Laura Cushnie Academic Portfolio BA (Hons) Architecture
Contents Page Reflection
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Charrette Project
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Primer
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Staging
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Realisation
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Refinement
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Appendix 112 Integrated Technology Part 2 113
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Reflection “We shape our buildings, but afterwards our buildings shape us?” - Winston Churchill
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y third year studying architecture at Newcastle has been one of the most challenging and rewarding years of my life. The development of my graduation project has been an enjoyable yet challenging experience where I have not only discovered a lot about the way I design but been inspired and encouraged to evolve by my tutors and peers. During my second year of study I became interested in how buildings are experienced during a project that explored virtual travel. My fascination in experience was recognised again whilst completing my dissertation. The dissertation studied the extent to which architects can predict experience and atmosphere, and the influence function has on the atmosphere. These established interests corresponded very well with the themes of my selected studio group, ‘Enclosed Order’. The
studio investigated monastic architecture including an exploration of atmosphere and a holistic approach to design. An unusual aspect of the studio was that we were not allocated a site until after the primer therefore the project had to develop purely around narrative and atmosphere. The lack of cultural, social or geographical context felt unconventional at first but possibly led to a greater freedom of exploration of monastic typologies. Some of the challenges I faced over second and third year I overcame during my graduation project. In the past my feedback has indicated that my design process is overly controlled, during this project I used ritual to motivate the planning and this allowed me to explore different methods of controlling the design process.
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Charrette Week
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Tantrum City
he charrette task for the week was to consider how to evoke strong positive or negative emotions through an architectural installation. After an initial exploration of ideas our group decided on representing the contrasting feelings of stress and serenity. The idea was to create a claustrophobic enclosed tunnel of stress that transitions into a woven pod to evoke serenity.
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Woven Walls
A large aspect of the development of the installation was the fabrication process, as we could only use recycled or scrap materials. We had ambitious design ideas that had to be manipulated after appropriate materials had been collected. The weaving process was a simple way of binding together various textures and strengths of materials into one.
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The Final Piece Overall the final piece was successful in expressing the emotions intended, crawling under the ‘stress’ tunnel and pausing and reflecting within the spot lit pod. However I believe that the biggest success from this project was the tectonic exploration. The creative use of recycled materials and existing structures created something that was structurally stable and contained the experience inside it.
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Primer
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Studio Structure: Enclosed Order
ur design work began with the primer. This exploratory period was structured around weekly tasks that each drove the resolution of a narrative. The studio specific theme of understanding ‘atmosphere’ motivated me to question and interpret atmosphere myself. I began to consider the impact the function of a space has on the atmosphere of it and vice versa. This helped to develop my key theme of the daily rituals of the monks driving the design process.
Chapter Contents Exploration
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Process
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Concept
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Studio Tasks 22 Protagonist 22 The Initial Proposal 26 Space for One 27 Space for Many 32 Master-planning the Monastery 34 Precedent 34 The Artefact 36 Conclusion
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Exploration: The Atmosphere of a Courtyard
The initial exercise explored our own definition of what atmosphere meant to us, as a group we collated a range of images that depicted our personal definitions of atmosphere. We soreted these images into sacred and profane, a space for one and a space for many.
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Inspiration: Scarpa’s Atmospheric Sculpture Garden My chosen images was of the Venice Biennale Sculpture garden by Scarpa. The interception of the light with a solid concrete canopy creates dramatic yet calm atmosphere. The image also inspired ideas of creating external atmosphere within a courtyard that were revisited later on in the project.
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Process: Atmospheric Maquette
Atmosphere Explored with a Moulded Form Plasticine was used as an experimental medium to explore form freely.
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Atmosphere Explored with Layers The card offered a perspective that allowed more architectural visualisations and understandings.
Process: Atmospheric Maquette
Atmosphere Explored with Casting Plaster The creation of the mould was especially interesting as the form follows the inhabitable space on the inside. The cast also improved the awareness I had of solidity and void when it came to openings and enclosures.
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Sketching Atmosphere Sketching is a design method I am very familiar with, however when it comes to developing atmospheric ideas it has its limitations. You cannot experiment with spatial qualities on paper in the same way you can with an exploratory model.
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Atmosphere of Form Once I started fabricating my atmospheric sketches into sketch models I began visualising how these atmospheric conditions could be incorporated into a monastic complex. My initial curiosities regarding what kinds of atmospheres are better suited to different functions led to further exploration into transitional space. I decided to further experiment with ideas that could be used for a transitional space such as a corridor or the edge of a cloister.
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Process: Defining Atmosphere
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Atmosphere is Light and Dark? My initial experiments began with imagining the space as a solid. Carving out the light to create a conceptual model of a sectional space to explore the impacts of light from above and light from the side.
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Layering Atmosphere Developing the idea of an atmospheric transitional space I began to look at layering and how different shapes of openings and light intensity can create various atmospheres.
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Concept: Realisation and Development
Organising Atmosphere One of the group tasks was to present the atmospheric maquettes we had created and begin to arrange them in an order that began to depict a monastic complex. This task encouraged us to begin to look at the needs of profane and sacred spaces, the transitions in between and how the spaces are articulated around the daily lives of the monks.
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Group Plan As a group we began to translate these ideas into a plan. This allowed exploration of wall thickness, openings and a greater understanding of circulation.
Group Section The section perhaps resembles some of the sectional atmospheric models I created. The section represented different approaches each student had to the impact openings have on atmosphere.
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The Protagonist
One of the weekly studio tasks was to create a protagonist to use as a driver for the project narrative. My protagonist manifesto: The protagonist is a young professional who wants to escape the of the pressures of society by becoming a Buddhist monk. They choose Buddhism because of the connection with oneself and the others around you. The rituals of the day and the humbleness of the monastic complexes that train the younger monks. The protagonist begins their schooling in the monastic complex and learns the teachings of Buddha, meditation practices and rituals. One of the key questions that grew out of the development of the protagonist was if the organisation and clarity of the architecture could be designed around the daily ritual of the monks. If the monastic complex is designed around the path of ritual could this improve the development of the trainee monks?
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Concept: Circulation Derived from Ritual
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Thinking About Monastic Organisation Exploring the organisation of the monastic complex by comparing my initial sketches (a) to a traditional Buddhist temple layout (b) and finally taking the traditional layout and imagining it as a cluster of buildings.
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Placing Atmosphere To progress my atmospheric experimentation I made a model that three dimensionally replicated the grid I had been sketching to explore monastic organisation. I could then use smaller maquettes within the model to experiment with different spatial scenarios.
Inhabiting Atmosphere (right) After photographing various atmospheric moments created with the layering model (above) I began to visualise the inhabitation of these spaces.
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The Initial Proposal
The proposal is to design a Soto Zen Buddhist Temple or monastery for novices to complete a 1-3 year stay, accommodation for retreat and accommodation for permanent Monks who teach the novices and the retreats. This type of Buddhism is mainly located in Japan but has other temples all over the world, its main focus is meditation and self mastery. The Complex will have a front gate, a toilet block, a bathing block (areas for relaxing, washing and connection with water), a refectory, a library (for learning the Dharma teachings), laundry facilities,accommodation, Vuddha hall (meditation), Dharma hall (classrooms). The design of the complex should reflect the daily rituals of the monks and the simplicity of the Buddhist beliefs. The monks will also require courtyards to carry out outdoor rituals and provide a connection with nature through out the complex.
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Space For One
Developing the Protagonists Cell The rituals that occur within the monastic cells include meditation, sleep and reading. To approach the design of the cell to accommodate the rituals I began the design of the protagonists cell with the furniture. With the minimalism of Japanese Zen architecture in mind the furniture progressed to become one piece that could be inserted into a space to accommodate the needs of the monk.
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The Protagonist’s Cell Sketch Model After developing the cell furniture I began to model it to test the internal atmosphere like I with previous model experimentations. The model making process helped reach the conclusion that I wanted the insert and the cell walls to be of contrasting materiality.
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The Protagonist’s Cell Final Model To further explore the dual materiality of the cell I chose to cast the cell as a full scale and sectional model. The solidity of the walls contrasted the inhabited furniture insert indicating the difference between the structural material and the softer timber inhabited unit.
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Inhabitation of the Timber Insert These diagrams express how the timber insert is inhabited by the monk.
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Cell Section
Cell Visualisation
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Space for Many
The Monks’s Shower Room Inhabited Model Continuing the materiality language developed in the cell design I began to consider how this duality could be used in a different context.
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Wash Room Section
Wash Room Visualisation
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Master-planning the Monastery: Precedent Study
Precedent: The Alcåcer do Sal Residences / Aires Mateus Articulating the Arrangement of Cells The analysis of the Aires Mateus nursing home assisted exploration of the courtyard idea initially established. This precedent doesn’t have a typical courtyard, instead it curves and folds creating more enclosed courtyard areas more exposed edges.
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Precedent Exploration Model As part of studying and exploring the precedent of the nursing home I created a small scale massing model to help understand the articulation of the cells. This task led me to consider how the arrangement of cells can create courtyards and begin to depict the public and private thresholds.
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Master-planning the Monastery: The Artefact
Courtyard Sketches and Configurations After studying the precedent I began to think about how the cells and wash room could be arranged around a courtyard. Due to the nature of the design there is a large opening at the front and entrance at the back the circulation and daylighting had to be carefully considered.
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Artefact Courtyard Experimentation Models The finalised ‘artefact’ was a courtyard that incorporated the private and communal elements designed around a courtyard. It was at this point of the design I established the importance of courtyards within my design.
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Conclusion
The primer was an exploratory experience where I attempted methods of design I was unfamiliar with. The lack of context led to the architecture being driven by the narrative and the protagonist. I believe the protagonist’s cell was the most successful output of the primer and helped me to establish the key themes I want to focus on in the staging and realisation periods. These themes are ritual led design, dual materiality linking the interiors to the exteriors and the integration of courtyards into the plan. Using function to drive the design process provides a controlled method of mapping of the various ritual spaces and the flow of one activity to another. This mapping will need to be refined once the site is allocated.
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Primer Exhibition
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Staging
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Site Allocation
he area of the site was revealed as the Ouseburn Valley in Newcastle. The area was historically an industrial area that is in the process of being redeveloped into a cultural escape from the city. The site is somewhat unconventional for a Buddhist monastery however as long as the connection between the complex and context is addressed sensitively this could provide and interesting contrast.
Chapter Contents The Site 42 Situating the Proposal
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Cultural Considerations
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The Site
Lower Steenberg’s Yard
The site selected in the Ouseburn area sits on the banks of the river. The western side of the river (above) is enclosed by a 5/6m retaining wall and the river, this provides seclusion and privacy for the monastery. 42
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Buildings
The built up areas contribute to how well the project fits into it’s context. Possibly the most influential buildings are the toffee factory and the mailings.
The River and Flooding
A key aspect of the site is that is divided by the river. It is worth considering flooding and possible opportunities of crossing the river. The green areas (image below) are areas with a 1/100 chance of flooding, however as the river flow can be controlled at the barrage lock gates therefore the likelihood of flooring is reduced dramatically. The opportunity of crossing the river to provide access to the other half of the site could be used as a public gesture or to emphases a certain point within the daily ritual.
Roads
The site is very close to some quite busy roads. This is worth consuidering the NOISE impact from the north and the pedestrian ACCESS from the south.
Flooding
It is worth to consider flood desfences in the design as shown in the diagram. There are areas of 1/100 chance of flooding happening. This could influence how the building sits next to the river.
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Significant Buildings The valley is currently under redevelopment, therefore the surrounding context is a patchwork of the historical industrial buildings and recent modern construction. The structures I looked at in more detail were: a)-The Mailings responds to the curve of the river and the material pallet of brick. - The Toffee Factory is similar to the demolished building previously on the site, inspiration was taken from how the existing has been connected with the new. b) Quay Timber Ltd - The existing wall is a collage of materiality that has been developed over time. c) The Retaining Wall and Gym - The retaining wall still expresses ruins of the demolished industrial building that can be integrated into the new proposal.
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Buildings
The built up areas contribute to how well the project fits into it’s context. Possibly the most influential buildings are the toffee factory and the mailings.
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Buildings
The built up areas contribute to how well the project fits into it’s context. Possibly the most influential buildings are the toffee factory and the mailings.
Roads and Traffic One of the most disruptive factors of the site is that not only is it enclosed by the river and retaining wall but 2 roads including a B road stretching over the northern retaining wall of both parts of the site. As one of the key aspects of Buddhist practice is meditation one of the first moves was to situate the meditation hall as far as possible from the larger road.
Roads
The site is very close to some quite busy roads. This is worth consuidering the NOISE impact from the north and the pedestrian ACCESS from the south.
Roads Flooding
It is worth to consider flood desfences in the design as shown in the diagram. There are areas of 1/100 chance of flooding happening. This could influence how the building sits next to the river.
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The site is to some q This is wo the NOISE north and ACCESS f
Possible Site Manipulations East of the River Wall The wall that is currently enclosing a timber yard poses the opportunity to continue the existing language by further varying materiality. The wall can be retained to enclose allotments or gardens for the monks behind the wall.
Brick Detail Inspiration There are many fascinating details on the site that have survived in fragments since the industrial period. As shown in all the images the valley is home to a wide range of brick types and uses. The creative use of brick courses inspired the use of perforated and textured brick that is showcased throughout the monastery.
Inhabiting the Retaining Wall The arches protruding from the retaining wall is possibly one of the most interesting retaining features left on the site. The repetitive arches seem to reflect classical monastic cloisters. To emphasise the arches in my project I have inhabited the retaining wall to house the wash-rooms opening up the arches again and drawing attention to some of the details remaining from the existing building.
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History of the Site Lower Steenberg’s Yard The site was previously a Cattle Sanatorium where imports of live cattle and sheep could be held. The building was then re-purposed in the 1900 as an oil-works. One of the aims of my project was to reinstate aspects of the original building to reinstate parts of the history of the valley. The aspects that most inspired my project were the wall that acts as a continuity of the quay wall, using the quay wall as a guide not only enhances the enclosure of the site but accentuates the curves of the river. Another aspect of the existing building that inspired my proposal was the arched relief in the facade. This facade is also reflective of the Toffee Factory building further down the river so using aspects of this facade also relates the elevation to the wider site context.
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Archaeology of the Site When the sanatorium was demolished an archaeological survey was taken to reveal more about the history of the site. This information for learning the accurate dimensions of the existing structures and the viability of reusing aspects of them. An interesting discovery was that the site used to be connected to the Victoria Tunnel, a historic tunnel that connects the Town Moor to the Tyne. The layers of history of the site perhaps make it seem more spiritual and the monastery development will aim to retain some of these key historical features to connect the building to the past.
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Collage of Proposal on Site
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RETAINING WALL
River Ouse
Site Analysis Diagram
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Cultural Considerations During the research part of staging I looked at typologies of existing Buddhist monasteries in the UK to understand how Buddhism is translated into a western context. One of the key factors about the monasteries is that they generally occur in rural locations that are quite difficult to get to, adding to the cost of going on a retreat that may discourage people going. A benefit of having a monastery in an urban context is that it has a role in the surrounding community and provides a place for Buddhists in the area somewhere, secluded yet in the city, to practice Buddhism.
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Site Location
Locations of other residential Buddhist centres
Precedent: Vajrasana Buddhist Retreat, Walters and Cohen During my research of Buddhist monasteries in the UK I discovered the Vajrasana Buddhist monastery. This typology provided an insight into how the architects, Walters and Cohen, have understood classical Buddhist requirements and translated them into a western context. The centre is held together by a central cloister and the residential and communal aspects of the monastery are all accessible from this cloister. The materiality is similar to my selected materials and they are used in a beautifully simplistic way. Whilst studying the precedent I began to consider how I wanted my programme to resolve into a floor plan and how I could adapt the traditional courtyard idea to fit on my site.
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Realisation “The layout of any building is determined by the actions planned to occur within its walls.� - Christian Norberg-Schulz
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uring the realisation stage of my design I revisited model making used for design development in the primer. I also began to situate my previously explored design ideas within the Ouseburn valley. Whilst developing my project it was important to reinstate the themes of materiality, courtyards and materiality established in the primer.
Chapter Contents Methods of Development
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Planning Considerations
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Key Moments in Development
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Brick
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Timber
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Atmospheric Intent
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Interim Pin Up
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Methods of Development
Model Making Models were used during the development process, they were particularly useful for experimenting with courtyard placement.
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Drawing and Layering Alongside modelling, sketching allowed me to translate the three dimensional massing arrangements into drawings and consider the layouts in plan and section.
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Planning Considerations: Ritual
The Daily Ritual The diagram above is an example of how I used layering of trace to evolve the floor plans around the path of ritual.
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Between the Ritual The layering of trace was also used to explore the moments in between the rituals. This led me to consider what kinds of atmospheres would occur within these thresholds and to revisit some of the atmospheric experimentation in the primer.
“The time-table is an old inheritance. The strict model was no doubt suggested by the monastic communities. Its three great methods establish rhythms, impose particular occupations, regulate the cycles of repetition.� - Michel Foucault
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Planning Considerations: Courtyards
The courtyard concept model was an exploration into the void of space the courtyard creates. Suspending the ‘courtyards’ on different levels reveals the horizontal and vertical interactions simultaneously. The model was a good tool for exploration during the construction process and once complete provided a source of inspiration when designing the floor plans.
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Courtyard Zoning a) Visitor retreat accommodation b) Trainee monk accommodation c) Permanent monk acoomodation d) Memorial and permanent monk courtyard e) Communal circulation courtyard
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Key Moments in Development
Below I have selected some of the key descisions made during the iteration process of resolving my floor plans. They are colour coded to represent the different functions: residential, bathrooms, meditation hall, open grass area, communal area, library and classrooms, refectory (yellow).
Splitting the Residential Courtyards Initial planning descisions when situating my schedule of accomodation on the site: 1. Remove the buildings on the eastern side of the river. 2. Keep the meditation hall away from the road. 3. All communal functions on the top floor and residential on lower floor.
Courtyard Intersection Inspired by the model making iterations I crossed over the retreat and the trainee monk courtyards. Other iterations include: 1. 2 entrances, one for the monks and one for the public. 2. Allotment developed on the other side of the river.
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Circulation Development 1. Bringing some of the communal functions down to the ground floor. 2. Further articulation of the circulation paths. 3. Resolution of the southern entrance.
Linkage of the Residential Area 1. Resolution of the first floor 2. Internalising some of the circulation paths. 3. Finalising one entrance.
Opening the Central Courtyard 1. Reorganising the monk’s cells to open up the central courtyard. 2. Aligning the communal space along the edge of the river to open up the central courtyard.
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Extract From ARC3015 Theory into Practice Submission “TRANSLATING FUNCTION TO FLOOR PLAN” pp. 11-12.
Translating Function to Floor Plan “Accepting that buildings have some kind of shaping influence on life is not to say that architecture determines behaviour.” - Peter Blundell Jones
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monastic complex has an organised function as the daily lives of the inhabitants are predictable and follow a daily timetable of activities. Once a daily timetable for the monks was established, it then inspired the schedule of accommodation. Christian Norberg-Schulz reiterates that, “the layout of any building is determined by the actions planned to occur within its walls. “1 The evolution of the floor plan began with the daily routine, this led to the development of the floor plan around a path of events. The plan developed with the axis of traditional Chinese Buddhist temples that run from South to North. The ideas regarding function that began during massing were also revisited when focussing in on moments such as the monastic cell at a smaller scale. The floor plan evolved through layering drawings with trace, this 1. Christian Norberg-Schulz, Intentions In Architecture, 1st edn (Cambridge, Mass.: The M.I.T. Press, 1997). P.114.
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resulted in a very controlled development with each plan following on from the one before. On reflection using the floor plan as a design driver resulted in many aspects of the building being overlooked such as, sectional layout, materiality and site response however it meant that the daily routine remained central for the building layout. The use of massing models alongside drawings helped to consider the design three dimensionally, resolving sectional issues, materiality was also used to exaggerate the inhabitation of the spaces using a hierarchy of materials. Albert Smith in ‘Architectural Model as Machine’ clarifies the importance of using models within the design process, “models are used to visualise elaborate shape and new design forms, allowing difficult spatial problems to be more thoroughly and effectively studied three dimensionally.” 2 2. Albert C. Smith, Architectural Model as Machine (Oxford: Architectural Press, 2004). p. xviii.
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Extract From ARC3015 Theory into Practice Submission “Models As a Tool” pp. 13-14.
Models as a Tool “The architectural scale model is a mechanism for developing definition, mediating between perceived chaos and human designs. The model offers a measurable scale within which to develop narratives, myths and buildings.” - Albert Smith
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he project development has been driven by models, initially atmospheric maquettes, then smaller scale cell models then gradually scaling up to massing models. From the developments of my narrative I then felt driven to articulate the functions within these atmospheres and connections between the complex. Within the mapping process I decided to consider each space as a layer and each layer evoking a different atmosphere to suit different functions, iterations of this model making process are shown [opposite]. “The architectural scale model can be perceived as a mechanism for thinking, meditating between the confusion of nature and human designs”. 1 Working with models highlighted spatial problems with the programme that were not obvious in the drawings. Modeling is also a source of
inspiration through a tactility of materiality that drawing simply cannot provide. The design of the monastic cell was approached in a similar manor to the masterplanning, using function to drive specific architectural decisions of the furniture and dimensions of the cell, determined by the rituals of the monk. Steen Eiler Rasmussen also describes the control of the architect, “the architect is a sort of theatrical producer, the man who plans the setting for our lives.”2 Whilst making a scale model of the cell, I worked with plaster and balsa wood representational of brick and timber, this inspired the hierarchical idea of materials interconnecting with function. I found that models were useful to develop a design on larger scales but reverting these ideas back to drawings helped to realise the detailing within the project.
1. Albert C. Smith, Architectural Model as Machine (Oxford: Architectural Press, 2004). p. 61.
2. Steen Eiler Rasmussen, Experiencing Architecture, 1st edn (Cambridge, Mass: MIT Press, 2005). P.10
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Final Development Sketches and Model The initial model and floor plans I finished at the end of the realisation phase addressed the daily ritual, began to explore the language of brick and timber and started to think about what activities would happen in some of the smaller courtyards.
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Materiality Precedent: Brick
a) Kolumba Museum / Peter Zumthor b) ABC Seoul office block / Wise Architecture c) Waterloo Lane / Grafton Architects
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The Materiality Concept: Brick
Different Characters of Brick I began to experiment with the different ways the brick could be used to vary the level of privacy and light.
Brick as an Enclosure I used the dual materiality language of the cell to resolve a clear distinction throughout the complex where the inhabited timber inserts were enclosed and protected by the surrounding brick.
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Materiality Precedent: Timber
a) London home / Satish Jassal Architects b) Nordic Pavilion at the 2016 Venice Biennale c) Kahnesque student housing / Niall McLaughlin
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The Materiality Concept: Timber
Inhabitation of the Timber Insert The timber insert represents inhabitation of the interior and it is important to maintain this when developing the project further.
Exploded Technical Diagram This exploded diagram shows how the timber insert sits within the masonry clad cell.
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Atmospheric Intent
Internal Atmosphere Model photography revisiting the atmospheric models created in the primer .
External Atmosphere Atmospheric sketch of the controlled nature in the main central courtyard.
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Interim Review Pin Up
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Refinement
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First Floor Plan 1:400
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Ground Floor Plan 1:400
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Site Location Montage
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Exploded Axonometric Diagram
Timber Insert
Brick Enclosure
Concrete Structural Frame
Circulation Path Movement Courtyard Gong Courtyard Reading Courtyard
Main Central Courtyard
Communal Building Massing
Monk’s Cells Massing
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Proposal Site Massing Montage
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Exploded Model Photograph Diagram
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Circulation Path
Circulation Diagrams
As described before in the realisation phase the circulation was articulated around the daily rituals, the path follows a clarity that reflects the ordered lives of the monks. Visitors may not follow the path of ritual therefore I developed articulations in the central courtyard that accommodates for a less ordered exploration.
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Central Courtyard Render
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A Section of Moments
This drawing is a conceptual timeline of the path of rituals that occur during the day. It shows the interconnection and flow between each activity. As a diagram it also expresses the materiality contrast between the brick envelopes, the perforated brick screens and the inhabited timber elements.
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Refinement of the Entrance
One of the aspects I focussed on developing after the realisation phase was the entrance.
Existing Entrance
Refinement of the Entrance
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1:100 Long Section Across Communal Building
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Elevation Development and Concept Montage
The elevation developed initially from the dimensions of the existing retaining wall. The elevation follows a repetative pattern in which differnt varieations of brick, perforated brick and oppenings occur depending on the light qualities needed.
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1:50 Cell Detail Diagram
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1:50 Cell Atmospheric Section
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Perforated Brick Technical Influence Perforated Brick Detail 1:20
The perforated brick was a detail that developed when considering the atmosphere of the moments between the rituals. The scenaio shown in the atmospheric opposite is travelling between meditation and the refectory. The purpose of the perforations was to mediate between the brightness outside and the darkness of the meditation hall.
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1:50 Atmospheric Section of: Entrance Hall, Shoe Room and Meditation Hall 105
1:1000 Ouseburn Valley Site Location Section 106
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The Central Circulation Courtyard 108
The Reading Courtyard The reading courtyard is enclosed by the retreat accomodation as it is most open to the surrounding area. The reading courtyard is inhabited by benches and controlled nature.
The Gong Courtyard The gong courtyard is surrounded by the trainee monks so the gong signifying moments in the daily ritual has the greatest impact. Chanting and teaching can also occur within this courtyard. The Movement Courtyard The movement courtyard is the one with maximum enclosure and is enclosed by the permanent monk accomodation. This is where outdoor meditation and yoga can take place.
Courtyard Axonometric 109
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Appendix
Integrated Technology Report Part 2
Chapter Contents Building Structure 115 Axonometric Structural Breakdown Building Structure: The Concrete Frame Building Construction and Materiality The Monastic Cell Perforated Brick
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Building Environmental Strategies and Services Perforated Brick and Ventilation Water Source Heat Pump
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Studio Specific Technology Underfloor Heating Timber Inserts
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Reflection
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Building Structure: Axonometric Structural Breakdown
Inhabited timber inserts
Brick Envelope
Concrete Frame
ARC3001 Design Portfolio
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Building Structure: The Concrete Frame
ARC3001 Design Portfolio
The Concrete Frame ARC3013 Coursework
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The concrete frame supports the masonry, cast in situ concrete floors and the timber inserts on some occasions. It is expressed subtly on the interior, wrapped by the masonry on the exterior to maintain a continuous brick appearence of teh facade.
Building Construction and Materiality: The Monastic Cell
ARC3001 Design Portfolio
ARC3013 Coursework
The Monastic Cell
The structure of the monastic cell is different to the communal area as a concrete frame would interfere with the simplicity of the cells. As shown in the comparison of the atmospheric above the internal walls read as brick and the timber insert extents the room and allows inhabitation.
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Building Construction and Materiality: Perforated Brick
New ARC3001 Technology 118
ARC3001 Design Portfolio
Building Environmental Strategies: Perforated Brick and Ventilation
ARC3013 Coursework
ARC3001 Design Portfolio
Perforated Brick (left and above)
The perforated brick acts as buffer between the inside and outside. The atmosphere is created by the diffused light passing through the gaps. this is shown in a technical section and atmospheric on the opposite page. The perforated brick is also useful for subtle air vents to naturally ventilate the corridors that circulate around the cells.
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Building Environmental Strategies and Services: Water Source Heat Pump
Water Source Heat Pump
The water source heat pump is intended to use the river Ouseburn that cuts through the site (shown in the site section below) as a source of renewable energy to power the underfloor heating. This suits the narrative behind the monastery as part of Buddhism is understanding how we connect with nature, therefore using water to power part of the building responds to this.
ARC3013 Coursework
ARC3013 Coursework
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ARC3001 Design Portfolio
Studio Specific Technology: Underfloor Heating
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ARC3001 Design Portfolio
ARC3013 Coursework
Underfloor Heating
A striking observation I noticed during my trip to La Tourette was the silence. The underfloor heating shown in the detail above provides heating for the communal and private spaces and is silent and invisible. Underfloor heating is also appropriate for a Buddhist monastery as the monks are in contact with floors at multiple occasions during the day.
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Studio Specific Technology: Timber Inserts
ARC3001 Design Portfolio
ARC3001 Design Portfolio
Inhabited Timber insert
The timber insert initially established in the design of the monks cell also is a key feature in two other spaces shown above, the library and the shoe room. The grids are used as a storage unit for the shoes or the books that can be viewed from the outside and allow light to pass into the space. New ARC3001 Technology 122
Reflection
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ithin my studio, ‘Enclosed Order’, technology had never been at the forefront of the design process as the studio directed more focus towards narrative and development of plans in a holistic way. The initial atmospheric experimentations studied internal experience, light qualities and possible activities opposed to tectonic make up. However, once the schedule of accommodation and the brief had been refined design development demanded a greater architectural understanding of materiality and structure. This is when I developed the protagonist cell and the dual materiality theme arose. Constructing a 1:50 scale model of the cell was the first time I considered the tectonic intent in order to make the model which incorporated plaster and balsa wood. During the staging phase we were asked to consider the technological integration of our design work and the construction. I selected precedents of concrete and recycled timber in response to the cell model I had created in the primer. My initial thoughts were slightly premature as our studio only received our site in the staging phase. The site analysis impacted my materiality decisions and I chose to substitute the concrete for brick as it maintains the narrative of a solid outer shell and blends in? to the surrounding context. Once staging had been established the contrasting materiality between brick and timber became a very important theme within my design. When I had further developed my design proposal I struggled to maintain load bearing masonry due to ambitious spans and the elevated library.
These structural problems were resolved in the technical review period by introducing a reinforced concrete frame with concrete cast floors to the communal building. To resolve cold bridging issues and to maintain the visual continuity of the masonry I decided to enclose the concrete columns in masonry cladding when exposed to the exterior; consequently, the outer shell reads as continuous brick. The concrete is exposed on the interiors as the floors and ceilings are cast in situ concrete as well. On reflection the aspects of my building that have been influenced most by the technology are the perforated brick screens and the inhabited timber additions. In response to the studio themes, it was important to integrate the technology so that it does not distract from the atmosphere, rather it enhances it. The perforated brick screens achieve this as they create a diffused light for transitional atmosphere intended and this is possible due to the creative use of masonry. The timber inserts also create an atmosphere that varies depending on the rituals occurring within the monastery. For example, during meditation the shoe room walls become full of shoes making the space darker. When meditation is over shoes are gradually removed from the walls resulting in the space slowly getting lighter, this allows the monks eyes to adjust after meditation before they leave the building. In conclusion I feel the most successful technological details were the ones relating to the atmospheric studio thematic. Perhaps an area to develop further and improve on would to be more experimental with the materials that I used in this project.
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