2.3 by Konrad Koltun

2.3 Either Way... Konrad Koltun |11071356|Grand Junction |Crossings Events

Konrad Koltun

2,3 Portfolio

Table of Cont tents

2,3 Grand Junction

5 Introduction 6 Site analysis 6 The pragmatic 10 Historical 12 Environmental 14 Social 16 Context 20 Dialectical 32 Concept development 33 Montage 36 Wider context 38 Detail 40 Concept 44 Spolia (sustainable stance) 46 Natural Constructed (tectonics) 48 Function 49 Form 50 Spatial development 54 Structural development 58 Proposition 58 Proposal in context (site plan + elevs) 60 Programme (plans sections) 72 Legislative consideration 76 Spatial qualities 88 Proposal in detail 98 Environmental considerations 106 Conclusion 106 Playhouse 108 New Built 110 Landscaping 112 Questioning permanence 116 Closing image 118 References 119 Summary

Individual

120

Crossings Events

Collective Konrad Koltun

2,3 Portfolio

INtro duc tion KEY

The brief involved creating a new cultural hub for Hulme in Manchester and reconciling it through parts of the development with the wider Greater Manchester context. There were three main parts to it - renovating the Grand Junction Playhouse to a degree, proposing a new venue for digital arts and a piece of landscaping connecting the two developments. I would like to thank my tutors Maryam Osman and George Epolito for guiding me through and showing a completely new design process which opened my mind and enlightened architecturally in terms of the theory. I cannot express shortly what was the main thing they taught as there was a lot of it and I guess it will come back later, itâ&#x20AC;&#x2122;s important to mention though that the design process was not conventional and sometimes consisted of seemingly unrelated exercises that only started becoming obvious towards the end of the process and hopefully I will be able to show here how it informed my design and altogether formed a coherent project.

Collective

Individual Either

Konrad Koltun

Site Ana lysis

The Pragmatic

150mm Running Bond interiour cavity wall

Timber

Brickwork & Blockwork

Timber framing system with diagonal bracing

Structural Materials

600mm English Bond loadbearing exteriour walls

Iron

eel & St

Iron columns with Gothic foliage supporting balconies

Balcony, ceiling & roof beams transmitting load to columns

Rafter flat roof system, partly in ruin

Two-way floor system: steel beams and rods bolted together

Two giant, fluted Ionic demi-columns supporting a straight entablature frames the proscenium

Structural diagram of the Playhouse by Max Downe

The site analysis started with the year site visit. One of the first requirements and obvious outputs was to produce as a group a set of existing drawings of the Playhouse which needed to be altered.

Site 2,3 Portfolio Analysis

Group existing building drawings Various sources

-1

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Group existing building drawings

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East

North

South

West

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Site 2,3 Portfolio Analysis

No dignity

One of the first things I noticed apart from the obvious, pragmatic things was the fact that the official entrance had no dignifying experience associated with it. It was small, narrow and rather individualistic. The entrance we actually used on the day however - from the backstage was a volumetric space which can not only fit a lot of people but obviously the props etc. The space was rather narrow and tall, yet featured volumetric changes and was WIDE enough to support a collective experience even though was rather individualistic when one was left alone in it.

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Historical Hulme

Context

Cristina Manta

â&#x20AC;&#x2DC;Coreâ&#x20AC;&#x2122; buildings in the area that sustained changes by Michael Kennedy

Alexandra Gavrikova

The history and culture of Hulme has gone through many changes, it changed significantly and that obviously had an effect on its residents. It went through being a slum for cheap workers from Ireland involved in the Cotton industry, through to a big social estate, to a mixed residential borough rather aimed at lower middle class.

Site 2,3 Portfolio Analysis

Grand Junction

Despite the fact that Grand Junction theatre have been one of the â&#x20AC;&#x2DC;coreâ&#x20AC;&#x2122; buildings in the area It has gone through some changes being exploited both commercially and socially throughout the time. All that was strictly associated with the wider political decisions across the UK which I will attempt to showcase later on in the portfolio.

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Environmental Group existing building drawings

Summer

9AM

NOON

3PM

Spring/Autumn

Winter

Rain Volume in an average month

72mm of rain fall in an average month in Manchester constitutes for 132m cubed of water expressed by the cuboid in the middle of the picture. It could have some water retention implication but more than anything it was a good reminder of how much it rains in Manchester. 12

Site 2,3 Portfolio Analysis

Wind conditions

WEST

Using Vasari I simulated the affect wind has on the site. South wind is most common in this area. Notice th wind tunnel that forms in the open area and goes straight through our new build site. This inspired me to later in terms of my envelope choices.

SOUTH

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SOUTH-WEST

Comparison of crime types in this area between April 2012 and December 2012

Social Hulme Is notorious for its crime rates often related to the household income and what I think is a rather low level of dignity. I have noticed that crime is a resource only people from homes which didnâ&#x20AC;&#x2122;t teach3.9% high self esteem reach for crime.

Household income, 2011

Crime Rates April-Dec 2012

Comparison of crime types in this area between April 2012 and December 2012

6.2% 6.2%

Anti-social behaviour

11%

Burglary

31.2%

Anti-social behaviour Burglary

Criminal damage arson Criminal and damage and arson Drugs

3.9%

Drugs

Other theftOther theft Publicand disorder and weapons Public disorder weapons

Robbery Robbery ShopliftingShoplifting Vehicle crime

20.2%

Vehicle crime

20.2%

14.2%

Violent crime

14.2%

Violent crime

Other crime

7.1%

Category

Total

Anti-social behaviour

Total

105 Percentage

31.2%

105

48 31.2%

14.2%

Anti-social behaviourBurglary Burglary

Criminal damage and arson Drugs

Criminal damage and arson

48 24

Other theft

Drugs Other theft

Public disorder and weapons Robbery

Public disorder and weapons Shoplifting

24 6

Percentage

14.2% 7.1%

6 68

7 13

7.1% 1.8% 20.2%

1.8% 20.2%

2.1% 3.9%

2 2.1%

0.6%

6 3.9%

1.8%

Violent crime

37 0.6%

11.0%

Other crime

21 1.8%

6.2%

Violent crime

11.0%

Other crime

6.2%

Robbery

Vehicle crime

Shoplifting Vehicle crime

Cheung Dip Wan

1 of 3

1 of 3 14

Site 2,3 Portfolio Analysis

This very clever piece of analysis not only gave us a big picture of Hulme but also pushed me later on to look at wider context in relation to changes.

Group analysis, unknown author

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Context

Cheung Dip Wan

Site 2,3 Portfolio Analysis

Jessica Spencer

Knowing the context proved vital later on in terms of deciding access points and understanding the programme one of the key elements proved to be Loreto College and Universities around which I managed to design a basic schedule in order to use the spaces in the best kind of way. I think that education is key for this area to gain more dignity.

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Education is key 17

Site analysis composite From the key site analysis I made I composite sketch in order to be able to constantly reference it whilst designing. This was not to forget about any vital pieces of pragmatic information.

Community Garden Masterplan

Urbed

Site 2,3 Portfolio Analysis

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Dialectic Site analysis Constructed and cleared site struggle Genius Loci vs Zeitgeist/placelessness

Prior to this exercise which we did in pairs we were encouraged to read Carol Burns’ ‘On site: Architectural Preoccupations.’ (Smith, 2012) in which the author considers two approaches to the site analysis and intervention. One is constructed site which respects the existing structure and qualities of space and cleared site which looks at wider, sometimes political context in is not concerned much with the physical site conditions. The exercise was to encourage using both approaches in order not to limit our design possibilities by looking at the site condition (constructed) and its opposite condition (often cleared). This however was not prescribed and because the nature of the site encouraged both constructed and cleared site approach, they interrelated each other so that the opposites were in fact often cleared site conditions.

Cohesive

subject

Context

Fragmented

Site 2,3 Portfolio Analysis

Controlled

Elevated

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subject

Planting

subject

Plane

Natural

Sunken

Introverted

Compressed

subject

Entrance

subject

Planting

Extroverted

Tensed

Site 2,3 Portfolio Analysis

Ornate

Passing

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subject

Inside + Outside

subject

Circulation

Plain

Arriving

Inconsistent

1:5

subject

Facade

subject

Proportions

Rigorous

5:1

Site 2,3 Portfolio Analysis

Loose

Addition

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subject

Urban Scale

subject

Context

Rigid

Subtraction

Exposed

Filled

subject

Detail

subject

Massing

Hidden

Hollow

Site 2,3 Portfolio Analysis

Attached

Junction

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subject

Residents/Users

subject

Residents/Users

Detached

Parallel

Alex Cookâ&#x20AC;&#x2122;s findings

Hippodrome/Grand Junction Hotel tunnel

Site 2,3 Portfolio Analysis

This LAST DIALECTIC INSPIRED BY SOME SITE ANALYSIS WE DID IN THE MEAN TIME INFORMED THE ULTIMATE THEME OF THIS PART OF SITE ANALYSIS...

-Sean Sayers

-Engles

‘Dialectics. . comprehends things and their representations in their essential connection, concatenation, motion, origin and ending.’

‘And the opposing point of view is not simply common sense, pure reason or logic just as such, but rather an opposing philosophy, logic and way of seeing things.’

Collective

Individual Experience

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collective coexistence addition compressed attached

addition compressed attached coherent

controlled coherent 30

junction

1:5

1:5 Site 2,3 Portfolio Analysis

Individual coexistence diverse subtraction

detached

diverse parallel detached

subtraction tension

5:1

parallel natural tension Grand KonradJunction Koltun

5:1

Concept Develop ment

The boundary between the site analysis and idea development started fading a little bit..

Concept Development 2,3 Portfolio

Dialectic site analysis montage Loose in a rigid Through the montage I wanted to express the tunnel - which in itself expresses an argument and a person entering it, therefore on one side I displayed my collective diagrams, and put the individual on the other - divided by a thin layer of mount board - which is the thin line between contradictions. What I wanted to do through that was to show that in order to really understand someone elseâ&#x20AC;&#x2122;s opinion, one needs to put themselves in their shoes and their mindset. What also happened it that I introduced a TIME aspect to a montage - similar to film and theatre, where scenes are related to each other in time.

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Montage as theatre... Collective Loose in a rigid

Concept Development 2,3 Portfolio

...Theatre as a montage. Individual Loose in a rigid

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WHIG, CONSERVATIVE, LIBERAL.... <1800

Cotton industry and liberal politics bring a lot of immigrants to Manchester making Hulme essentially a slum.

After having done the dialectic exercise I came back to the ‘pragmatic’ analysis and combined the two together to formulate this wider context awareness. From looking at both how Hulme and Grand Junction itself was altered due to changing political conditions the UK I figured that in order to sustain different changes in similar way Grand Junction or Zion Centre have been doing is to make it adaptable, so that ‘it doesn’t get thrown away when it doesn’t work anymore’.

Labour

Wider Context

Hulme as a political playground

Pre 1800s Hulme as rural area (feudal)

1842 - Engels and Marx base their manifesto on amongst other things Engels observations on horrific living conditions in Hulme

<1900

<1945

1945-51

Area starts becoming less dense although still is until Conservatives hegemony period 1945 - The end of colonialism is marked by Caribbean migration to the UK

U n d e r A t l e e cabinet Playhouse 1906 becomes a cinema (entertainment for lower 1902 classes) Playhouse/Hippodrome erected as theatre for the community

1960s Playhouse becomes BBC property, the Beatles record.

Concept Development 2,3 Portfolio

1951-64

1964-70

1970-74

1974-79

1967 Mancunian Way L i v i n g isolates Hulme and ends co ndit io n s still individ- its consumptive hub perspective ualistic and liberal, since the Industrial Revolution, whilst the ‘upper 5%’ live in palaces, people stay in terraces.

Hulme becomes a one of the centres for consumption including Hippodrome ground floor becoming shops and pubs

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1972 - The Crescents erected, area becomes a ‘City-in-a-park’ a very collective idea is implemented - space for everyone, everyone equal.

Late 1960s and 1970s is marked by a economical crises which leads people to electing Labour leaders.

1979-97

1974 Re-branding of Crescents as a place for students. 1974 unemployment rates still rise.

No sense of ownership lead to high crime rates.

1974 - Under PM Heath the first ‘cracks’ occour in the crescents culturally and physically

1997-2010

1991 Unsuccessful Crescents are wiped and more conservative ‘traditional city’ typology is used. Combination of individual and collective conditions is created.

1979 - Independent cultural movements start, encouraged to entrepreneur by Thacher.

present

2007 - The recession start riots in 2009, yet again the individual p o l i t i c s (poorely practiced by Labour) are not in favour, David Cameron promises to make t h i n g s better...

Since 2000 the Hippodrome is not used as a theatre any more, it serves as purely a space for religious practices or local community organisations.

Detail Accident in the design process Very early in the design process we were asked to choose and make a 1:1 detail of a structural junction. Initially it wasnâ&#x20AC;&#x2122;t supposed to relate to our research, but then we were asked to incorporate it in our design. This also informed the material composition very early on in the design which forced a bottom-up design approach at times.

Precedent

Concept Development 2,3 Portfolio

Compressed

Main Material Composition

Planting

Brick - Good in compression

Steel + timber - Good in compression and Tension

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Tensed Fabric - Good in Tension

This is how I managed to incorporate the detail early on into my concept, itâ&#x20AC;&#x2122;s interesting because this composition already suggests a typical material choice for theatre stages etc. 39

Collective vs Individual - Loose In a Rigid

The basic idea of keeping â&#x20AC;&#x2DC;individual and collectiveâ&#x20AC;&#x2122; qualities of space and programme at a constant edge, intertwining and finding a common ground between each other forms the base for this project. Using both the detail and montage that inspired certain decisions, I make a thin border between physical and metaphysical conditions in terms of just about any aspect of the design.

Concept Development 2,3 Portfolio

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Collective Experience happens in enclousures...

The landscaping and the outdoor performance space

The new built Playhouse

Tensions...

Concept Development 2,3 Portfolio

Precedent

The inside-out house in East End expresses what I am trying to implement - that the colloective experience, as oppose to individual happens in enclousures for a public building as oppose to a house.

Flexibility... form follows function... the duck

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Precedent

Teatro Oficina seems to be expressing very well both my detail and loose in a rigid. This kind of exposed, stage functional aesthetic is what I will try to implement.

Spolia Capitalising on Decay

In the search for further detail and construction method I linked Hulme and Northern Quarter as districts that suffered from Industrial Revolution in some way PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT or another.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

I thought that re-claiming the wasted, wrongly accumulated capital and finding a use for it to generate a some kind of profit was appropriate to my project as it could form a MANIFESTO of some sort.

Standard sizes of columns were gathered from the tower.

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Precedent

Nuovo tower, Ancoats Manchester 44

Concept Development 2,3 Portfolio

Precedent

Detail

As for expressing the issues of sustainability and using that in my project - the image of devastation from tree cut down seemed to refer to all aspects of the matter.

As the bonus of such as stance I could explore some key details and junctions required in my project.

Precedent

Spoil of War in Santa Maria in Aracoeli, Rome forms the main precedent for what I am doing as not only I am taking a stance on economics, but also history and politics.

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Tectonics, proportions... PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT The initially drawn concept plan featured what my tutor thought was ‘great proportions’. I was intrigued by that as I wasn’t really thinking about them when I was designing. Also at the time we were reading about proportions in Le Modulor by Le Corbusier and I saw the opportunity to link my concept and tectonics through mathematics which came from the weird spacing of columns in the Playhouse.

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Concept Development 2,3 Portfolio

Natural Constructed

Safe 5x5 grid allows the eye to align to the varnishing point.

5x5x5.5x4.5 grid provide an illusion of a random structural solution.

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Function Since the current MP is a Labour theyâ&#x20AC;&#x2122;ll be in favour of making such space strictly connected with local community/education.

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Local Loreto College has A Levels in: - Drama Theatre - Photography - Film - Music and Music Technology - Dance

Therefore there are 3 main audiences experiencing the below:

Performing

Learning

Spectating

And therefore this kind of day/night programme is shaped:

Work (Day) Rehearsals Student workshops Set ups etc. Cafe

Entertainment (Night) Performances Exhibitions Parties

Concept Development 2,3 Portfolio

Form Decorated Duck!

Elev

compression tension rigid loose real ephemeral coherent spontaneous

Precedent

The photvoltaic curtains invented by Sheila Kennedy I tried to explore the aesthetic of the entire development. The modern approach at sustainability I am able to keep the theme of spolia in terms of old, in reference to history of Manchester and where it all came from.

Eisenman - Facade not just as a threshold between street and building - but as a space making device. - Talks about how times changed in terms of capitalism and architecture and how now longer it should be a duck or a decorated shed but DECORATED DUCK!

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Spatial development

-1

Section In terms of the Playhouse, the idea here was to duplicate the backstage entrance give it dignity and introduce tension in this compressed building by running staircases in the void created. This was to enhance the experience and donâ&#x20AC;&#x2122;t just have void for the sake of void.

G 50

Concept Development 2,3 Portfolio

The programme follows all the ideas previously explored. I always drew all the building components together in order to keep them coherent. In terms of those, I was criticised for sticking to the structure too much.

2 Grand KonradJunction Koltun

Precedent

Barcelona Pavilion was suggested to me as a precedent to explore the FREEPLAN (loose in a rigid). Other parallels could be seen in that precedent, not to mention Miesâ&#x20AC;&#x2122; love for honest design. I was specifically looking at the relationships between individual and collective spaces and what effect curtains have on that.

Concept Development 2,3 Portfolio

Spatial Model The model was done for the following purposes:

- Circulation - Understanding the concept of freeplan - Understanding the need of cross bracing and how to apply it - To contextualise my building in relation to its context I cannot stress how useful this was in my design process and those are the concepts I gathered from it:

Spatial relationships in regards to the context. The hub

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Structural development

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

deep strip concrete foundations

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

steel I columns

Concept Development 2,3 Portfolio

1st set of timber beams to provide stability

Grand KonradJunction Koltun

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

steel I beams

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

steel I beams laid out

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

more stability

Concept Development 2,3 Portfolio

bracing and secondary etc. structures

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Proposition

Site plan 58

2,3 Proposition Portfolio

Proposal in context

West

‘We need decorated ducks.’’ Peter Eisenman

Compression Tension

South

‘I like dirty architecture!’ Ricardo Porro

Spontaneous Coherent

Facade not barely as a threshold, but a space making device.

North

Peter Eisenman

Many Interpretations

East

Robert Venturi Grand KonradJunction Koltun

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Programme

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Section B PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Multipurpose training area

Landscape intervention

Digital performance area

2,3 Proposition Portfolio

Multifunctional outdoor performance area

Grand KonradJunction Koltun

Loose in a rigid programme

In a similar way a theatrical play is a montage of set ups and story related to each other in time the spaces act as rigid spaces that allow different kind of activities to happen. A lot of the programme would be therefore dictated by the schedule in order to avoid unused, awkward spaces and to ensure the buildings are living.

[2] - Play house basement (changing rooms) 9am -noon Potential individual photoshoot spaces including darkrooms 1pm - 5pm Changing rooms for students from the local collage practicing 7pm - 9pm Changing room for students performing Macbeth

Level - 1

Sample Programme 62

2,3 Proposition Portfolio

[1] - New built basement (Digital Performance area) 9am - noon Drama classes for local college 1pm - 3pm Seminar room for local university 3pm - 5pm Curtain and projectors set up for the night show 7pm - 9pm Digital projection about Hulmeâ&#x20AC;&#x2122;s past by London based stage designer

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8 9

Ground Level

Sample Programme 64

[6] - Landscape incorporated with community garden/hide and seek playground [7] - Semi indoor/semi outdoor space for transition and potential interventions [8] - Playhouse hall way (potentially to be used as a gallery as well) [9] - Playhouse reception/bar area [10] - Stage/ground floor seating area 9am - noon Practice area for local college students 1pm - 3pm Further rehearsal space 3pm - 5pm Space dedicated for stage setup for the night show 7pm - 9pm The night Macbeth performed by local college students

2,3 Proposition Portfolio

[1] - New built reception area (staff, security, ticket office) 9am - noon Coffee shop for locals rushing to work 1pm - 2pm Lunch eating area for student from local schools 3pm - 5pm Coffee shop for locals returning from work/at work 7pm - 9pm Snack and drink bar for exhibition participants [2] - New built cafe area 9am - noon Coffee shop for locals rushing to work 1pm - 2pm Lunch eating area for student from local schools 3pm - 5pm Coffee shop for locals returning from work/at work 7pm - 9pm Snack and drink bar for exhibition participants [3] - Toilets (male, female, disabled) [4] - Multifuntional/Transitional area 9am - 5pm regrouping of students coming in and out their classes 7pm - 9pm Exhibition of Manchester based artist [5] - Outdoor summertime cafe area

2 3 4

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[3] - Toilets (male, female, disabled) [4] - Main studio balcony (quick breaks, summer stage for live concerts) [5] - Main seating area

Level 1

Sample Programme 66

2,3 Proposition Portfolio

[1] - New built main studio (dance, greenscreen, recording, practice) 9am - 11am Dance classes for local schools 11am - 1pm Media recording studio session for local university students 1pm - 3pm Studio recording session set up for an influential band from Liverpool 3pm - 8pm Studio recording session for the above band 8pm - 10pm Martial arts session for locals [2] - New built waiting lounge (to include a gallery display) Jan - March History of Hulme prepared by local architecture students March - June Display of best proposals for the Hulme redevelopment programme June - August Display of work by Northern Quarter independent artist August - Dec Empty boards with markers as public consultations with regards to the future of the Hippodrome

1 3

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[1] - Projection booth for various programmes [2] - Second floor seating area

Level 2

Sample Programme 68

2,3 Proposition Portfolio

Voids representing the services/lighting etc flexibility for those areas.

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Section A

Traditional performance area

Playhouse entrance

Landscape link

2,3 Proposition Portfolio

Circulation and transitional spaces

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Fire regs do not require to have the fire exit from the basement enclosed.

~18m

Level -1

Fire Exits 72

2,3 Proposition Portfolio

~18m

~15m

Ground Level Grand KonradJunction Koltun

~14m

For loft spaces the fire staircase/fire exit has to sustain 30mins of fire and for that amount of people two fire exits need to be present.

~15m Alternative Exit

~11m ~11m

Despite fulfilling the requirements for fire escape there are plenty of alternative exits designed.

Alternative

Exit ~18m ~16m Alternative Exit

Level -1 74

2,3 Proposition Portfolio

Level 2 ~15m

Level 2 due to less amount of audience only requires one enclosed exit.

~18m

Alternative Exit

Accessibility In the Playhouse mean for accessibility are already provided and in the new build are properly designed from the scratch.

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Spatial Qualities

2,3 Proposition Portfolio

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Individual to collective

Carefully designed spaces with smooth transition from individual to collective experience spaces occasionally allowing direct transition in order to surprise within a coherent environment.

Individual Transitional/Both Collective 78

2,3 Proposition Portfolio

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Circulation

The idea behind circulation is similar to from individual to collective - that there are transitional spaces capable of accommodating both, making the transitions smooth.

Leading through narrow rectangular spaces Both transitional and accommodating spaces Purely activity spaces 80

2,3 Proposition Portfolio

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‘1:5 5:1’ Volumes

‘5:1’ (narrow Vertical) Intersection/both 1:5 and 5:1 ‘1:5’ (Wide and Horizontal) 82

2,3 Proposition Portfolio

The user experience is defined by intertwined volumes of already familiar qualities. I controlled factors such as whether transition is smooth or surprising constantly keeping thins on their edge and changing.

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axonometric diagram of some of the spatial qualities I was unable to show through the 2D diagrams. This includes certain elements at constant dialogue between tension and compression, 5:1 (tall and narrow) and 1:5 (short and horizontal), Individual and collective etc.

2,3 Proposition Portfolio

Grand KonradJunction Koltun

Previously PlayHOUSE

My HOUSE

Solution Dignified civic experience

2,3 Proposition Portfolio

Sequential experience

On previous pages one might have noticed that the approach and transition between main building spaces are similar, those are a few visualisations of it.

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Proposal in Detail Structural Diagram in relation to space

2,3 Proposition Portfolio

Please notice how the structure is used throughout the schemes and connects the two as though it was coming from each otherâ&#x20AC;&#x2122;s initiative. The density of the posts in the new built seem high, however they were designed in such as manner in order to make the space as flexible for additional scaffoldings etc. as possible.

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Details speaking a common language (MAin junctions) We were encouraged to keep our detail and use it throughout the project. This exercise allowed tectonics to speak a common language and made the process extremely fast.

1:2 floors and roofs junction

2,3 Proposition Portfolio

Main exposed junctions (detail in action)

Typical stair junction Grand KonradJunction Koltun

Window to basement/basement

typical Foundations

2,3 Proposition Portfolio

window to floor

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Roof

2,3 Proposition Portfolio

Structure punches envelope L bracket to make the section rectangular (flexible, chosen)

Thermal break (less flexible)

Options

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Acoustic/thermal wall

2,3 Proposition Portfolio

Acoustic curtains and typical window

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Environmental CONSIDERATIONS The idea

In similar way there is a transition from individual to collective with either in between, the logic behind the building is such that only where it’s needed the temperature is kept at ideal state. This reduces heat loss and also creates comfort since for instance in winter there is no need to take off one’s jacket right after entering the building.

Environmental TEMPERATURE (0/30 DEGREES) transitional TEMPERATURE (17/25DEGREES) ideal TEMPERATURE (22 DEGREES) 98

2,3 Proposition Portfolio

Resolution

The concept narrative carries in terms of the environmental solutions certain strategies refer to collective/ individualand together form what I think is a reasonable solution and response to the issues associated with sustainability. Both eco-social and technophilic approaches are exploited.

PVs embedded in the facade Potential of additional water heating strategies/ more PVs if needed

Mechanical ventilation

Natural ventilation

Passive heating/cooling

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Acoustics

100

2,3 Proposition Portfolio

By learning from strategies exploited in the Playhouse which shelter the main performance area with other rooms the design logic itself constitutes to acoustic control.

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101

Acoustic Curtains have both shape and material weight capable of absorbing sound in the same way any perforated material.

acoustic-curtains.co.uk

102

2,3 Proposition Portfolio

Solution provided by B J Smith and S Owen to make certain rooms completely sound proof exploits natural materials such as sand. This works very well with their insulative properties too.

The digital performance area is not made soundproof in order to allow for greater play design possibilities in terms of using sound.

窶連coustic and Noise control

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103

Services

The programmatic design considers services and logic in their placement. Because of the honest design all the other services are exposed and form the language of the building which hides them in its coherent image.

Key The â&#x20AC;&#x2DC;sketchedâ&#x20AC;&#x2122; lines on the visualisations describe flexible elements. 104

2,3 Proposition Portfolio

Accommodating, Absorbing, Responding (To environmental issues caused by different kind of systems. Concrete shuttering becomes floor, knocked down bricks are incorporated giving direct connection between certain element across the environment.

Sustainable through construction logic

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Conclusion Collective and Individual Playhouse entrance shot from the top level

showing the flexibility of the solution

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Loose in a Rigid

Semi indoor, semi outdoor new built space created by the facade and even light distribution

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The Link

The outdoor link provides further flexibility opportunities, works well with community garden as extensions device and links the schemes visually together as though new was emerging from old.

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Questioning Permanence Precedent Ultimately, the problem of flexibility these days was tackled by 2008 Venice Biennale winners from Poland who proposed photomontages as how civic, proud buildings such as airports might change their use.

‘Core’ buildings in the area that sustained changes by Michael Kennedy

From the site analysis I learned that the buildings which tectonics were limited to a specific use like housing in this case have been taken down. The ‘core’ iconic buildings such as the Zion centre which is now used as arts gallery survived all the demolitions, the next two pages will show that ultimately my design is ready (including resources) to be redeveloped completely depending on political needs...

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we-make-money-not-art.com

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Either Way...

The steel forest is cut down due to derivatives at the highest level to extend the existing structure and accommodate desired needs in the ever changing area. 114

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Montage on the left features Ed Miliband and the return to social housing in Hulme and PM Cameron overlooks an autistic - individualistic form which acts as a business hub in Hulme. Grand KonradJunction Koltun

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Both ways. 116

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references Bergman, J., 2001. Darwin’s Influence on Ruthless Laissez-Faire Capitalism. Institute for Creation Research. Ching, F., 2008. Building construction illustrated, 4th ed. John Wiley, NJ. Deleuze, G., 1997. Postscript of the Societies of Control, in: Rethinking Architecture: a Reader in Cultural Theory. Routledge, London and New York, pp. 293–299. Doreen, M., 2000. Space-time and the politics of the location, in: Architecturally Speaking: Practices of Art, Architecture and the Everyday. Routledge, London. Eisenman, P., 2010. Lateness and the End of Crisis. Rice School of Architecture. Harvey, D., 2006a. Spaces of Global Capitalism: Towards a Theory of Uneven Geographical Development, 1st ed. Verso, London and New York. Harvey, D., 2006b. The Political Economy of Public Space, in: The Politics of Public Space. Routledge, Oxon. Harvey, D., 2012. Rebel cities: from the right to the city to the urban revolution, 1st ed. Verso, London. Jameson, F., 1997. The Cultural Logic of Late Capitalism, in: Rethinking Architecture: a Reader in Cultural Theory. Routledge, London and New York. Jameson, F., 2003. Future City. New Left Review. Leach, N., 1997. Rethinking architecture: a reader in cultural theory. Routledge, New York. Leech, L.V., 1972. Structural steelwork for students. Butterworths, London. Loomis, J., 2011. Revolution of Forms: Cuba’s Forgotten Art Schools, Revised edition. ed. Princeton Architectural Press. muf, Shonfield, K., 2000. Public territory, in: Architecturally Speaking: Practices of Art, Architecture and the Everyday. Routledge, London. Nozick, R., 1997. Why Do Intellectuals Oppose Capitalism? Socratic Puzzles 280–95. Read, A., 2000. Architecturally speaking. Routledge, London. Sayers, S., 1980. On The Marxist Dialectic, in: Hegel, Marx and the Dialectic: A Debate. pp. 1–24. Smith, B.J., Owen, S., 1996. Acoustics and noise control, 2nd ed. Longman, Harlow. Smith, K., 2012. Introducing architectural theory: debating a discipline. Routledge, NY. Wayne, J., 1987. Editor’s Introduction, in: The Communist Manifesto. Canadian Scholar’s Press, Toronto. West, E.G., 1992. Adam Smith and Modern Economics: From Market Behaviour To Public Choice, First. ed. Edward Elgar Publishing Company, Newcastle upon Tyne. 118

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sUMMARY I cannot stress enough how much I learned from this project and even though I am extremely proud of managing to have done what went in this portfolio I still see how many things could be improved in terms of the quality and the amount of things I was trying to communicate. I would once again thank my tutors and Siobhan for providing me with such an opportunity deliver this project and constantly pushing me to make it better. Konrad Koltun

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Guerrilla tACTICS

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Introduction The event I chose was about designing a guerrilla advertising strategy for National Football museum who try to get the attention of the local people. With some experience from previous projects I approached it by learning what guerrilla advertising really is and what National Football museum really is about. In the process some good ideas were generated, tried and with the aid of my group ‘sold’ to the museum’s heads of marketing.

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Getting under the skin Guerrilla is using minor resources to make a big impact through (or dominate a large collective by a small collective through): - Using appropriate elements of the certain activity (advertising, warfare)

- Surprise (people tend to be more â&#x20AC;&#x2DC;vulnerableâ&#x20AC;&#x2122; when surprised)

- Taking advantage of the environment through the impo-

sition of a system or an object appropriate to both the goal and sitting

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Empirical Prior to doing this project I already did something which can be considered a guerrilla tactic intervention.

The point of that project was to engage people together through an exercise of some sort. The environment we operated on featured a lot of poles and the sitting was Manchester - key city in terms of football in England. By asking people what was the first thing they think of when they hear â&#x20AC;&#x2DC;Manchester in summerâ&#x20AC;&#x2122; we gathered an image of its identity at that time of the year. It was about football, rain and work. Those sort of parameters along with other things encouraged us to do this:

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Exhibition Interactive Football Memory

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It is quite clear what the museum is about - itâ&#x20AC;&#x2122;s to showcase the classical moments and elements of this culture that particularly stuck in peopleâ&#x20AC;&#x2122;s minds.

Crossings 2,3 Portfolio Events

Solution?

History of Football + Urban Fabric intertwined

In similar way the 10th Anniversary Stadium in Warsaw served functions from the sports arena to the biggest market in Europa, where after 1989 Polish people were taught how to be businessmen by Vietnamese, National Football Museum was Urbis before. They share a similar kind of functional progression: INITIALLY

FOOTBALL

CULTURAL

FOOTBALL

AGAIN

National Football Museum is obviously trying to make the exhibition interactive and engaging. But by introducing this kind of function to a building other than a stadium, what they did was they took football out of the streets. THE HISTORY NEEDS TO GO BACK ON THE STREETS TO ATTRACT IT INSIDE. Obviously you canâ&#x20AC;&#x2122;t be engaging enough in such a building. Grand KonradJunction Koltun

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S u b v e r s i o n ? oWEN iN pICCADILLY gARDENS? I take this topic quite personally I believe I can still make a some kind of statement - I don’t think football history can be contained simply because it lives in this country. Out of the projects that were done to culturally promote and save Jarmark Europa the ‘Boniek!’ initiative seems very subversive because it actually promotes football on that ground - it showcases it as a lost relict on this stadium and almost asks to bring it back to that space.

OWEN!

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cONCEPT POSTER The core idea therefore is to impose a system of lines from a famous English historical play and to get people to consciously or subconsciously to impersonate players out of context in a public realm.

WHO ARE

GUERRILLA TACTICs

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YOU...?

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Small Scale Intervention .'

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'Giv

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'I d o Da n't be v li sco id Bec eve it , tak res a g kham eE the ngla oal to w n wo ay to d all rld cup the fina ls.'

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The idea is that the commentary goes along the lines or voice goes with the action in order to give the lines meaning and W understanding to people.

5000

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

We decided to go for David Beckham iconic goal as it fits the idea of small scale implementation (we donâ&#x20AC;&#x2122;t need much space for it and we can be quite selective about it). Itâ&#x20AC;&#x2122;s going to be used to sell the project for the marketing team 128

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0:20 – 'England trail by 2 goals to one.' 0:30 - 'Beckham could rise the roof here with a goal' 0:33 - [YEAAAAAAH] 0:35 – 'I don't believe it, David Beckham scores a goal to take England all the way to the world cup finals.' 0:52 – 'Give that man a knighthood.'

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Trying it out in All Saints

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Big Scale

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Michael Owen seems perfect as a suggestion for a site like Piccadilly Gardens as it is quite contemporary, yet could be old for certain audience and is just the right kind of scale to affect the environment.

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guerrilla tactics Grand KonradJunction Koltun

Same idea selling Owen in Piccadilly Gardens to National Football museum. 133

Summary The events were lots of fun especially by being able to go out of studio and catch some fresh air watching how people interact with an idea that you actually implement. Itâ&#x20AC;&#x2122;s almost reassuring in terms of our space making skills as you get the expected behaviour you were designing immediately. Apparently such an idea of re-living the greatest moments have been under the consideration for the museum but now ideas were implemented or even considered and the heads of marketing were happy to see that in out proposal.

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2,3 Portfolio

Thanks for flicking through.

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