BSc graduation portfolio - Polimi by Weronika Zdziarska

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME On approaches to the future in architectural design.

SCHOOL OF ARCHITECTURE, URBAN PLANNING, CONSTRUCTION ENGINEERING

WERONIKA JADWIGA ZDZIARSKA

ARCHITECTURAL DESIGN

INDEX NUMBER:

AY. 2020/21

JULY GRADUATION SESSION

901349

Abstract. In architectural studies, there has been a lot of emphasis on the spatial referents of human experience, while the interest in time has been out of the mainstream. The central question of this thesis is how architects can approach the creative process with time in mind. Different ideas to bridge the gap between the spatial features of reality and the often-neglected temporal aspects are considered. By critically reviewing a portfolio of projects realized during my Bachelor studies, I show an overview of different stands which architects can take on the impact of the passing time on their design: embracing different layers forming parts of a historical building over time, an attempt of halting the passage of time, appreciating dynamically changing architectural solutions, or recognizing architecture’s fragility in the face of the flow of time and surrendering to it. There is no correct method for architecture to react with the future but in considering our position towards temporal aspects of reality we can enrich the meaning and cultural value of the design works.

Table of contents.. OBSERVING TRACES OF THE PASSING TIME Recognizing the importance of time factor for architecture begins with a close study of a historical public building and the different layers forming its tissue over time. From a dialogue with a monument from the past it becomes apparent that time is inherent to any architectural work.

HALTING THE FLOW OF TIME What seems not to be affected by the passage of time is assumed to be outside its grasp. The most powerful tool used to evoke this feeling is geometry - pure intersecting volumes, timeless symbols. It is strengthened by the use of novel materials of enhanced performance and the functional program.

ADAPTING TO THE FUTURE

pp. 02-04

pp. 05-08

pp. 09-13

Embracing time means understanding change. The solution examined here is a waiting megastructure - a system allowing for flexibility and adaptability of architecture. Modules attached to a rigid frame system can be easily rearranged according to the multiplicity of possible future needs.

THE STORY OF DISAPPEARING IN TIME

pp. 14-20

Recognizing the esteem of the passing time and its effects on architecture, leads to a radically humble position of surrender to the changes. Each stage of a decomposition of the designed structure over time is designed, until its programmed death and return to nature.

THEORETICAL CONSIDERATIONS

pp. 21-22

Addressing questions on the ways to express the time-conscious experience in architecture may be an added value for the design works. The state-of-the-art of the topic of architectural positions on the role of the passing time is briefly summarized. Different approaches are further explained. Fig.1 ‘Flows of time’

OBSERVING TRACES OF THE PASSING TIME

Cortile della Farmacia - East facade

Table I - General Framework OBSERVING TRACES OF THE PASSING TIME

1573

The Ca’ Granda, or Ospedale Maggiore, is located within the historical centre of Milan. Analysis was carried out in the Cortile della Farmacia, in the southern wing. Close studies on the materials - geometry and especially their alterations and decay focused on the north-eastern façade. The Cortile della Farmacia was used as a pharmacy and laboratory for medications and spices for the majority of its life-span. Until the WWII there used to be a laboratory, which was later demolished. Now it forms part of the Univestità degli Studi di Milano. The many changes in use over history left its traces on the tissue of the Current Use building. After the bombings of the Second World War,

First stages of construcFirst stages of construcLegend: tion are completed

tion are ofcompleted The first stone the Ospedale Maggiore, or Ca’ Granda, was set in 1456 by the Duke of Milan, Francesco Sfroza, beginning the construction of what is currently the southern wing of the building. The construction was dictated by the plan of Filarete, one of the most influential Renaissance architects in Milan, guided by the ideas of his treaties.

1603

Phase 1 is completed un-

Phase 2F.begins, led by Richini TheRichini construction of the Cortile Cen-

During the end of the 16th Century, the first Crociera was completed, which already adopted the role of the hospital despite not being completed. The four smaller courtyards all had their specific function, such as storage, cemetery, women’s courtyard, servant’s courtyard.

ry, the first Crociera was completed, which already adopted the role of the hospital despite not being completed. The four smaller courtyards all had their specific function, such as storage, cemetery, women’s courtyard, servant’s courtyard.

Fig.20: Location of the Ca’Granda, Milan, Italy

the hospital was officially closed and moved after having raised hygienic and logistic issues. The new function of the University was accommodated into the spaces created by the restoration after the war. New spaces , such as the Aula Magna were created in the courtyards, while most spaces were reused, such as the Crociera 0 , turned1into the library. While the majority of the Ca’ Granda became the University, the Sale Capitolari remain the property of the Hospital, and are still used for administrative purposes.

The first stone of the Ospedale Maggiore, or Ca’ Granda, was set in 1456 by the Duke of Milan, Francesco Sfroza, beginning the construction of what is currently the southern wing of the building. The construction was dictated by the plan of Filarete, one of the most influential Renaissance architects in Milan, guided by the ideas of his treaties.

Many different stratigraphic units were recognized on the façade, through a photographic survey and sketches. Traces of history are recognizable in the multiple layers of plasters, 2 used 3in different 4 diverse types of stones, bricks, tiles and technological solutions periods. Cortile Cortile della della Farmacia Farmacia -5mEast - East facade facade

Table Table II II - Constructive - Constructive Features Features

Fig.1: Drawing of the first stage of the first crociata, Antonio Lafréry, 1573

Fig.20: Location of the Ca’Granda, Milan, Italy

Current Use

Fig. 8: Staircase in the Crociata, made during the works of restoration

After the bombings of the Second World War, the hospital was officially closed and moved after having raised hygienic and logistic issues. The new function of the University was accommodated into the spaces created by the restoration after the war. New spaces , such as the Aula Magna were created in the courtyards, while most spaces were reused, such as the Crociera , turned into the library. While the majority of the Ca’ Granda became the University, the Sale Capitolari remain the property of the Hospital, and are still used for administrative purposes.

Fig. 8: Staircase in the Crociata, made during the works of restoration Fig.9: Internal view of the Crociata, restored by Liliana Grassi, 1985

Cortile della Farmacia - East facade

Fig.10: The Capitolo d’Estate, the larger of the two Sale Capitolari

Table V - Design of a new structure in the courtyard

Fig. 1.2 Stratigraphic units Fig.1: Fig.1: Location Location of the of courtyards the courtyards and and façades façades

Arco della Farmacia

Cortile della Farmacia - East facade Table V - Design of a new structure in the courtyard Arco della Farmacia

Fig.9: Internal view of the Crociata, restored by Fig.11: Interior1985 view of the Aula Magna, placed Liliana Grassi, in the Cortile della Pennaria

BRICK TYPE I

MONTORFANO GRANITE

IGNEOUS

CEPPO

ANGERA STONE

SEDIMENTARY

PEBBLES

nd:

Fig.1: Elevation METAMORPHIC

Fig.2: Plan by F. Richini, showing the first phase of construction, 1603

Legend:

BRICK TYPE III

BRICK TYPE IV

1791

1943

Completion of the hospi-

1985

Damages during the Sec-

Plan after the renovations Renovations by by Liliana Grassi

trale (del Richini) - second phase, is completed under the supervision of Francesco Richini, who designed the second plan of the hospital after Filarete. The Church of the hospital, SS. Anunnciata, was also completed along with the Sale Capitolari in east wall towards the Naviglio. The new facade along Via Festa del Perdono now followed the baroque style, adapted to the formal features of the first construction phase.

the third phase of the hospital began construction under the supervision of Richini, and thanks to the donations of Pietro Carcano. The continuation of the Sale Capitolari continued, as well as the start of the final crociata and the remaining four courtyards, which adopted various functions during their use.

Completion of the hostal according to the plans pital to plans The finalaccording phase of construction,

Damages during the ond World War Second WorldWorld WarWar, the During the Second

The construction of the Cortile Centrale (del Richini) - second phase, is completed under the supervision of Francesco Richini, who designed the second plan of the hospital after Filarete. The Church of the hospital, SS. Anunnciata, was also completed along with the Sale Capitolari in east wall towards the Naviglio. The new facade along Via Festa del Perdono now followed the baroque style,View adapted to the formal Fig.3: of the completed Richini feacourtyard, showing the cupola of the tures of the first construction phase.

After a period of stagnant works, the third phase of the hospital began construction under the supervision of Richini, and thanks to the donations of Pietro Carcano. The continuation of the Sale Capitolari continued, as well as the start of the final crociata and the remaining four courtyards, which adopted various functions during their use.

The final phase of construction, based on the plans of Filarete, but updated by the architect P. Castelli, sees he completion of the north wing of the hospital, adopting the neo-classical style in the design of the external and internal façades. The facade, seemingly fragmented from the other two styles, follows the same rhythm of the openings .

During the Second World War, the hospital was bombed twice, completely destroying large portions of the hospital and lightly damaging others. Prior to the bombings, there had been discussions about permanently moving the hospital to the Niguardia hospital, due to new ideas of hygiene and typology of hospitals, which were no longer to standard. The destruction6: Map consolidated Fig. showing the this extentdecision. and

The restoration was assigned to architects A. Annoni, A. Belloni, P. Portaluppi, A. Borromeo, P. Magistretti, L. and P. Castiglioni, L. Grassi., who were tasked with , above restoring the destroyed elements, also transform the Ca’ Granda into a different function to accommodate for the new University, the Università degli Studi. The restorations lasted several years, deigning new spaces Fig. 7: Plan of such the project interventions, afterwards, as the Aula Mag1.1. development 1967 na inHistorical the ex. Cortile della Pennaria.

Fig. 6: Map showing the extent and severity of the damages during the Second World War

Fig. 7: Plan of the project interventions, 1967

church, 1639

The Cortile della Farmacia was one of the first courtyards to be built of the hospital, along with the other three courtyards surrounding the Crociata according to the plans of Filarete. As the name suggests, the courtyard was primarily used for the pharmaceutical aspect of the hospital, and hosted the laboratory building , placed in the middle of the courtyard and destroyed during the bombings of the war. Previously to the pharmacy, it was the courtyard which hosted the administrative offices and treasury of the hospital, as well as being known as the spices for medicinal herbs. During the bombings in 1943, the courtyard was not severely damaged, however the conservation proFig.1: Drawing of the stage of no the longer Fig.2: Plancentral by F. Richini, showing the Fig.3: View of the completed Richini cess was necessary. Currently, thefirst courtyard has any crociata,the Antonio Lafréry, 1573 phase ofnow construction, 1603 courtyard, showing the cupola of the construction, first however Crociata surrounding the first courtyard Fig.14: Historical plan of right courtchurch, 1639 yards, published in 1964 holds the functions of the University, such as the Library and Study Hall.

elevation elevation

based on the plans of Filarete, but updated by the architect P. Castelli, sees he completion of the north wing of the hospital, adopting the neo-classical style in the design of the external and internal façades. The facade, seemingly fragmented from the other two styles, follows the same rhythm of the openings .

Fig. 4: Plan of Milan by Marc’Antonio Dal Re, 1734

Fig. 5: Plan of the completed hospital in a map of Milan, 1861

Fig. 4: Plan of Milan by Marc’Antonio Dal Re, 1734

Fig. 5: Plan of the completed hospital in a map of Milan, 1861

sectionsection

elevation elevation

Fig.15: Exterior view of the structure in the courtyard before its demolition with the bombings in 1943

hospital was bombed twice, completely destroying large portions of the hospital and lightly damaging others. Prior to the bombings, there had been discussions about permanently moving the hospital to the Niguardia hospital, due to new ideas of hygiene and typology of hospitals, which were no longer to standard. The destruction consolidated this decision.

Fig.

severity of the damages during the Second World War

Liliana Grassi to arThe restoration was assigned chitects A. Annoni, A. Belloni, P. Portaluppi, A. Borromeo, P. Magistretti, L. and P. Castiglioni, L. Grassi., who were tasked with , above restoring the destroyed elements, also transform the Ca’ Granda into a different function to accommodate for the new University, the Università degli Studi. The restorations lasted several years, deigning new spaces afterwards, such as the Aula Magna in the ex. Cortile della Pennaria.

Cortile della Farmacia

sectionsection

Fig.16: View of the Cortile della Farmacia, South façade

The Cortile della Farmacia was one of the first courtyards to be built of the hospital, along with the other three courtyards surrounding the plan plan Crociata according to the plans of Filarete. As the name suggests, plan plan the courtyard was primarily used for the pharmaceutical aspect of the Fig. 1.3building Hand ,drawing Fig. 1.4 Openings - details hospital, and hosted the laboratory placed in the middle of the of courtyard and destroyed during bombings of thefaçade war.of PreviFig.2: Fig.2: HandHand sketches sketches a of particular a particular part part of the the of East the East façade the of Farmacia the Farmacia courtyard, courtyard, detailed detailed drawings drawings of openings of openings with with theirtheir hypothetical hypothetical sections sections ously to the pharmacy, it was the courtyard which hosted the administrative offices and treasury of the hospital, as well as being known as the spices for medicinal herbs. During the bombings in 1943, the courtyard was not severely damaged, however the conservation process was necessary. Currently, the courtyard no longer has any central construction, however the Crociata surrounding the courtyard now Fig.14: Historical plan of right courtyards, published in 1964 holds the functions of the University, such as the Library and Study Hall.

Fig.10: The Capitolo d’Estate, the larger of the Fig.12: Crociera, converted into the main two SaleThe Capitolari study rooms and library of the university

Fig.13: Current plan of the building, showing the location of the Cortile della Farmacia

Cortile della Farmacia - GR.FE BUILDING PRESERVATION Irem Kale - Delfin Kartal - Jordan Lo VecchioHISTORICAL - Jadwiga Nalepa - STUDIO Prof. A. KLuzer and S. Goidanich THE OSPEDALE MAGGIORE - CA’GRANDA - MILAN Mubeen Ponissery - Hélène Riant - Weronika Zdziarska

BRICK TYPE II

1751

Beginning of final stage

Beginning of the final of construction stage of construction After a period of stagnant works,

Cortile della Farmacia

della Farmacia - East facade

Materials Survey

1639

Phase 2 begins under

Phase 1 is realized under der Filarete’s supervision Filarete’s During the end supervision of the 16th Centu-

Fig.15: Exterior view of the structure in the courtyard before its demolition bombings in laboratory, 1943 Fig.17: Interior view ofwith thethe pharmaceutical taken in 1881

Sec. Sec. NE Sec. NE Sec. Ax. 6-7Ax. 6-7 Sec. SESec. SE Fig. 1.5 Sections Fig.3: Fig.3: Sections Sections of the of ground the ground floorfloor and and upper upper gallery gallery

Fig.16: View of the Cortile della Farmacia, South façade Fig.18: View of the Cortile della Farmacia, East façade

Fig.19: View from the first floor of the Cortitle, facing the West façade, towards the Torre Velasca

Cortile della Farmacia - GR.FE Irem Kale - Delfin Kartal - Jordan Lo Vecchio - Jadwiga Nalepa Mubeen Ponissery - Hélène Riant - Weronika Zdziarska

Academic Year 2020/2021 1

BRICK TYPE V

SERIZZO GRANITE

Fig. 1.6 Elevation - designed pavilion

BRICK TYPE VI of the Pavilion insideof the Farmacia courtyard Fig.1: Elevation theFig.2: Pavilion 3D inside view the the Pavilion Farmacia in courtyard the Farmacia courtyard

Fig.11: Interior view of the Aula Magna, placed in the Cortile della Pennaria

Ideas and explanatory text BEOLA GNEISS

BRICK TYPE VII Ideas and explanatory text We thought about designing an ephemeral landscape design element. The

Fig.2: 3D view the Pavilion in the Farmacia courtyard

Fig.12: The Crociera, converted into the main study rooms and library of the university

Fig.2: 3D view the Pavilion in the Farmacia courtyard

Fig.13: Current plan of the building, showing the location of the Cortile della Farmacia

Fig.17: Interior view of the pharmaceutical laboratory, taken in 1881

Fig.18: View of the Cortile della Farmacia, East façade

Legend: Legend:

Fig.19: View from the first floor of the Cortitle, facing the West façade, towards the Torre Velasca

strength of this courtyard is the presence of the arches. These elements give

bar:

the identity the Farmacia courtyard. In order todesign have a conversation with the We thought about designing anof ephemeral landscape element. The PLASTER I geometry shelter TYPE in the centre BRICK of the space, we designed aBRICK VIII of the courtyard, FINISH COAT strength of this courtyardwith is itsthe presence of existing the arches. These shape speaking to the building but clearly aelements new addition. give The light shape reminds us the arches and the identity of the Ca’Granda. Inside the the identity of the Farmacia courtyard. In order to have a conversation with the Pavilion, students can study, have a coffee or just relax and observe around. The PLASTER I geometry of the space, we a shelter inMASONRY the centre of the courtyard, maindesigned structure can host some plug-in elements. MORTAR STRAIGHTENING COAT with its shape speaking toAlso the existing but addition. The some elements building of the structure canclearly be used asaanew medicinal herbs garden, to feel the connection with the history of the courtyard. This greenery created a light shape reminds us thepeaceful arches and the identity of the Ca’Granda. Inside the working area, where the student can breath and relax. PLASTER I Academic MORTAR Pavilion, students can study, have a coffee or just relaxRENDERS and observe around. The SCRATCH COAT The main structure is made of plywood panels. The material is light and contrasts main structure can host some with theplug-in bricks andelements. stones. Also we chose the wood in order to make this design

HISTORICAL BUILDING PRESERVATION STUDIO Prof. A. KLuzer and S. Goidanich THE OSPEDALE MAGGIORE - CA’GRANDA - MILAN

Cortile della Farmacia - GR.FE Irem Kale - Delfin Kartal - Jordan Lo Vecchio - Jadwiga Nalepa Mubeen Ponissery - Hélène Riant - Weronika Zdziarska

Year 2020/2021 1

ephemeral but in a later step we can imagine to build this structure in bricks.

Also some elements of theGLASS structure can be used as a medicinal herbs garden, MORTAR FOR FLOORING Reference Sketch to feel the connection with the history of the courtyard. This greenery created a peaceful working area, where the student can breath and relax.

PLASTER II

Fig. PLASTER Fig. 4: Mapping 4:IIIMapping of the of stratigraphic the stratigraphic unitsunits on the on external the external façade façade

The main structure is made of plywood panels. The material is light and contrasts with the bricks and stones. Also IRON we chose the wood in order to make this design ephemeral but in a later step we can imagine to build this structure in bricks.

Reference

1 2

2 3

3 4

5m 4

Legend: Legend:

Sketch

WOOD

Fig.3: Forest Pavilion, Fig.4: The first sketch of the project of the Pavilion Fig.6: Plan of thenArchitects,Taiwan, Pavilion and the Farmacia 2011 courtyard

Fig. 1.7 Ground floor plan - designed pavilion

Cortile della Farmacia - GR.FE Irem Kale - Delfin Kartal - Jordan Lo Vecchio - Jadwiga Nalepa Mubeen Ponissery - Hélène Riant - Weronika Zdziarska

Fig.5: Top view of the Pavilion inside the Farmacia courtyard

Fig. 1.8 Masterplan - designed pavilion

HISTORICAL BUILDING PRESERVATION STUDIO Prof. A. KLuzer and S. Goidanich THE OSPEDALE MAGGIORE - CA’GRANDA - MILAN

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN. Academic Year 2020/2021

Fig.6: Plan of the Pavilion and the Farmacia courtyard

0 Fig. 1.9 Types of building materials

Cortile della Farmacia - GR.FE Irem Kale - Delfin Kartal - Jordan Lo Vecchio - Jadwiga Nalepa Mubeen Ponissery - Hélène Riant - Weronika Zdziarska

HISTORICAL BUILDING PRESERVATION STUDIO PROF. ALESSANDRA KLUZER, PROF. SARA GOIDANICH 5

WERONIKA JADWIGA ZDZIARSKA - DELFIN KARTAL - JORDAN LO VECCHIO JADWIGA NALEPA - MUBEEN PONISSERY - HÉLÈNE RIANT - IREM KALE

PAGE N°: 3

OBSERVING TRACES OF THE PASSING TIME Mapping decay and understanding deterioration patterns is very informative about the effects of the passage of time on a building. Multiple types of decay were recognized on the internal and external parts of the façade, including cracks, missing parts, soiling, crust, deposit, scaling, peeling, disintegration, erosion, efflorescence, mechanical damage, blistering and graffiti. From a close study on how materials changed over time it became apparent that external factors have a significant effect on the building’s perception.

ortile della Farmacia - East facade

Fig.1: Photo collage internal façade Fig.1: Photo collage internal façade

ble IV - Decay Survey

Fig. 1.10 Types of decay - internal part façade Fig.2: Decay mapping, internal

Fig.2: Decay mapping, internal façade Fig.2: Decay mapping, internal façade 1.11 Photomontage internal partfaçade Fig.1: Fig. Photo collage -internal

Fig.3: Decay mapping, external façade

Fig.3: Decay mapping, external façade Fig.2: Decay mapping, internal façade Fig. 1.12 Types of decayexternal - external partfaçade Fig.3: Decay mapping,

Fig.4: Photo collage external façad HISTORICAL BUILDING PRESERVATION STUDIO Prof. A. KLuzer and S. Goidanich THE OSPEDALE MAGGIORE - CA’GRANDA - MILAN

Cortile della Farmacia - GR.FE Irem Kale - Delfin Kartal - Jordan Lo Vecchio - Jadwiga Nalep Mubeen Ponissery - Hélène Riant - Weronika Zdziarska

Academic Year 2020/2021

Fig.3: Decay mapping, external façad 1.13 Photomontage external part façade Fig.4:Fig. Photo collage -external ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. HISTORICAL BUILDING PRESERVATION STUDIO BUILDING PRESERVATION STUDIO ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN. HISTORICAL PROF. ALESSANDRA KLUZER, PROF. SARA GOIDANICH

Prof. A. KLuzer and S. Goidanich

WERONIKA JADWIGA ZDZIARSKA - DELFIN KARTAL - JORDANFig.4: LO VECCHIO PAGE N°: façade Photo collage external - GR.FE 4 JADWIGA NALEPA - MUBEEN PONISSERY - HÉLÈNECortile RIANT -della IREMFarmacia KALE

Irem Kale - Delfin Kartal - Jordan Lo Vecchio - Jadwiga Nalepa -

H A LT I N G THE FLOW OF TIME

24.00

LED TAPE MONTAGE

24.00

MATERIAL SELECTION

HALTING THE FLOW OF TIME SCHEMATIC

96.00

TION

nning UIC)

55.00

5 000 sq. m 58.00

Seeking ideas for ageing societies is not only about responding to today’s needs and opportunities but also about anticipating the future. Story Lab is a pavilion dedicated to seniors, where they can learn new technologies and interact with the youth.

PROJECT AREA

MAIN AXIS

PROJECT AREA

MAIN AXIS

VOLUME CREATION

RAMP SLOPE

VOLUME CREATION

RAMP SLOPE

Volume creation Volume creation - pure geometry

Fractureand and displacement Fracture displacement

Ramp slope Ramp slope

Pillarsand and canopy Pillars canopy

96.00

ELECTRIC OUTLET

On a symbolic layer, the pavilion expresses timelessness. The semi-circularity of the plan evokes the feeling of being embraced, while the ramp floating over transparent walls underlines openness and accessibility to all. Intersecting circular forms relate to the concept of eternity. The complex shading and lighting system over the central square, LED TAPESofCONNECTION composed by many intersecting LED tapes, resembles a network connections. Digital media façades draw the attention of the passers-by and assure clear identification. The pavilion is designed from high performance concrete coated with super-hydrophobic concrete and insulated, polished steel structural columns and self-cleaning glass. SCHEMATIC

105.00

25.00

FRACTURE

DISPLACEMENT

FRACTURE

DISPLACEMENT

LED TAPE

1.00

MASTERPLAN

METAL LINK

96.00

GROUP 07

Professors: Ingrid Paoletti, Andrea Rebecchi Teaching Assistants: Samir Al-Azri, Maria Anishchenko, Marta D’Alessandro, Valeria Marsaglia, Erica Isa Mosca, Roberto Postorino

CONNECTION CONNECTION PiazzaPiazza GOBETTI GOBETTI CONNECTION CANOPY CANOPY LED TAPES led tapes

Clara LIndorfer Izabel Todorova Weronika Zdziarska

VERTICAL STRUCTURE STRUCTURE POLISHED STEEL COLUMNS polished steel

EXTERNAL FINISHING FINISHING TX-ACTIVE: POLLUTION-REDUCING CEMENT super-hydrophobic concrete PILARS PLACEMENT

Piazza GOBETTI

CASE STUDIES

PILARS PLACEMENT

CASE STUDIES 0

SECTION AA

+1.20

OPENINGS self-cleaning glass

PANEL 04

CANOPY

Fig. 2.1 Materials choice

Fig. 2.2 Explanatory diagram Fracture and displacement

CANOPY

Fig. 2.3SECTION Urban sectionAA AA’

GLAZING

IGU: INSULATED GLASS UNIT

5 2

+0.05

SANAA, J-CAFE, OKAYAMA

+0.05

+1.50

2 FLEXIBLE WORKSHOP 2 FLEXIBLE SPACE WORKSHOP SPACE 3 EXHIBITION SPACE 3 EXHIBITION SPACE 1 OPEN SQUARE/ARTESANAL 4 STORAGE 4 STORAGE MARKET 2 BATHROOMS FLEXIBLE WORKSHOP SPACE 5 5 BATHROOMS 3 EXHIBITION SPACE

+1.50

AS ACCESSIBLE AS POSSIBLE

SUPPORTED BY SERIES OF SLENDER COLUMNS SANAA, PLACE FOR THE VISITORS TO RELAX OUTDOORS J-CAFE, OKAYAMA WORKING AS A LANDMARK

+0.05

+1.20

4 STORAGE 5 BATHROOMS

+1.50

2AS ACCESSIBLE AS POSSIBLE

+3.30

SUPPORTED BY SERIES OF SLENDER COLUMNS PLACE FOR THE VISITORS TO RELAX OUTDOORS WORKING AS A LANDMARK

2 +0.00

1 OPEN SQUARE/ARTESANAL 1 OPEN SQUARE/ARTESANAL MARKET MARK

+1.20

+3.30 +0.00

+0.00

KUBE ARCHITECTURE, WOVEN CULTURES -Pillars PEACE CORPS PAVILION and canopy

CONNECTION 0

BTS19 BTS19 0

Piazza GOBETTI

Professors: Ingrid Paoletti, Andrea Rebecchi Teaching Assistants: Samir Al-Azri, Maria Anishchenko, Marta D’Alessandro, Valeria Marsaglia, Erica Isa Mosca, Roberto Postorino

Politecnico di Milano School of Architecture Urban Planning and Construction Engineering (AUIC)

Professors: Ingrid Paoletti, Andrea Rebecchi Teaching A Assistants: Samir Al-Azri, Maria Anishchenko, Marta D’Alessandro, Valeria Marsaglia, Erica Isa Mosca, Roberto Postorino

+0.00

CONCEPT OF ‘WOVEN ARCHITECTURE’ POTENTIAL TO CONNECT PEOPLE SERVING AS A ROOF AND A RAMP AT THE SAME TIME +0.05

Clara LIndorfer Izabel Todorova Weronika Zdziarska

PANEL 02 PANEL 02

+4.60

CONTEXT AND CONCEPT

Clara LIndorfer Izabel Todorova Weronika Zdziarska

FINAL DELIVERY

GROUP 07 GROUP 07 FORM DEVELOPMENT

Fig. 2.4 SECTION Urban section BB BB’

Politecnico di Milano School of Architecture Urban Planning and Construction Engineering (AUIC)

CONCEPT OF ‘WOVEN ARCHITECTURE’ POTENTIAL TO CONNECT PEOPLE KUBE ARCHITECTURE, +0.05 +0.05A RAMP AT THE SAME TIME SERVING ASCULTURES A ROOF AND WOVEN - PEACE CORPS PAVILION

+0.00

SECTION BB

+4.60

B +4.70

5 000 sq. m

+4.70

PROJECT AREA

+0.00

MAIN AXIS

+0.00

A B

A PLANPLAN AT 1.5AT METERS 1.5 METERS

PLAN AT 1.5 METERS

VOLUME CREATION

A 0

5 2 0 1 5 2 10 Fig. 2.6 Plan at 1.5m

10 RAMP SLOPE

+7.00

9.05

+4.70 +7.00

9.05

FRACTURE

DISPLACEMENT

+0.00

MASTERPLAN

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

Fig. 2.5 Masterplan

PLAN AT 5.0 METERS

1 5

5 10 Fig. 2.7 Plan at 5m10

SECTION SECTION AA AA

SECTION AA

10 +0.00

PILARS PLACEMENT

BUILDING TECHNOLOGY STUDIO FUNCTIONAL FUNCTIONAL PROF. INGRID PAOLETTI, PROF. ANDREA REBECCHI

CASE STUDIES PROGRAM PROGRAM

Fig. 2.8 Section AA’

+4.70

2.40 2.05

2.40 +4.70 +7.00

4.58

7.02 +0.00

9.08

+0.00

SECTION SECTION BB BB

SECTION BB

DIAGRAM DIAGRAM

9.08

+4.70

4.58 0

68 M2

+7.00

2.40 4.58

CANOPY

68 M2

2.05

9.08 7.02

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WERONIKA JADWIGA ZDZIARSKA - CLARA LINFORFER TOGNONATO CIRCULATION CIRCULATION IZABEL ATANASOVA TODOROVA 68 M2

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A PLANPLAN AT 5.0 ATMETERS 5.0 METERS

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Fig. 2.9 Section BB’

PAGE N°: 6

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HALTING THE FLOW OF TIME

1 OPEN SQUARE/ARTESANAL MARKET

2 FLEXIBLE WORKSHOP SPACE 3 EXHIBITION The Story Lab is a network of pavilions mitigating the challenge to bridge the digital divide between elderly and SPACE youth. It provides a space

STORAGE that encourages seniors to become familiar with cutting-edge technology to help their stories become4more appealing. This project aims 5 BATHROOMS +1.50 to save intangible heritage from disappearing. It is composed of two floors of workshop, lecture or exhibition spaces organized around an open multifunctional area. The free, versatile ground floor plan assures flexibility of the space that can be easily reorganized thanks to movable partitions. The upper floor is devoted to small groups, where representatives of technology companies can meet with both +3.30 seniors and juniors in a calm atmosphere.

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Fig. 2.12 Diagram - urban network

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FINAL DELIVERY PROJECT DETAILING

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Fig. 2.10 3D view

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

+4.60

Fig. 2.11 Pictures of a maquette

BUILDING TECHNOLOGY STUDIO PROF. INGRID PAOLETTI, PROF. ANDREA REBECCHI

Fig. 2.13 Day and night 3D view

WERONIKA JADWIGA ZDZIARSKA - CLARA LINFORFER TOGNONATO IZABEL ATANASOVA TODOROVA

PAGE N°: 7

TECHONOLOGICAL TECHONOLOGICAL TECHONOLOGICAL SYSTEM SYSTEM SYSTEM BY FLAGBY MASTS FLAG MASTS INSPIREDINSPIRED BY FLAGINSPIRED MASTS INTERACTIVE INTERACTIVE AND PARTICIPATORY AND PARTICIPATORY INTERACTIVE AND PARTICIPATORY MOVEMENTMOVEMENTMOVEMENT FLEXIBILE CONNECTION FLEXIBILE CONNECTION FLEXIBILE CONNECTION

HALTING THE FLOW OF TIME

LOCATION OF THE REPRESENTED OF STRUCTURAL THE REPRESENTED STRUCTURAL STRUCTURAL DETAILS DETAILS LOCATION LOCATION OF THE REPRESENTED DETAILS

INSULATING INSULATING GLASS GLASS INSULATING GLASS

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FOUNDATIONS FOUNDATIONS FOUNDATIONS

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MECHANICAL MECHANICAL MECHANICAL ENERGY INPUT ENERGY INPUT ENERGY INPUT

EXTERNAL1. EXTERNAL WALL WALL 1. EXTERNAL1.WALL ADHESIVE 2. LAYER ADHESIVE LAYER 2. ADHESIVE2.LAYER THERMAL3.INSULATION LAYER THERMAL LAYER 3. THERMAL3.INSULATION LAYER INSULATION

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All details were designed carefully to proGYM GYM BIKE BIKE AND AND ELECTRIC ELECTRIC BLOCK BLOCK SYSTEM SYSTEM GYM BIKE AND ELECTRIC BLOCK SYSTEM long the building’s lifespan and protect it from the impact of time. Solutions for accessibility and urban health were introduced, answering to the needs of the intended users. At the reception there is a stand to connect with sing-language interpreter, furniture is adequately dimensioned and induction loops are installed in all the rooms. Interiors are organized as open-plan floors with movable partitions allowing for many possible arrangements Fig. 2.14 Construction details of space. MATERIAL MATERIAL SELECTION SELECTION MATERIAL SELECTION 24.00

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Politecnico Politecnico di Milanodi Milano Professors: Ingrid Andrea Paoletti, IngridRebecchi Paoletti, Andrea Rebecchi Andrea Rebecchi Politecnico di Milano Professors: IngridProfessors: Paoletti, ofSchool Architecture of Architecture Urban Planning Urban Planning Teaching Teaching Assistants: SamirMaria Al-Azri, Samir Maria Al-Azri, Anishchenko, Maria Anishchenko, School ofSchool Architecture Urban Planning Teaching Assistants: SamirAssistants: Al-Azri, Anishchenko, and Construction and Construction Engineering Engineering (AUIC) (AUIC) Marta D’Alessandro, Marta D’Alessandro, Valeria Marsaglia, Valeria Marsaglia, Erica Erica Mosca, IsaPostorino Roberto Mosca, Roberto Postorino Postorino and Construction Engineering (AUIC) Marta D’Alessandro, Valeria Marsaglia, Erica Isa Mosca,IsaRoberto

METAL LINK

GROUP GROUP GROUP 070707

3 INDUCTION LOOP CANOPY CANOPYCANOPY LED TAPES LED TAPES LED TAPES

Clara LIndorfer Clara LIndorfer Clara LIndorfer Izabel Todorova Izabel Todorova Izabel Todorova Weronika Zdziarska Zdziarska WeronikaWeronika Zdziarska

ENTRY HALL WITH SUPPORTING FUNCTIONS

CIRCULATION PATTERNS 2 FURNITURE OF LOWERED HEIGHT

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Fig. 2.15 Accessibility solutions

POLISHED STEEL POLISHED COLUMNS STEEL COLUMNS IGU: IGU: POLISHED STEEL COLUMNS TX-ACTIVE: TX-ACTIVE:TX-ACTIVE: IGU: POLLUTION-REDUCING POLLUTION-REDUCING CEMENT INSULATED GLASS UNITGLASS UNIT POLLUTION-REDUCING CEMENT CEMENT INSULATED GLASS UNITINSULATED

INDUCTION LOOP

Fig. 2.16 Circulation diagram

PANEL PANEL PANEL 040404

Fig. 2.17 Panoramic 3D view

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

BUILDING TECHNOLOGY STUDIO PROF. INGRID PAOLETTI, PROF. ANDREA REBECCHI

WERONIKA JADWIGA ZDZIARSKA - CLARA LINFORFER TOGNONATO IZABEL ATANASOVA TODOROVA

PAGE N°: 8

ADAPTING TO THE FUTURE

ADAPTING TO THE FUTURE The project for an open air museum and research centre is located in Moscow, Russia. Its aim is to promote and extend to the present the creative heritage of the Vkhutemas School. It includes outdoor and indoor spaces for exhibitions, laboratories of production of prototypes, a scientific research centre, a training centre, meeting spaces and temporary residences. The diverse functional program of the complex is expected to change over time. Designed structures are supposed to host groups of architects, artist, designers and researchers and become a place where they can test the most innovative ideas in the field. In response to those needs, the design process was led by the goal to achieve maximal flexibility and adaptability of space, which could transform easily, embracing the multiplicity of possible future needs.

Fig. 3.3 Analysis and concept

Fig. 3.1 Diagram - exemplary spatial solutions

Fig. 3.2 3D view from the street

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

ARCHITECTURAL DESIGN STUDIO 3 PROF. MAURIZIO MERIGGI, PROF. GIOVANNI COMI

Fig. 3.4 Concept composition

Fig. 3.5 Urban analysis

Fig. 3.6 References - Yona Friedman

INDIVIDUAL PROJECT: WERONIKA JADWIGA ZDZIARSKA

Fig. 3.7 References - Bernard Tschumi

PAGE N°: 10

ADAPTING TO THE FUTURE The design proposal focuses on the area of the Apakova Tramway Park. The existing building, still functioning, forms part of the cultural heritage of Russia. The possible construction sites are located on free squares near to the roads. They are of a limited area, so the newly designed buildings raise up, and the space above existing buildings is used for the new structures. The main design challenge is to frame, exhibit and underline the building of Apakova tram depot and especially its roof, allowing the visitors to appreciate it. The new composition consists of three main edifices, that are different but clearly connected by linear elements. They are a family of volumes, with one dominant, located at the edge of the site, and two subsidiary ones. In the composition, three different levels of density are used. A large part of the system is a de-materialised framing, allowing for unobstructed views towards the Apakova tram depot. The Piazza GOBETTI rhythm of solids and voids expresses the contrast between weight and lightness.

CONNECTION A

1 OPEN SQUARE/ARTESANAL MARK 4

2 FLEXIBLE WORKSHOP SPACE 3 EXHIBITION SPACE

4 STORAGE 5 BATHROOMS

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ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

EXTERNAL CIRCULATION

Fig. 3.10 Sketches

INTERNAL CIRCULATION

25 M2

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ARCHITECTURAL DESIGN STUDIO 3 BATHROOMS PROF. MAURIZIO MERIGGI, PROF. GIOVANNI COMI

600 M2

INDIVIDUAL PROJECT: WERONIKA JADWIGA ZDZIARSKA

PAGE N°: 11

ADAPTING TO THE FUTURE

The multifunctional and flexible system consists of a vast structural framework containing all necessary systems and circulation spaces, to which prefabricated modules are attached. It allows for free expansion, and groupings of modules can be created or dissolved according to need. Delicate, transparent volumes allow for a view connection with the tram depot. In between the few rigid cores, the new system can alter according to the future needs and dynamically respond to the flow of time.

Fig. 3.11 3D view

Fig. 3.12 3D view

Fig. 3.13 Structural diagram

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

Fig. 3.14 Elevations

ARCHITECTURAL DESIGN STUDIO 3 PROF. MAURIZIO MERIGGI, PROF. GIOVANNI COMI

INDIVIDUAL PROJECT: WERONIKA JADWIGA ZDZIARSKA

PAGE N°: 12

ADAPTING TO THE FUTURE The project is a result of an exploration on the topic of fluidity of space. It is a waiting structure, always in the process of changing. Rigid parts are limited to the minimum needed, where services, private areas, or circulation spaces are enclosed. In the rest of the structure, instead of a typical organization into floors, floating units of different shape are used, which can be reassembled according to needs. Two heavy volumes underline the idea to frame the central topic of the project - the heritage of Vkhutemas school. From the tram depot building, main organizational rules emerge, creating directions which the newly designed structures follow.

Fig. 3.15 Longitudinal section

Fig. 3.16 Axonometric view

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

ARCHITECTURAL DESIGN STUDIO 3 PROF. MAURIZIO MERIGGI, PROF. GIOVANNI COMI

INDIVIDUAL PROJECT: WERONIKA JADWIGA ZDZIARSKA

PAGE N°: 13

THE STORY OF DISAPPEARING IN TIME

THE STORY OF DISAPPEARING IN TIME The islanders of Kiribati see the threat of the ocean rising. It is predicted that Tarawa atoll will become uninhabitable within a generation. Within the project concept, the esteem of nature and human fragility in the face of it are underlined. Architectural solutions cannot stop that change but can become a language for the struggle and resistance and tell the story of disappearing. Over time, the complex gradually adapts to the environmental changes, raising awareness and preparing locals for the inevitable adverse impacts of climate change. At a certain moment, together with the island, architecture will surrender itself to nature, allowing materials to decompose and disappear in the water. The human habitat will turn to a marine habitat. A symbolic element left behind will be a place of memory and a cautionary tale. The lighthouse on a horizon will remain, forever reminding the I-Kiribati about the power of their cultural pride.

Beginning of the life-cycle: Architecture is a house for social gatherings and community interactions

End of the life-cycle: Architecture disappears under the water, it provides a space for nature to thrive

The lighthouse of maneaba reminds I-Kiribati about their roots and a place they used to call home. It marks shallow waters of the sunken island and creates a warning for passing boats. Fig. 4.1 Concept diagrams

skin

skeleton lashing and securing pegs

lashing and notching

Fig. 4.2 Functional diagrams bones

levels triple connection

double connection

coral base

Fig. 4.3 Classroom architecture

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

angled notched connection

YACADEMY: ARCHITECTURE FOR HUMANITY ARCH. RAUL PANTALEO

notching with peg

coral protecting casing Fig. 4.4 Diagram - construction techniques

WERONIKA JADWIGA ZDZIARSKA - CYNTHIA LEUNG - NOHAIR ZEIN MARIAM JACOB - CHAITALY DESHPANDE - OLGA MAZUREK

PAGE N°: 15

THE STORY OF DISAPPEARING IN TIME The masterplans for 2020 includes classrooms, a community building - maneaba, and a central play zone. During the high-tide the central playground is filled with water and becomes a protected pool. It is a form of an early education about changes of nature and its impact on architecture. In the situation of 2050 and 2080 there is a gradual change of the human habitat to a marine habitat. The walkway becomes a playground and the complex is accessed by boats. Classes become a place of shelter and a training centre for a planned retreat. In 2080 marine life starts to grow over the gable structure. Maneaba community building starts to disintegrate due to climate conditions. In 2100 marine life starts to flourish and form habitat. Due to climate conditions the complex disintegrates. The former maneaba becomes a pleasant diving spot and sea-life breeding. Above the water only the symbolic elements of the lighthouse remains, steering the ships away and becoming a place of memory. 2020

2050

2100

2080

2100 Fig. 4.5 3D views - changes over time

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

YACADEMY: ARCHITECTURE FOR HUMANITY ARCH. RAUL PANTALEO

WERONIKA JADWIGA ZDZIARSKA - CYNTHIA LEUNG - NOHAIR ZEIN MARIAM JACOB - CHAITALY DESHPANDE - OLGA MAZUREK

PAGE N°: 16

THE STORY OF DISAPPEARING IN TIME

2020

2030

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The gradual change of the main building in the complex - community centre - is displayed on a time-line. Each of the stages of its disappearing is considered in the phase of design. The materials chosen allow for a fragmentary decomposition of some parts which are programmed to be more vulnerable to time, while others remain for longer, serving necessary functions to the community. At the end of the lifetime, nature takes over the ruins of the building with fluorescent plankton and other living organisms forming a new marine habitat.

2060

2070

Fig. 4.6 Time-line - decomposition of the maneaba

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

YACADEMY: ARCHITECTURE FOR HUMANITY ARCH. RAUL PANTALEO

WERONIKA JADWIGA ZDZIARSKA - CYNTHIA LEUNG - NOHAIR ZEIN MARIAM JACOB - CHAITALY DESHPANDE - OLGA MAZUREK

PAGE N°: 17

THE STORY OF DISAPPEARING IN TIME

Teacher and staff offices

Temporary shelter and storage

Children’s hall and indoor play area

2020

Exhibition space

Children’s outdoor play area, community gathering space

FINAL DELIVERY 2040

PROJECT DETAILING

Fig. 4.7 Axonometric sections - functional program

Fig. 4.9 Elevation

Fig. 4.10 Transversal section

The central building of the design proposal is the community building deriving from a study of the A most relevant local architectural typology, the maneaba. Ecoconcrete base is used for column footings, whose surface mimics the geometry of a coral reef, to encourage vegetation growth over it. Roof 1 2 is cladded with coconut leave woven mats that is traditional to the project area. For3 the junctions we 4 reinterpreted one of the most important parts of the local building construction heritage - beautiful 5 lashings. We developed them in order to be able to achieve more complex angles between beams. The lighthouse is the only element made of imported materials, to become the most durable part of the 2 complex, able to resist the disappearing for a much longer time. OPEN SQUARE/ARTESANAL MARKET FLEXIBLE WORKSHOP SPACE EXHIBITION SPACE

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Fig. 4.8 Ground floor plan

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

YACADEMY: ARCHITECTURE FOR HUMANITY ARCH. RAUL PANTALEO

WERONIKA JADWIGA ZDZIARSKA - CYNTHIA LEUNG - NOHAIR ZEIN MARIAM JACOB - CHAITALY DESHPANDE - OLGA MAZUREK

PAGE N°: 18

THE STORY OF DISAPPEARING IN TIME The views show vulnerability of materials to time. Nature is acting on the structural wood and thatch, causing it to deteriorate. While the building gradually looses functionality for people, life inside still flourishes - plankton, fish, plants, birds and other living organisms make a great use of it. The building’s life-cycle ends, nourishing the local ecosystem. A delicate and almost transparent lighthouse remains as a symbolic element, serving as a cautionary tale and a place of memory for voyagers and former inhabitants of Kiribati.

Fig. 4.11 3D view

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

YACADEMY: ARCHITECTURE FOR HUMANITY ARCH. RAUL PANTALEO

Fig. 4.12 3D view

WERONIKA JADWIGA ZDZIARSKA - CYNTHIA LEUNG - NOHAIR ZEIN MARIAM JACOB - CHAITALY DESHPANDE - OLGA MAZUREK

PAGE N°: 19

THE STORY OF DISAPPEARING IN TIME The marine habitat flourishing over the ruins of a former school and community centre of Kiribati becomes a real spectacle of light and life at night. Over the time, plankton grown on the wood forming the school’s structure takes over the whole site. It is a bioluminescent species, after dusk emitting light which it collected during the day. A programmed death of the building becomes a poetic spectacle, capable of expressing the hopelessness of human beings and their fragility when exposed to the extreme power of nature and flowing time.

Fig. 4.13 3D views

ARCHITECTURE IN THE FACE OF THE PASSAGE OF TIME. ON APPROACHES TO THE FUTURE IN ARCHITECTURAL DESIGN.

YACADEMY: ARCHITECTURE FOR HUMANITY ARCH. RAUL PANTALEO

Fig. 4.14 3D view

WERONIKA JADWIGA ZDZIARSKA - CYNTHIA LEUNG - NOHAIR ZEIN MARIAM JACOB - CHAITALY DESHPANDE - OLGA MAZUREK

PAGE N°: 20

Architecture in the face of the passage of time. On approaches to the future in architectural design.

Time is an essential concept in defining human perception and behaviour. Much of our sense of this encompassing dimension of life is shaped by what we see and experience around us. Through architecture, not only do we mark our spatial boundaries, but we also indicate our temporal existence. In architectural studies however, a lot of emphasis has been placed on the spatial referents of reality, while the temporal ones have been considered somehow subservient. Yet, in the reaction against Modernism, and especially in the last decades, there was a renewed interest in the role of the flow of time for design.1 Preliminary efforts were made to dominate time in the same way we now dominate space. Some contemporary architects explored the temporal symbolism of buildings as a medium through which man can identify his time-conscious experience.2 In the 15th century Leon Battista Alberti introduced a highly influential concept of buildings being ideal at the moment of their original inception3. By defining ‘perfect’ buildings as necessarily constant, Alberti positioned architecture in opposition to the passing time. According to Trachtenberg, Alberti’s reasoning for the denial of time in his architecture is seen as an attempt to create a humanistic power over time. That is, for the architect as an individual to shape and control it, rather than be subsumed by it.4 The influence of these ideals continued through Modernism and still manifests itself today. The aspiration to build independently of the effects of ageing is, however, problematic. An alternative way is to approach the creative process with time in mind. Embracing time means accepting change, acknowledging that buildings are not fixed to a single moment, permanent and static, but mutable and affected by many factors. This thesis is an attempt to evoke the importance of time in architectural design. It is a search for ideas bridging the gap between spatial features and the neglected temporal aspects. Is it possible to think of an architecture that is about time as much as it is about space? What are the different stands architects can take on the impact of the passing time on their design? Can a consideration of temporal aspects of reality enhance the experience of space? These questions form the backbone of my considerations. Through a critical view of the portfolio of my projects, I am looking for the reintroduction of time as an aspect of the building process. I consider multiple positions that can be taken, considering influence of the future on the architectural projects: • • • •

to recognize and value multiple layers forming parts of a historical buildings’ body over time, to make an attempt of halting the passage of time through material and formal choices, to appreciate flexible, adaptable architectural solutions, dynamically changing with the flow of time, and ultimately to recognise decay caused by the passage of time and surrender to it, consciously designing the subsequent stages of decomposition of the building until its programmed death.

OBSERVING TRACES OF THE PASSING TIME ‘History is not a memory warehouse, but a gathering body of experience.’ 5 In contrast with Alberti’s ideas, when approaching preservation of a historical building, we can observe a multitude of ways in which architecture reacts to change and evolves, rather than being artificially fixed to a moment in time. In the project realized at the Historical Building Preservation Studio we documented the multiple changes which occurred on the fabric of Ospedale Maggiore in Milan. We could understand the traces of multiple futures that occurred to the building, probably never imagined by the architects at the time of construction. From a careful study of the different layers, it become apparent that the passage of time never stops and that its influence is essential. By reading the traces of history, we could see how many programs a building has had from the year of completion, how the materials decayed and how the perception of the edifice has changed.

HALTING THE FLOW OF TIME ‘A rchitecture is not only about domesticating space. It is also a deep defence against the terror of time. The language of beauty is essentially the language of timeless reality.’ 6 The project for a pavilion realized during the Building Technology Studio explores possibilities of halting the effects of time through conscious material choices and evoking the feeling of timelessness by formal solutions using intersecting pure geometries, repetition of archetypes and universal symbols. The position taken here expresses the architecture’s ‘longing for permanence, which reacts against uncertainty, against continual change, and against the value given to the instantaneous, the immaterial, and the temporary’. 7 An object which does not seem affected by the passage of time is assumed to be ‘outside’ of the grasp of time, timeless. Throughout history many architects evoked this feeling by using a powerful tool – geometry. The project followed the ideas of Étienne-Louis Boullée, one of the greatest proponents of pure geometric forms, believing that through them buildings could enter into the sphere of the sublime and express infinity and eternity. 8 The materials used – concrete with super-hydrophobic coating, LED-display screen façades, self-cleaning glass - are symbolic of the victory over time. These materials are resistant to erosion brought about by natural forces and extend the lifespan of the building.

ADAPTING TO THE FUTURE ‘You cannot predict the future. Allow the options to be open.’ 9 Can a structure survive the flow of time, multitasking? How flexible can it be? How to create a structure open to possibilities? Those questions became a basis for explorations in the project realized at the Architectural Design Studio 3. The design proposal explores the topic of a waiting structure, always in the process of changing. The multifunctional and flexible system consists of a vast structural framework with all necessary systems connected, and prefabricated modules attached to it. It allows for free expansion and rearrangements of space. The structural system revolves around the concept of megastructures, drawing inspirations from Cedric Price, Bernard Tschumi, and Yona Friedman. The megastructure does not prescribe a single use but invites various kinds of activities. This approach to time is similar to Sou Fujimoto’s idea of ‘primitive futures’10, that architecture is designed to allow people to find their unique place over time, rather than creating a prescribed physical form. In this case, time is inherently bound to design, which establishes dynamic associations with its changing environment.

THE STORY OF DISAPPEARING IN TIME [On Architecture] It has lives as well as a death – an ending that can also be designed in advance. 11 Another position an architect can take in relation to the passage of time is to accept that any construction is destructible and recognise that such an unavoidable circumstance offers opportunities. As Miralles put it, ‘The solution to getting in touch with time is to not make things that are indestructible’. 12 Working with the medium of time means understanding, planning for, and awaiting changing external forces of the natural and human environment, and designing different ways for people to experience these. This approach to architecture is close to the concept described by Pallasmaa: ‘This architecture does not struggle against time; it recognizes the course of time and makes it acceptable. A distinct ‘weakening’ of the architectural image takes place through the process of weathering and ruination. Erosion wipes away the layers of utility, ration logic and detail articulation, and pushes the structure into the realm of uselessness, nostalgia, and melancholy. The language of matter takes over from the visual and formal effect, and the structure attains a heightened intimacy. The arrogance of perfection is replaced by a humanizing vulnerability.’ 13 PAGE N°: 21

In the design proposal prepared during the YACademy workshop we faced human fragility in face of the threats of climate change and terrifying effects of the passing of time on the island of Kiribati, predicted to disappear within one generation. The architectural solutions proposed cannot stop the change but instead can become a language for the story of disappearing. Each of the stages of gradual decomposition was carefully designed. At a certain moment, together with the island, the building surrenders itself to time and a human habitat turns into a marine habitat. After the building’s death, only a symbolic element of light, emitted by plankton grown over the ruins, remains. Time wins the battle against architecture, which lasts only for a while.

CONCLUSIONS ‘Time is a major constituent of architectural experience. People’s reactions to a building are influenced by the past, present and future, as well as by its physical dimensions, colour, material, and style. A building can be programmed temporally as well as spatially.’ 14 The four architectural projects represent different reactions to the passage of time. The Historical Building Preservation project attempts to understand and embrace the passage of time, in The Story Lab pavilion there is a trial to build ‘against’ or ‘apart from’ time, the Framing Vkhutemas museum is a waiting structure always adapting to the multiplicity of future needs, and in The Story of Disappearing a humble position of bowing up to time is explored. There is no correct method for architecture to react to time but each of them may be able to generate a different experience and communicate a position of architects towards temporal aspects of reality. In considering them, designers can enrich the meaning and cultural value of design works.

BIBLIOGRAPHY Bishop, Reid. Introduction. In The Perception and Importance of Time in Architecture. Godstone, England: British Theses Service, 1983. Alberti, Leon Battista. “Book IX. CHAP. V. That the Beauty of All Edifices Arises Principally from Three Things, Namely, the Number, Figure and Collocation of the Several Members.” Essay. In The Architecture of Leon Battista Alberti in Ten Books, 651–54. London, England: Printed by E. Owen for R. Alfray, 1755. Trachtenberg, Marvin. “Building Outside Time in Alberti’s ‘De Re Aedificatoria.’” Res: Anthropology and aesthetics 48 (2005): 123–34. https://doi.org/10.1086/resv48n1ms20167681. Eyck, Aldo van. “Rats, Posts and Pests.” Royal Institute of British Architects Journal, April 1981. Harries, Karsten. “Building and the Terror of Time.” Perspecta 19 (1982): 68. https://doi.org/10.2307/1567050. Gregotti, Vittorio. Inside Architecture. Boulder, USA: NetLibrary, Inc., 1999. Rosenau, Helen. Visionary Architecture: Including Boullee’s Architecture, Essay on Art. London, England: Academy Editions, 1976. Fujimoto, Sou. Primitive Future. Tokyo, Japan: INAX, 2008. Cairns, Stephen. BUILDINGS MUST DIE: a Perverse View of Architecture. Boston, USA: MIT Press, 2017. Pallasmaa, Juhani. “Hapticity and Time: Notes on Fragile Architecture.” Architectural Review, 2000.

1 Bishop, Reid. Introduction. In The Perception and Importance of Time in Architecture. Godstone, England: British Theses Service, 1983. 2 Bishop, Reid. The Perception and Importance of Time in Architecture. Godstone, England: British Theses Service, 1983. p.1. 3 Alberti, Leon Battista. “Book IX. CHAP. V. That the Beauty of All Edifices Arises Principally from Three Things, Namely, the Number, Figure and Collocation of the Several Members.” Essay. In The Architecture of Leon Battista Alberti in Ten Books, 651–54. London, England: Printed by E. Owen for R. Alfray, 1755. 4 Trachtenberg, Marvin. “Building Outside Time in Alberti’s De Re Aedificatoria.” Res: Anthropology and aesthetics 48 (2005): 123–34. https://doi.org/10.1086/resv48n1ms20167681. 5 Eyck, Aldo van. “Rats, Posts and Pests.” Royal Institute of British Architects Journal, April 1981, 48. 6 Harries, Karsten. “Building and the Terror of Time.” Perspecta 19 (1982): 68. https://doi.org/10.2307/1567050. 7 Gregotti, Vittorio. Inside Architecture. Boulder, USA: NetLibrary, Inc., 1999. 8 Rosenau, Helen. Visionary Architecture: Including Boullee’s Architecture, Essay on Art. London, England: Academy Editions, 1976. 9 Brown, Denise Scott. “Denise Scott Brown - TIME SPACE EXISTENCE”. July 6, 2017. Interview, 4:47. https://www.youtube.com/watch?v=LVj1AMzbatM 10 Fujimoto, Sou. Primitive Future. Tokyo, Japan: INAX, 2008. 11 Cairns, Stephen. BUILDINGS MUST DIE: a Perverse View of Architecture. Boston, USA: MIT Press, 2017. 12 Zabalbeascoa, Anatxu, and Marcos, Javier Rodríguez. Miralles Tagliabue, Time Architecture. Barcelona, Spain, 1999. 13 Pallasmaa, Juhani. “Hapticity and Time: Notes on Fragile Architecture.” Architectural Review, 2000. 14 Sommer, Robert. Design Awareness. San Francisco, USA: Rinehart Press, 1972. p. 70.

Sommer, Robert. Design Awareness. San Francisco, USA: Rinehart Press, 1972. SITOGRAPHY Brown, Denise Scott. “Interview with Denise Scott Brown - TIME SPACE EXISTENCE.” YouTube, July 6, 2017. Interview, 4:47. https://www.youtube.com/watch?v=LVj1AMzbatM. Wittmann, Marc. “Feeling Time in Space: How Architecture Is All About Time.” Psychology Today. Sussex Publishers, August 4, 2019. https://www.psychologytoday.com/us/blog/sense-time/201908/feeling-time-inspace-how-architecture-is-all-about-time. IMAGE SOURCES Fig.1 Cichocka, Małgorzata Anna. The flows of time. Warsaw: private artist’s archive. 2021. Fig. 1.1 Pecchiai, Pio. Historical images of Ospedale Maggiore. In Guida dell’ Ospedale Maggiore di Milano e degli instituti annessi con 121 illustrazioni. Milano: Stabilimento Tip.- Lit. Stucchi Ceretti. 1926. Fig. 3.6 Friedman, Yona. Ville Spatiale, Visualization of the Principles. Yona Friedman. Accessed July 3, 2021. http://www.yonafriedman.nl/?page_id=400. Fig. 3.7 Tschumi, Bernard. Factory 798. Bernard Tschumi Architects. http://www.tschumi.com/projects/20/. 2004. PAGE N°: 22

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