0.16) Weight=(1.6m2x0.042x2+0.89m2x0.042)x670kg/m3 =115kg 3: 1.10/20= ~ 0.055 (0.08) Weight=0.1m2x0.042x670kg/m3=2.814kg 4 (I-Beam): 3.10/20 = 0.155 (0.16) Weight=(0.83x0.042x2+0.41x0.042)x670=58.25kg 5: 3/20=0.15 (0.25) Weight=0.81x0.042x670=22.8kg 6: 1.44/20=0.072 (0.14) Weight=0.22x0.042x2x670=12.38kg 7 (Supported in 4 points) 2.61/20=0.13 (0.15) | 2.31/20=0.11 | 2.10/20=0.1 Weight=1.1x0.072x670=51.59kg 8: 3.18/20=0.16 (0.12) - A simple solution would be to increase its depth, although it does have a larger thickness than others Weight=0.59x0.072x670=28.46kg 9: 3.37/20=0.168 (0.22) Weight=0.79x0.072x670=38.1kg 10: This span gets progressively smaller (see diagram): 2.87/20=0.14 (0.08) Weight of unequal beams (using average length) ([0.37+0.04]/2)x0.072x670x10=98.9kg 11: 1.80/20=0.09 (0.15) Weight=0.27x0.072x670=13kg 12: 2.33/20=0.1165 (0.12) Weight=0.32x0.072x670x2=30.87kg 13a: 1.66/20=0.083 (0.13) Weight=0.22x0.042x670=6.1kg 13b: 1.66/20=0.083 (0.13) Weight=(1.66+0.12)/2x0.22x0.042x670=5.5kg 14a: 1.66/20=0.083 (0.2) Weight=0.33x0.042x670=9.29kg

14b: 1.66/20=0.083 (0.2) Weight=(1.66+0.34)/2x0.20x0.042x670=5.63kg 15: 0.93/20=0.05 (0.12) Weight=0.11x0.042x670=3.1kg 16: 1.45/20=0.725 (0.12) Weight=(1.45+0.25)/2x0.11x0.042x670=2.63kg

Columns and Stabilizing Beams

A (Standard Load Bearing Column) The columns, separated at 4 equal distances, are classified as “short-columns”. They use standard engineering bricks (2165kg/m3) as a load-bearing material: 3.35/0.43= ~7.79 Slenderness Ratio (this classifies it as a short column, capable of withstanding almost any buckling, but because laterally (3.35/0.21= ~15.95 Slenderness Ratio) it has half the depth, several beams are put into place that grant an effective lateral slenderness ratio of less than 10 (2/0.21= ~9.52) Weight=3.35x0.43x0.21x2165kg/m3=654.9kg B (Bookshelves) 1.60/20= ~ 0.08 (0.15) - Vertical part 1.60/20= ~ 0.08 (0.60/0.03 thickness) Horizontal part; lacks thickness as it only holds books Weight=(0.96x0.03+0.24x0.072)x670=30.87kg C: 1.65/20= ~ 0.0825 (0.15) Weight=0.38x0.042x2x670=21.39kg D: 1.60/20= ~ 0.08 (0.24) - Vertical part 1.60/20= ~ 0.08 (0.24) - Horizontal part Weight=(0.4x0.042+0.4x0.042)x670=22.5kg E: 4/20= ~ 0.2 (0.15) - Because there’s in fact 2 beams right next to each other, and they exist to provide more stability to the middle columns only Weight=0.65x0.042x2x670=36.58kg

Walls and Load Bearing beams F1: 1.67/20= ~ 0.0835 (0.37) Weight=0.62x0.072x670=29.9kg F2: 0.73/20= ~ 0.0365 (0.37) Weight=0.27x0.072x670=13kg G: 2.25/20= ~ 01125 (0.30) Weight=0.675x0.072x670=32.56kg H: 1.27/20= ~ 0.0635 (0.30) Weight=0.27x0.072x670=18.38kg I: 2.98/20= ~ 0.149 (0.30) Weight=0.894x0.072x670=43kg J: 4.98/20= ~ 0.249 (0.30) Weight=1.5x0.072x670=72.36kg K: 1.93/20= ~ 0.0965 (0.20) Weight=0.386x0.10x670=25kg

Student No: 150366542

Architectural Technology 1.1 - Non-Design Work

Architectural Technology 1.2

ARC1014 Coursework Student No: 150366542

Projecto 1

Projecto 1 16.05.2016

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Sala 1 / Cenário de luz 1 / Representação de cores falsas

Sala 1 / Cenário de luz 2 / Representação de cores falsas

Kitchen

Kitchen Projecto 1

Projecto 1 16.05.2016

Editor(a) Telefone Fax e-Mail

16.05.2016

Editor(a) Telefone Fax e-Mail

Mornings Evenings Sala 1 / Cenário de luz 1 /Sala calculo 1 / Cenário chão / Níveis de luz 1de / calculo cinzento chão (D) / Níveis de cinzento (D)

Under daylight only, it is only usable during the morning, and that's still not the entire work area. At the back, the laundry, pantry and fridge are always dark, but in the evenings especially (the daylight reaching further at floor level) These are illuminated by artificial light, whether in the ceiling or built in the drawers and doors. In the case of the kitchen worktop, there's a very stark contrast. The cooker is located near the window, not only due to the possibility of natural ventilation, but also because it would be the area most used during the day, as opposed to the sink. The worktop under the cabinets, where it starts to get darker, would have hidden artificial light to cook, and countering the shadow created by the ceiling lamps and the people.

Section (Kitchen)

Located at the back of the main volume of house, it's a narrow long room that opens up to a courtyard, and connects to the dining room to the side, with a polycarbonate and wooden framed wall in-between. The courtyard, a space thought out as the "meeting" of the back and the front, is broken by the living room deliberately, so that a intimate, dynamic thought out space could be created. From the kitchen, the potted plants (and depending on those planted, the raised plants) could be seen next to the dividing wall, with a space for a bike/gardening tools/pots right under the window. Looking above, a thin skylight frames the view towards the sky, but the large vertical window and door show at the back the studio hiding most of the sky.

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Worktop

Window View

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Floor

Escala 1 : 49

Posição da superfície na sala: Posição da superfície na sala: Ponto marcado: Ponto marcado: (0.050 m, -0.025 m, 0.910 m) (0.050 m, -0.025 m, 0.010 m)

Grelha: 32 x 8 Pontos Dm [%] 2.66

Escala 1 : 49

Determining Daylight

Page 3

Grelha: 32 x 8 Pontos Dmin [%] 0.09

Dm [%] 2.03

Dmax [%] Dmin [%] 14 0.10

Dmin / DmDmax [%] 0.035 11

Dmin / D Dmin max/ Dm 0.006 0.048

Dmin / Dmax 0.009

Iluminância horizontal ao ar livreIluminância Ee: 11527 lxhorizontal ao ar livre Ee: 11527 lx

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Architectural Technology 1.2 - Non-Design Work

Architectural Technology 1.2

Projecto 1

Projecto 1 18.05.2016

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Fax e-Mail

Editor(a) Telefone Fax e-Mail

18.05.2016

Projecto 1 18.05.2016

Editor(a) Telefone Fax e-Mail

Projecto 1

16.05.2016 Telefone

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18.05.2016

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Sala 1 / Cenário de luz Sala 3 / calculo 1 / Cenário chão de/ Níveis luz 3 / calculo de cinzento chão / Níveis (D) e-Mail de cinzento (D)

Sala 1 / Cenário de luz 1 / calculo chão / Níveis de cinzento (D)

Sala 1 / Cenário de luz 3 / Representação de cores falsas

Kitchen

Sala 1 / Cenário de luz 3 / Representação 3D

Clear glass (90%)

At the front of the house, the grandmother's bedroom & study is, for most of the time, her private, "out of the way" living, working and reading space. It looks out to the street greenery, and in winters, Gateshead and the lower, still industrial part of the Ouseburn. There's a vibe of a "hidden way" coop among the trees, even more when the blinds (part of a perforated metal representation of a

tor

Escala 1 : 49 Editor(a) 16.05.2016 Telefone Fax e-Mail

Editor(a) Telefone Fax e-Mail

18.05.2016

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18.05.2016

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Sala 1 / Cenário de luz Sala 3 / calculo 1 / Cenário chão de/ Níveis luz 3 / calculo de cinzento chão / Níveis (D) de cinzento (D)

Grelha: 32 x 8 Pontos Dm [%] 2.03

Sala 1 / Cenário de luz 1 / calculo chão / Níveis de cinzento (D) Dmin [%] Posição 0.10

[%]

Sala 1 / Cenário de cores falsas Escala 1 : 65 de luz 3 / Representação Escala 1 : 65

max min min max da superfície na sala: Posição damsuperfície na sala: 11 0.048 0.009 Ponto marcado: Ponto marcado: Iluminância horizontal ao ar livre(0.050 Ee: 11527 m,lx -2.000 m, 0.010 m) (0.050 m, -2.000 m, 0.910 m)

Dm [%] 5.87

Grelha: 8 x 32 Pontos Dmin [%] Dm [%] 0.186.95

DmaxD[%] min [%] 140.13

Solar-filtering glass (50%)

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Grelha: 8 x 32 Pontos

Dmin Dmax / Dm[%] 0.03120

DDmin Dmax min/ /D m 0.019 0.013

Dmin / Dmax 0.007

Iluminância horizontal ao arIluminância livre Ee: 11527 horizontal lx ao ar livre Ee: 11527 lx Página 1

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max min min max Floor Worktop da superfície na sala: Posição damsuperfície na sala: 11 0.048 0.009 Ponto marcado: Ponto marcado: m, 0.010 m) (0.050 m, -2.000 m, 0.910 m)

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Grelha: 8 x 32 Pontos

Grelha: 8 x 32 Pontos Dmin [%] Dm [%] 0.123.82

DmaxD[%] min [%] 7.870.10

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Iluminância horizontal ao arIluminância livre Ee: 11527 horizontal lx ao ar livre Ee: 11527 lx

Thought out from the start as a room that, except for some moments in the morning, would be lit mostly by ambient light, directional light, or both at the same time, it is incredibly constrained on what additional daylight we can bring into it. It is surrounded on 3 sides with build-up space, and on top with another floor. However, the creation of a conservatory does make some difference - by extending, like the living room, the kitchen out of the main volume of the house, even the non-extended part is brighter. However, in the first option, the entire extended part became far too bright, without it bringing much light into the kitchen. Trying to solve it by having a glass filtering most of the solar rays makes the extension tolerable, but darkens far more what was there already - the first option, allied with ambient artificial light seems the best.

Re-imagining Daylight

Iluminância horizontal ao ar livre(0.050 Ee: 11527 m,lx -2.000

Dm [%] 3.25

treescape) are closed, with the exception of a single window at eye level next to the reading space (and the only interruption in the uniform facade). This view doesn't show (as choices had to be made) that window framing when sitting down, just the underside of the trees, at street level, enhancing that idea of a refuge while reading.

Projecto 1

Projecto 1 Posição Projectoda1 superfície na sala: Ponto marcado: (0.050 m, -0.025 m, 0.010 m)

Grandmother's Space

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Window View

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Projecto 1 18.05.2016

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Projecto 1

Projecto 1 15.05.2016

Projecto 1 Sala 1 / Cenário de luz 12 / Representação de cores falsas

15.05.2016

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18.05.2016

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Sala 1 / Cenário de luz 12 / Representação de cores falsas

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Sala 1 / Cenário de luz 11 / Representação de cores falsas

Sala 1 / Cenário de luz 12 / Cociente luz do dia Superfície de cálculo 1 / Níveis de

cinzento (D)

Grandmother's Space

Projecto 1 18.05.2016

Editor(a) Telefone Fax e-Mail

For this space, I was initially sceptical of the windowless part of the facade between windows, placed maybe too far apart - which led to a dark spot in front of the bed, and a Sala 1 / Cenário de luz 12 / Cociente luz do dia Superfície de cálculo 1 / Níveis de distribution of light in the room that favoured cinzento (D) the two front corners. So, for the first attempt, Escala 1 : 32 I extended the window next to the desk, Posição da superfície na sala: Ponto marcado: (0.000 m, 0.000 m, 0.010 m) providing an almost panoramic glazed window. This did in fact illuminate better the back of the room, but turned the circulation area next Editor(a) Telefone to the windows too bright in comparison. In Grelha: 128 x 128 Pontos Fax e-Mail D [%] D [%] D [%] D /D D / D the second attempt, the "panoramic window" 3.01 0.30 7.91 0.100 0.038 is subdivided, and with that reduces most of Sala 1 / Cenário de luz 12 / Representação de cores falsas Iluminância horizontal ao ar livre E : 8204 lx Projecto 1 the excessive light near them, while continuing to have light at the back. However, in this scheme, the room seems too "exposed", and it defeats the idea of the second perforated Sala 1 / Cenário de luz 12 / Cociente luz do dia Superfície de cálculo 1 / Níveis de metal layer at the front "hiding" the room. cinzento (D) with a third attempt, and a less Escala 1 : However, 32 Posição da superfície na sala: Ponto marcado: drastic change than the previous two, a much (0.000 m, 0.000 m, 0.010 m) better solution is found. Without changing the size of the actual windows, but moving it half a meter, the light is more evenly balanced, with Grelha: 128 x 128 Pontos the space having the necessary light during D [%] D [%] D [%] D /D D /D 2.22 0.27 5.74 0.120 0.047 the day. The one flip side of this is that the Iluminância horizontal ao ar livre E : 8204 lx desk is now not "connected" to the window, and there's much less natural light illuminating it.

Sala 1 / Cenário de luz 12 / Representação de cores falsas Projecto 1

18.05.2016

Editor(a) Telefone Fax e-Mail

The windows, at the edges of the room, create between them a darker wall part, in line with the bed. They illuminate the two important work spaces very well, and provide (mostly) an Editor(a) Telefone Fax adequate level of illumination throughout the e-Mail room during the evenings. However, during Sala 1 / Cenário de luz 12 / Cociente luz do dia Superfície de cálculo 1 / Níveis de the morning, it's quite a dark space, with a Evenings cinzento (D) passable level in the reading and working area.

Projecto 1

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Mornings

This simulation counted with the tree-lined street, but in the winter, the sunset aligns itself perfectly with the room, letting the naked branches shadow the interior the same way the closed blinds in the summer would "shadow" the interior based on that same kind of naked branches.

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Determining Daylight

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Re-imagining Daylight

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Iluminância horizontal ao ar livre Ee: 2433 lx

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Architectural Technology 1.2 - Non-Design Work

Architectural Representation - Analog This booklet, displaying all the tasks of the first part of the Architectural Representation module, relates itself to the main subject of these tasks - the Civic Centre of Newcastle, an imposing, and complex modernist building. Due to the quantity of analog representations (drawings, watercolours, etc), it has quite a lot of blank space, letting the drawings and photographs â&#x20AC;&#x153;breatheâ&#x20AC;?.

Tasks Booklet

Architectural Representation - Non-Design Work

Architectural Representation - Analog â&#x20AC;&#x153;For our first task, we were invited to visit, accompanied by tutors, several areas of Newcastle, as a way of kickstarting the school year...â&#x20AC;? This task (and all but the last one) had the intention of making us able, not necessarily only to represent architectural spaces, but to analyse them as well. From the Civic Centre to the Quayside, I was able to apply techniques I had learned before, and improve them.

City Drawing Sketches

Tasks Booklet This aluminium card holder, by the Japanese “no-brand” Muji, was my chosen object due to its elegance and simplicity. It’s a great piece of design, very lightweight, holding 6-8 cards in its folded aluminium structure. This structure, composed of two different laser cut and folded sheets of aluminium, is connected by a hinge, which I considered very important (the reason why I cut through the object that way was to be able to show it).

Hollow Object Drawing

Architectural Representation - Non-Design Work

Architectural Representation - Analog

Photographic Studies

Tasks Booklet

Civic Centre Analysis

Architectural Representation - Non-Design Work

Architectural Representation - Analog

Technical Drawing

Tasks Booklet The nude has been, in western art, a great source of inspiration since prehistoric times. Studying the human body, analysing and representing it is extremely beneficial and important for an architect, a designer, an artist. Complicated tables and measurements arenâ&#x20AC;&#x2122;t enough when it comes to this study. To understand anthropometry and ergonomy, the representation of the human body provides an easier way of learning how to design intuitively for humans.

60 seconds x 4 sketches 60 seconds blind drawing

Architectural Representation - Non-Design Work

Architectural Representation - Analog

30 seconds x 3 consecutive sketches 2 minutes articulated sketch

2 minutes mass drawing sketches

Tasks Booklet

0h 30m

1h 30m

Architectural Representation - Non-Design Work

Architectural Representation - Digital For this booklet, a different approach was taken. Whilst following the underlying layout and aesthetical framework of the previous booklet, this one relates itself more heavily to the ideas beyond my line of enquiry, having more line and perspective based graphical elements.

Script The Royal Arcade, by John Dobson, was built as part of Richard Grainger’s transformation of Newcastle. Thought of as an indoor thoroughfare, it was planned to concentrate the city’s public and lawyers office, but due to the expansion northwards of commercial areas, it was deemed a failure a decade after its construction. This idea of an “indoor street” led me to investigate the Arcade’s sitting and urban context through historical maps, which showed it almost as the “continuation” of a East-West axis intersecting some of the most important streets in the city. My intention with this project is analysing it as part of this route, using video, montages and drawings to both establish that connection and to give a view into the journey, ambiance and form of that particular stretch of the city’s routes.

Concept Art #1

In this sense, for my concept art, I explored the Arcade as a long avenue, and from our position, its seemingly infinite “East-bound” in the montage - which in reality is where the uninterrupted route ends - hints at an untold and unbuilt continuation of the Arcade. Later, with the 3D model completed, I applied the arcade (as a typology of indoor street), in a second concept art/ render, to other open aired roads in the city, in this case in the Quayside. With the technical drawings, there’s a double function the 1:500 line plan and section of showing it as part of that axis, and in that historical urban context, and the 1:200 of analysing, in a similar way, the actual stretch of the Arcade, giving a sense of scale, but as well starting to analyse its ambiance.

Both renders and the video develop this last point more, each in their own way - the video displaying a walkthrough across the building, and the renders showing typical framings that are used for street-scape photography.

Lost & Unbuilt Architecture - Enquiry Booklet

Architectural Representation - Non-Design Work

Architectural Representation - Digital

Concept Art #2

Lost & Unbuilt Architecture - Enquiry Booklet

Different Technical Sections

Architectural Representation - Non-Design Work

Architectural Representation - Digital

View East of the Royal Arcade

Lost & Unbuilt Architecture - Enquiry Booklet

View West of the Royal Arcade

Architectural Representation - Non-Design Work

Conclusion

Hasten slowly, and without losing heart, Put your work twenty times upon the anvil Nicolas Boileau DesprĂŠaux