二千十八 ポ ートフ ォリオ
二千十八 ポ ートフ ォリオ
Enclosed Order Liam Kieran Rogers 150203524 Stage 3 Newcastle University 2017-2018
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Learning Summary
I chose Enclosed Order with the intention of pushing myself out of my comfort zone. Knowing very little of religious spaces and monastic architecture I have had to learn fast to change how I approach architectural design, to incorporate theory more so than past considered. The challenge was having a reason for every decision, everything in monastic architecture has to be backed up with reasoning relative to the religion or belief system. In some cases, I did find myself lost in the theory, but overcoming this has allowed me to carry my design work further than expected and meant that I have really enjoyed the work and process that has led me to this point. This alternate way of thinking was first introduced in the Primer when the Tasks were orientated around designing without physical context. Designing something without visual cues allows the mind to run wild, the context manifest itself in a theoretical form. Context isn’t the only way to respond to the brief and this project emphasized that, encouraging the use of design through emotion and theory towards a physical output. This approach was a stimulating way of introducing monastic design which carried into the graduation project. The graduation project indorsed research into other cultures and once again different design approaches that has kept me captivated. The aspect I have enjoyed the most was originally my weakness, and now I believe facing this weakness head on through the graduating project has forced it to become one of my biggest strengths. It is difficult to express the amount of thought and decision making I have put into this project and so I hope you spend the time reading the text as much as looking at the images and sketches. The experience has even inspired me to think about delving deeper into the area of religious space in the future as it has become an unexpected interest of mine and I expect to keep pushing myself even further, just as this course has enabled in my time here.
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Introduction
In the first semester (Primer) I produced studies into atmospherics and religious spaces of a more specific kind by defining an individual and its corresponding community that would inhabit a monastic complex. The focus of the Primer evolved from my interest in Shintoism a set of beliefs native to Japan. The broader definition of Shinto means ‘way of Kami’ and coexists closely with Buddhism as the two most popular Religions/Beliefs. The word Shinto was invented by the Japanese in the 6th Century to distinguish the people’s beliefs from that of Buddhism which was fast spreading across the region. The goal of Shinto is to be in touch with Kami which is the embodiment of spiritual energy in earthly objects such as the Trees and the mountains, albeit a simplification of the definition. The protagonist itself is the people who follow the beliefs, however a more particular protagonist can be found in the ‘Kannushi’ which can be translated as God Master. This male is responsible for the maintenance of the shrine as well as leading worship of a given kami. The most interesting aspect for me is that the Kannushi does not preach or offer spiritual guidance as a given - this as opposed to the practices followed in more deeply defined religions. On a more practical note the actual outputs of the primer in addition to the written word was the expression and design of a monastic cell, that the specified individual would inhabit. With the influence derived from the written word. The second semester expanded on the cell with the focus changing to that of the wider complex. Can a brutalist style with a minimal approach set the foundation for a more permanent complex in dedication to the life of Kami for a contemporary Shintoist, The urban context of Newcastle allowed for a new fresh take on an ancient way of life perhaps providing a new space for permanent residents and a more temporary space for festivals and congregation rather
than an all-round private temple. The complex I have designed seeks to embody the Kami within the movement of water, the water falls and flows from the tower through the complex to inspire and induce a meditative mentality to its visitors. Anyone can visit the complex as it acts as a public thoroughfare and green-scape, creating new north-south and east-west connections between the upper and lower plateau. The green-scape grows up the walls through the use of biological concrete acting as a precedent for its future use in the city. A religious place free from judgement as well as tranquil space to reside from the busy claustrophobic city that mimics and flows with its surrounding environment.
(Rogers, 2018)
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CONTENTS
Learning Summary 005 Introduction 007 Primer 011 Staging 049 Realisation/Refinement 073 Appendix 111
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PRIMER
Four developed tasks and experiments. Semester 1. Period: 09/17 - 12/17
1
se m es
pr im er
一
ter 1
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æ°—
Architektur & Landschaft
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Atmosphere Study
Atmosphere, the pervading tone or mood of a place, situation, or creative work. A building or structure can inherit and develop atmosphere over time. Religious spaces in particular demonstrate exceptional light qualities, with the role of light understood to have its own specific part to play in a ritual or service. The intent of creating or avoiding shadows can tell different stories, perhaps the role of good and bad or the need for drama and awe. These light qualities can be designed through a spaces use of materials, different finishes, transparency and specular qualities impact the result in varying ways, The physical size and positioning of an opening in a space will also transforms the spatial impression to the inhabitant. When I began exploring atmospheric imagery to help inspire my Primer I was largely confined to concrete structures that harshly defined areas of light and dark. The image to the left exhibits the “Landmark in the Lusatian Lakeland� (captured by Udo Meinel, edited by myself). The image exhibited an intriguing atmosphere for further exploration as the original image I found was in greyscale and of low quality, cropped and confined to just the area with the two people. This made the structure appear to be concrete in appearance. The idea of using a weaving/ winding staircase within a designated area creates pockets of light and dark at different point in the day, I believed this could perhaps play to advantage later in the project when a protagonist is introduced. Without decisively knowing too much I interpreted purely from the found image, developing its values and atmosphere three dimensionally and representing it as a 1:50 model. I imagined the structure to be completely reinforced concrete but the same shadow casting effect could be emulated with the use of weatherproof steel as seen in the landmark. The next page shows the initial material test and sketches from the task, with the final concept and model images following on the following pages.
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Tactile Development
Plaster cast test 1, Failed (Right). Initial sketches abstracted from precedent study (Above).
I began with the winding staircase, drawing out a simple minimal volume with flush sides that would provide enough volume to allow deep and dark shadows to be cast from. The second component to the model is the corner wall which was intended to capture the cast shadows and provide a blank canvas for the shadows to maneuver and be dance upon throughout the day.
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Digital Development
1:100 Plan
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1:50 Model
The images taken from the physical model demonstrate different potentials, a maze like articulation such as a Piranesi Prison resolves with alternate results. As presumed the figure pictured at the top could just as well be admiring a beautiful vista of the natural environment or equally be standing watch over a ceremony or ritual from far above. The stairs themselves are unfinished to allow for this sense of curiosity and wonder to manifest into action, this can be considered atmosphere developed in the mind. This is all in contrast to the simple casting of a shadow and evokes a more personal connection with the physical architecture.
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The wall separates the stair core from the any internal space, acting as a threshold between a tower of transition and any potential rooms or halls. Building on the thoughts of the previous page some of the stopping moments with little continuation can be considered potential congregation points for groups of people, a staircase thats used for stopping and discussing rather than purely a private journey.
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Tectonic Artefact
Pezo von Ellrichshausen
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法
For the final task of Primer a list of buildings were proposed to promote the analysis of precedents. Myself and Aaron worked as a group to analyse the given building and produce our own tectonic artefact through the use of a 1:100 model. The artefact intended to summarise and inspire the tectonic ambition and conceptual approach for the latter project. The precedent studied was Poli House, (Chile) by Pezo von Ellrichshausen (Left). The building is constructed of cast insitu concrete shaped through handmade wooden formwork, this intends to give a “sensation of a natural podium surrounded by vastness and the dizzying and wide open space” (Martinez Estrada), opening to its surroundings through its various square openings. The tectonic ambition of Poli House is heavily embodied in its multitude of light inlets, we responded to this individual ambition as if there were no other physical elements. To do this we mapped the inlets in three dimensionally and pronounced every inlet until it ultimately reached its opposite constraint. The inlets initially located at different heights and positions on each side of the cube began to merge and in some case overcome its opposite number, creating and transforming the tectonic quality of openness and freedom into a self sustaining sculpture itself. The created structure was exploded into 15 separate paths that could be physically cast and adhered together to construct the model. Its rather poetic that a structure that invites and promotes dizziness and vastness of the outside world can be completely reversed to create a tectonic response through sculpture embodying its values greater than that of the original ambition albeit in a conceptual manner. Once the model was produced, we explored the light quality through photography. I found that the qualities created weren’t too dissimilar to task 1 following similar aesthetics as the dizziness of the various clashing volumes themselves created there own canvas.
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1:100 Model
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Monastic Cell
Lee Chapman, Tokyotimes
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厎
All of the outputs of Primer are developed without physical context. The general acceptance is that the elements are strictly prohibited to that of sky and therefore light and a solid plain for the output situate itself. This perspective is of an idealist world, a world of perfection where the rain will fall in your favour and the sun is always shining to cast the perfect shadow within a space. This task introduces the protagonist into the project, with an aim of designing the ideal living quarters (monastic cell equivalent). The cell provides for the protagonists ideal of basic living. The initial design phase began by looking at traditional Japanese structure and form. Most structures in Shinto Shrines are made of timber and designed with the intention of renewed components over time, however just like the abstraction of the tectonic artefact I decided to impose my own thoughts in a more contemporary fashion. As mentioned in the initial abstract I am forcing a different view from tradition through the use of concrete, whilst retaining the core values that make that space perfect for the inhabitant. It was important to note what that space required. In contrast to western monasteries and the studio as a whole Shintoism is not related to becoming enclosed and is quite the opposite. Having respect and understanding for nature is of the utmost importance in shintoist beliefs therefore a cell in which the Kannushi may sleep, practice and perform tea ceremonies for guests must embrace its surroundings and open itself to the outside world. Doing this in turn leaves you open to the elements so a large roof is created opening up a new realm between the internal and external, better imagined as the harmony between order and chaos. Space perfect The carefully curated interior inspired by traditional tatami measurements relates directly to the human scale and designates a spaces purpose, informing a sort of tatami module for the rest of my project. Other than the practice of mindfulness shintoism
is deeply integrated with other forms of japanese culture such as the tea cermony. As most of the shared amenities would be located externally from the cell space has been allocated through tatami for more private rituals, this, in contrast to that o more public ceremonies which would be performed in the main shrine. As mentioned the large roof and platform that helps define a Kannushi’s private space becomes ideal to further utilise the ideal elements. The movement of rainwater through the force of gravity as if it was collected at the top of a mountain before returning to its original source is believed to be an opt metaphor for human existence, a belief shared closely with Buddhism. The idea of collecting this rainwater in the center of the tea room for purification becomes a ceremony in itself which closely relates to the ritual upon entry of a shrine. Flowing water through gravity heavily inspired my final project and will be further explained later in the portfolio.
(Rogers, 2018)
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1:100 Model
This design envelops the initial ideas in a conceptual manner. Shinto Shrine always utilises tĹ?rĹ? (lanterns) as a way to guide someone through a complex. Here I have used a translucent material to allow light to escape the interior paving a path to the individual dwelling. The light acts as a beacon to a guest and allows for a sense of openness and acceptance. Finally as you can see from the shape of the roof I have begun to introduce a shape that would actively collect rainwater at its core. Unfortunately I felt that the design was too heavily influenced by a physical context and decided to develop the design with a more universal touch. I altered the floor layout in accordance to the movement and entry of a guest and host in a tea ceremony and took a more delicate approach to the roof design, ensuring that the same qualities were retained. The development can be seen on the next few pages. (Rogers, 2018)
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Design Development
Cell Design: Individual Axo
Site Strategy and Early building design. Semester 1. Period: 12/17 - 01/18
Simple cell based off a Tatami 匀 䠀䤀 一吀伀 Module. 刀 䔀匀 䤀䐀 䔀一 䌀䔀 砀 吀 䔀 䄀 刀 伀伀䴀
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Sketch Approx. 1:100
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Digital Development
Guest Route
Guest Mat
Entrance Mat Host Route Purify Water
1:100 Plan
Host Mat
Sleep Mat
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1:50 Model
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Athens Trap
ath ens mete ora sof ia Field Trip. Athens, Meteora and Sofia Semester 1. Period: 12/17
äşŒ
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Trip Pictures
One of the most notable buildings I visited in Athens was the Acropolis Museum by Bernard Tschumi. Something as simple as seating can change the way a space is viewed, the various cubes located around the museum mimic the bases of the statues on display and seeks to exhibit people in both an ancient and contemporary fashion. The second being the stavros niarchos foundation by Renzo Piano.
The rising parkway behind the main entrance rises and blends seamlessly into the rooftop of the huge structure. The images I have shown were taken on the trip and act as a sort of precedent for some of the design decisions. The use of precast concrete panels originally came from its successful use on the acropolis museum before later being developed in technology.
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Acropolis museum statues (Left). Stavros niarchos foundation, view from park (Right).
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Fix Brewery, Contrast (Left, Middle). Acropolis Museum Panels (Right)
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Staging
Site Strategy and Early building design. Semester 1. Period: 12/17 - 01/18
se m e st st er ag 三 in g 2
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Traditional Shrine
Staging looked at site analysis and programme development for a shintoist shrine and greater complex. The traditional layout of a Shintoist shrine is not a strict rule book of do and don’t but rather a guide to the general spatial relationships. The approach is an important aspect as a journey to the main hall (Honden) is created with various stopping points in preparation. On the right hand side I have created an Adjacency diagram to better understand this approach in a simpler location based format. One of the more important parts of this journey can be found in the Chozuya, he ritual involves the cleaning of the hands via a ladle of water, the ladle must always be placed back in the appropriate position as the water has to drain back into the small pool to complete the ritual process. The Toro is a traditional lamp that lights approach and can be positioned anywhere someone may need guidance. I can explore this in a more a contemporary way when I further develop the gardens and smaller auxiliary shrines. Other larger structures are found in the Shamusho (Admin Office) and Kaguraden (Dance Stage) which can require less religious rulings. The positioning is more of convenience and logic in newer shrines. I have considered having the Kaguraden closer to the water to provide one of the nicer backdrops available on the site whilst the Shamusho would be better located closer to the retaining wall as the structure can then be accessed from above and below. These notes were the initial thoughts for massing and layout and ended up changing slightly in the realisation stage.
(Rogers, 2018)
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Adjacency Diagram
Sesshalmasshsa
Tamagaki
Honden
Ema
Haiden Komainu
Threshold
Direction of Travel
Stone Stairs
Structure
Approach
Chozuya
Toro
Shamusho
Toro
Kaguraden
Earth Moments
Torii
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Site Location
The complex will be situated in ‘Lower Steenberg’s Yard’ located in Ouseburn Valley Newcastle an area which has undergone a dramatic transformation from post-industrial wasteland to Newcastle’s foremost cultural and creative quarter. Historically the site was used for a cattle sanatorium before being occupied by an oil works in 1941 due to a decline in live animal imports. The buildings have now been derelict since the 80s and have been mostly demolished leaving a relatively flat riverside site. It is built up around the river creating a west and east bank. The west is mostly made up of Lower Steenberg’s Yard (once a slaughterhouse and then oil works) and the current timber yard on the east bank. As seen on the lower image the yard is largely overgrown after a factory was demolished in the last century allowing nature to take over. On the south side of the site (as shown on the previous page) the old cattle ramp and various other ruins still remain which did offer potential for another access route. Some of the issues facing the site can be seen in the various diagrams that will be shown. The limited access for us upon visiting in addition to the greenery made it in incredibly difficult to measure the site by hand, and so the measurements I have are from surveys found on Newcastle Councils site. The East bank is of particular difficulty due to the intervening river and sloped topography. In my initial massing I imagined bridging across the river but after visiting the site a few more times it just didn’t seem appropriate do to the pre-existing bridge next to the site.
(Rogers, 2018)
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Lower Steenberg’s + Timber Works Site
Predominant Wind (W-E). Sun Path (E-W).
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Site Images
View from Toffee Factory. (Above) View from Bridge (Right). Materiality (Top Right).
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City Map
Newcastle city centre. Mapping public green space.
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Sparse Green Areas
Public green space (Black). Site (Pink). Approx. 150m grid.
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Local Map
Local Site Map. Lower Steenburg’s Yard.
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Local Green Space
Green areas marked with hatch infill (Black). Site (Pink)
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Initial Analysis
Nearby Residential Property. To the east of the site sits the recently built ‘The Mailings’ with a hotel to the south.
‘Cattle Ramp’ Analysis. A more detailed plan of the remaining structure next to the north wing of the Toffee Factory.
Potential Site Access. The river crossing appeals as a potential access point as well as the old cattle ramp.
Local Industry / Businesses. The toffee factory lies to the south of the site acting as a reference point for design.
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Ouseburn River / Flow. The river flows towards the Tyne historically adapted to a canal for goods transport.
Traffic Flow / Direction. Ouse street next to the west yard is a one way street with very little traffic.
Potential Green Corridor. Plans are in place for a ‘green corridor’ to run past the old fishing houses.
Droning Scrapyard Noise. The scrapyard provides a droning sound which could be used potentially for meditation.
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Programme Development
After further analysing the site I updated my initial adjacency diagram to deal with what I had found out. When looking at the Ouseburn design framework It was clear that a north to south and east to west connection was required to unify the upper and lower plateau. I didn’t want the shrine to be a private temple with no use for the surrounding residents, rather than the Enclosed Order I wanted the majority to be open to public use. Throughout the day the Kannushi and other temporary residents will care for the gardens and teach about the symbolism they hold. Nature as aforementioned is vital in terms of symbolism as they embody and represent the Kami. The green areas of Ouseburn are largely overgrown and I believe the shrine could be an example of how the outer areas could be cared for equally as further benefit to the community. As the diagram shows, the new north to south connection allows for the introduction of a new approach. Rather than thinking about this new approach as a new entrance to the Haiden Id imagined it would be one large entrance from below. Raising the Honden from its natural ground position and thrusting it above was inspired by my Primer, it found harmony between two of the tasks. The collection of water followed by the flow through that of gravity made sense in relation to my initial thoughts as prescribed without context. Just like the tectonic artefact I distorted tradition, following and emphasising the same principles. The next pages shows volumetric studies and initial design ideas to be developed in realisation.
(Rogers, 2018)
Sketch: Entering Haiden from below.
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Adapted Approach Adjacency Diagram
Chozuya
Toro
Toro
Staircase
Direction of Travel
Torii
Komainu
Tamagaki
Ema
Honden
Haiden
Shamusho
Sesshalmasshsa
Toro
Toro
Chozuya Staircase
Direction of Travel
Kaguraden
Structure Threshold Earth
Torii
Moments
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Volumetric Study
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Volumetric Studies, Technology. (Above). 3D Modelilng (Right).
1 Kaguraden 2 Shamusho
3 Honden 2 Haiden
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Massing / Volume Relationships
Massing on plans (Above). Approach layout (Right).
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Developing Complex Spine
Introducing tatami module and developing spine.
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Initial tower sketch. Entrance at higher level.
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Realisation / Refinement
r s t
eali a ion
s em e s ter Site Strategy and Early building design. Semester 1. Period: 12/17 - 01/18
ĺ›› 2
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Developed Design
Locating tower on site on the spine. Approx. 1:500.
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Tower Introduction
Refined massing model situated on site.
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Refined Grid
My complex has thus far been designed with tatami in mind. For a Shinto shrine, it was deemed appropriate to design the spaces in such a way. A lot of the spaces such as the residential cells from my Primer and the newly introduced main Hall from conform to my tatami grid. This grid as seen on the right image is completely inspired by the traditional 1910 x 955 format with additional consideration towards wall thickness. This means that when the walls and spaces are curated through this grid the internal space becomes defined by the traditional measurements. In my feasibility study, I was initially looking at using a concrete sip panel system on a concrete beam (as seen below) for a uniform and consistent finish throughout the spaces. This is a structurally insulated concept which utilises pre-cast concrete panels. The standard panels are 955 x 2850 mm which are defined by a 3:1 (H:W) ratio consisting of a 1.5 Tatami layout. Since the feasibility report, I have built on this concept through the use of a pre-cast biological concrete panel system which will hang of the cast in-situ walls, whilst still retaining the tatami inspiration dimensionally. Biological concrete is porous and allows for water to become trapped encouraging moss and fungi growth with the potential of developing into vertical gardens over time. The panels are designed with expansion in mind so all are set apart by a mediated amount to allow for movement. This system will act as cladding for defined areas of the building, the use of this system allows the panels to be taken down and reused in the future for another project if need be. By using a Tatami Module a standardisation is created for the complex, this allows the structure to follow a grid allowing for an easy to follow construction with no need for bespoke pieces. In relation to construction reduction, the panels will be manufactured across the river on the old quay timber site. This site was initially considered as an area for residence Original concrete sip system concept from Feasibility Report Part 1.
but has developed into a form of income for the shrine. As previously mentioned Shintoism is directly concerned with respect towards the natural environment in which the gods are embodied, so developing a construction method that will give nature back to the urban environment will allow for the growth of vertical gardens naturally. After the construction of the shrine, this can develop into a business that gives back to Newcastle and produces these panels to be used throughout the city, with the hope of turning Newcastle green. As seen in the city scale map, the green areas available in the city centre is sparse and could benefit from the application of these panels. The buildings already on site are already large enough to host a manufacturing business so I will focus my design work in the east bank utilising more of the available space. (Rogers, 2018)
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Tatami based grid, Grid spacing 2510mm allowing placement in traditional layout.
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Visualising Concept
At the start of realisation I designed this concept art to visually express one of the main driving factor of my project. The ritual of cleansing allows the water to arrive as naturally as possible at the Chozuya and as aforementioned will only be complete when the water runs down the handle and back into the source. I imagine that the ladle in this case is represented by the tower, with the water arriving as rainwater before being purifying and running its course through the tower only to return to the bottom. I have been developing this ritual within my work since the beginning of staging but it is only until I read this quote that I was inspired to create the actual output: “Water is often used allegorically in the garden. Buddhists found that the natural process of water springing from a mountain source, gathering strength as it rushes down a valley, and eventually dissipating calmly in the sea to be an opt metaphor for human existence� This quote does speak of Buddhism rather than Shintosim but both have beliefs so well integrated in Japanese culture that it speaks to both equally. The hand itself both symbolises the mountain and the ladle symbolic of the tool necessary to complete the ritual.
(Rogers, 2018)
Concept art based on quote (Right).
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Biological Concrete
The biological concrete system has currently been patented by the Universitat Politècnica de Catalunya in Barcelona. It allows the moss and fungi growth without large complex walls, allowing a slim panel to be applied seemlessly to a structure.
Simulation of a vegetated facade at the Ako-Suites Aparthotel
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Visualisation by, Universitat Politècnica de Catalunya, Barcelona.
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Water Canals
This diagram shows some of the main routes the water follows.
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Original hand drawings of residential and water canals.
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Panel Detail
New developed panel system.
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The more efficient the building the better the environmental impact, and the cheaper the shrine is too run. In the high summer sun the biological concrete panels thrive from the solar gain to grow greenery on their surface. These vertical gardens will cover the majority of this structure in particular as it provides the best conditions for growth. The benefits of these gardens aren’t just seen through aesthetics but also through Co2 reduction and thermal building performance. Throughout the year the building will be actively cleaning the air around it giving back to the industrial environment of old, the healing of Ouseburn. In the winter the growth is expected to slow but not to be depleted, the plantation adds extra insulation in addition to the rigid insulation already in place. The value of this is unknown without actually testing this on site but should be a noticeable amount. Large glazed areas such as the mid level will be able to open up around 6 meters of openings to maximise ventilation efforts. This has developed from my feasibility study. Finally I have been working on a rainwater collection system for the top of the tower that feeds the many canals of the complex. The canals lead to the Chozuya and pools located throughout the complex. The rituals followed out daily require constant running water to be complete, traditionally streams would be rerun for this process. The cleaned rainwater acts in the same way running always as a constant reminder through both noise and visuals to carry out the rituals and remember the embodiment of the Kami within. In each shrine a sacred object is used to represent the Kami. This sacred object in this case is simply the running water from that of the overflow pool at the top of the tower.
(Rogers, 2018)
Cast insitu formwork.
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North to South Connection
Section through tower facing east. Approx 1:500.
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Residential layout
The only private area of the shrine. Housing 8-16 residents .
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Elevation Development
Elevation drawing workings.
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Zen Gardens
Red marks garden space and show roof top travel.
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Tower Structure
Reinforced concrete frame (Primary structure) supports the stairs & walkways.
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The framework reaches out to touch the inner load bearing leaf. The stairs do not.
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The steel cladding supports would be secondary and the cladding tertiary structure.
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1:50 Model
Structural model showing reinforced concrete frame supporting stairs
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Ground Floor Plan
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Elevation from west bank
匀漀甀琀栀 䔀氀攀瘀愀琀椀漀渀 㨀
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䜀愀爀搀攀渀 匀挀愀瀀攀 㨀
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Developed Roof-scape
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External Render
ISO view depicting flow of water and site reposnse.
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Tectonic Integration Part 02
Please also refer to Biological panel detail and canal axonametric.
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Entrance Render
When entering the shrine from the main Tori gate you are passing a threshold into a public yet sacred space. The bioligical concrete panels scan be seen in there early stages beginning to show sign of growth. The actial entry point into the main shrine is masked by a panelled facade that wraps main stairway.
Main entrance to complex through Torii gates.
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Appendix
äş”
Other work and projects produced over the year. Semester 1 + 2
2
app e nd ix
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Thinking Through Making
1:10, The unfinished staircase. Expanding on Primer stair theory.
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Charette: The Wall
Simple construction diagram (Above). Final output by the team (Right).
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In this years Charette I took part in the group “The Wall�, the week long project looked at the purpose of a wall and how they can function in unique ways. My team approached the wall from not just a singular facade, but as a whole. We knew we wanted to have an interactive wall that the public and student could interact with in the show and so played with some ideas over the first few days. The final output culminated in a voting system, on each side there would be two answers to fun controversial questions (for example, cats or dogs?).To mix it up we figured which answer was more likely to outweigh the other and added an equally controversial question to the other side. This was done with the presumption that if someone was to vote on one side it would so affect the answer on the other side. The more popular answer on one side would in turn vote for the least popular answer to the other question. Perhaps achieving a constant battle between to the sides, a sort of equilibrium.
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Additional Outputs
Original layout for multiple cells (Above). Massing diagram (Right.
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Additional Outputs
Complex minus materiality (Above). Original timber tower concept (Right).
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BIBLIOGRAPHY
https://www.dezeen.com/2013/01/03/spanish-researchers-develop-biological-concrete-for-moss-covered-walls/ http://www.upc.edu/ca https://phys.org/news/2012-12-biological-concrete-facades-lichens-mosses.html Rogers L. (2018) Feasibility Study, Newcastle University. Rogers L. (2018) Integrated Construction, Newcastle University. Rogers L. (2018) Proffesionl Practice and Management, Newcastle University.
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