PORTFOLIO SEMESTER 2 2019/2020
MALGORZATA NICOLL SZARNECKA 150079239
TABLE OF CONTENTS 01 GROUP PRECEDENT STUDY: ICA BOSTON [4] 02 REINVENTING RINGSTRASSE [18] 03 DIVERSITY OF VIENNA [32] 04 PERFORMING VIENNA [42] 05 ARB CRITERIA+CRITICAL REFLECTION [124] 06 BIBLIOGRAPHY [127]
Existing drawings
New/Amended drawings
01 GROUP PRECEDENT STUDY: ICA, BOSTON
Opened in 2006, the ICA, is the first museum venue constructed in Boston in over 100 years. The building designed by architects Diller Scofidio+Renfro, occupies a spectacular waterfront site overlooking the Boston Bay. The building provides a series of civic spaces such as contemporary art galleries, auditorium, workshop spaces as well as cafe and administrative spaces. The main objective of the buildings combines two competing ideas; dynamic civic programme and intimate space for art contemplation. The 65,000 square feet building benefits from views over the Boston Bay, and the journey through the building provides moments of visual external context, while main spaces focus on internal programme.
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1
2
3
5
1. John Hancock Founders Gallery 2. Main gallery space 3. Auditorium 4. Lobby 5. Bookstore
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4
Site context
SITE ANALYSIS The ICA is located on the harbour waterfront overlooking the Boston Bay. The site is bound by Harbor Walk, which is a 47-mile long public walkway. The Harbor Walk is used as part of the civic programme of the building, creating an outdoor public space underneath the cantilevered space of the galleries. The grand staircase located at the front of the building creates a stepped public realm that flattens and seems to extend into the main stage area of the auditorium, linking the outside and inside of the project. The views towards the Boston Bay are framed at specific points inside the building. While the gallery space itself is sheltered from any external views, providing focus on the art itself, it is connected to the John Hancock Founders Gallery, which glazed wall spans the entire North elevation providing unobscured views of the bay.
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SECTION A-A
SECTION B-B
SECTION C-C
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SECOND FLOOR
GROUND FLOOR
FIRST FLOOR
THIRD FLOOR
BUILDING ANALYSIS The building has a clear vertical spatial division, with the main core located in the centre of the project. The ground level provides spaces such as a cafe overlooking the Harbor Walk, administration offices and workshop facilities. The second and third floor are organised around a double height auditorium and administrative spaces, while the entire fourth floor is reserved for the gallery space as well as providing access to the sloped, cantilevered mediatheque located in the underbelly of the cantilevered galleries. The plant rooms and services are located on the roof of the building, directly above the main core.
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Auditorium and external staircase
Public waterfront
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BUILDING ANALYSIS The building creates a strong public realm at the waterfront, underneath the cantilevered space. The sheltered area provides a link to the auditorium space and creates visual links between interior and exterior. The auditorium provides seating for 325 people and provides an extension of the civic steps at the front of the building, both through form as well as materiality. The glazed walls around the auditorium provide views of the Boston Bay as the backdrop to the performances, however they also can be controlled to suit the performance, from full transparency to total blackout.
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Section C-C
SECTION ANALYSIS The building has a strong division of spaces, based on the programme. The upper floors create a more intimate areas such as galleries, mediatheque and the front passage overlooking the bay. These spaces are designed for individual contemplation and exploration of the art resources offered by the ICA. The lower floors provide the more civic and dynamic spaces of performance and collaboration such as auditorium or workshop areas. The vertical division of spaces allows for extension of the civic programme of the lower levels into the waterfront outdoor space.
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Auditorium detail
Gallery space detail
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Stepped floor detail
Bench detail
Window to floor detail
DETAIL ANALYSIS
The space I have studied in more detail is Poss Family Mediatheque. Hung from the main building cantilever, it provides a digital lab space complementing the physical exhibition located in the gallery. Accessed from the fourth floor, the mediatheque is stepped towards the waterfront, creating a framed view of the water in the Boston Bay, with neither sky or horizon in the view. The space seems very simplistic, without any visible structure, in order to focus the attention on the framed view of the water. In order to achieve the simplicity, many architectural solutions have been incorporated into the space, such as a heated cavity reacting to the outdoor temperatures or polycarbonate coating for the seating benches.
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1:50 SECTIONAL MODEL MEDIATHEQUE ICA BOSTON BY DILLER SCOFIDIO + RENFRO CONCRETE FLOOR SLAB PURLIN CLIP STEEL STRUCTURE
SUSPENSION ROD AND HOOK
CEILING INSULATION
PLASTERBOARD CEILING PANELS
1:20 SUSPENDED CEILING DETAIL
1:20 HEATED GLAZED CAVITY DETAIL
CONCRETE FLOOR SLAB
SUPPLY AIR DUCT TEMPERED GLASS RAILING
CAST POLYURETHANE FLOORING PLYWOOD SUBFLOOR CONCRETE FLOOR SLAB FRAME MOUNTED COMPUTER
WOOD PLANK EXTERIOR CLADDING
LIGHT GAUGE FRAMING POLYURETHANE SKIN COATING FOR SEATING OVER PLYWOOD LAYER MILLED SECTION TO FORM CURVED BENCH
INSULATED GLAZING UNITS
STEEL STRUCTURE
RIGID FOAM INSULATION GYPSUM BOARD SHEATHING WOOD PLANK EXTERIOR CLADDING
1:20 SEATING WITH MOUNTED COMPUTER STATION DETAIL ALUMINIUM FLASHING FIN TUBE RADIATOR CONCRETE FLOOR SLAB STEEL STRUCTURE
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ALUMINIUM FACADE ELEMENT
NORTH FACING SKYLIGHTS
CURTAIN WALL GLAZING ALUMINIUM PANELLING
FROSTED CHANNEL GLASS SYSTEM
ROOF PLANT ROOM
LOADING DOCK
GALLERY SPACE
PANORAMIC VIEW GALLERY OFFICES
MEDIATHEQUE
THEATRE SUPPORT ROOM
WOODEN STEPS CAFE
1:200 AXONOMETRIC DRAWING ICA BOSTON BY DILLER SCOFIDIO + RENFRO
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Ringstrasse construction, 1863
02 REINVENTING RINGSTRASSE
1770
1825
1859
1900
DEVELOPMENT OF THE RINGSTRASSE The Ringstrasse area was established in the first half of the 19th century following the Vienna Uprising in 1848. Through the 19th century we can observe a change to the Ringstrasse area, from the defensive city walls, protecting the main establishments in the city to the development of a cultural boulevard. The aim of the Ringstrasse was to connect the city suburbs with the centre of imperial power. In 1857 Emperor Franz Joseph order the construction of the Ringstrasse, with nobles and rich citizens building large residences and palaces along the boulevard. The area was developed in a Historicism style (also known in Vienna as Ringstrasse style). It represented the pluralism of styles used for the buildings, many of them reflecting styles of previous centuries, aiming to highlight the imperial power and cultural richness of the capital. The Ringstrasse became home to a number of representative buildings such as the Neue Burg, Kunsthistorisches Museum or Vienna State Opera. Alongside the new found democratic power of the society was represented by buildings such as the Parliament, City Hall and the University. The area quickly became a centre for cultural development with approximately 27 cafĂŠs and vast park grounds used for recreation and entertainment.
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The site of the Semester 2 project is located on Parkring, facing the Stadt Park. The area of the RingStrasse, located in the first district of Vienna, has a long history as a cultural area for the upper class residents of the city. The section of the site can be analysed in two different ways: physical section of existing infrastructure as well as cultural/social understanding of the area by both residents and tourists.
A page 22
A
1:3000
A
B
B
B
B SOCIAL 1:100
A PHYSICAL 1:2000
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CULTURAL IMPORTANCE OF STADTPARK In 1861, Rudolf Siebeck was employed as the Vienna's first muncipal gardener, leading the construction of the park based on Selleny's drafts. The part of the park on the right bank of river Wien was opened on 20th of August 1862, while the final layout was completed in 1872, following completion of the Kursalon. The bridge connecting the left and right banks of Wien has been designed by Friedrich Ohmann and Josef Hackhofer in 1906. The bridge as well as surrounding buildings designed by Ohmann and Hackhofer are an important example of Viennese Art Nouveau. Today, the Stadtpark is regarded as a link to cultural past of Ringstrasse. The Kursalon music halls provides an insight into lives of the Viennese elite in 19th century, while a series of sculptures depicting various artists and musicians highlight the importance of music in the culture of Vienna. The most known sculpture associated with the Stadtpark is a gold plated bronze statue of Johann Strauss, unveiled in 1921. The statue is the most photographed monument in the entire city.
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PORTRAYAL OF RINGSTRASSE The Ringstrasse is still portrayed as a centre of cultural life in Vienna. Certain parts of the boulevard indeed still act as main cultural venues such as Operaring or Vienna Musikverein, however many other parts have been transformed into commercial and business areas. The selection of photos comes from the official Instagram account of the Viennese Tourist Board and showcases the tourist representation of the Ringstrasse. All the photos showing that area focus on just a few main parts of the street, completely omitting the rest of it. The portrayal focuses on highlighting the links to the rich cultural history of Vienna and creates an idealized vision of that part of the city as a cultural, imperial street with horse carriages and old trams, almost frozen in time. However in reality, Ringstrasse is a busy street filled with cars and people commuting to work and the architecture reflects the economic boom of the 1960s, with many four and five stars hotels and office buildings. Indeed the Ringstrasse has preserved its historical glamour in certain parts, however the majority of the area has been transformed into commercial properties serving the fifteen million population of tourists visiting the city each year.
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19TH CENTURY PARKRING The high rise tower located on the site was built in 1962 as an office block for the Horticulture Society, as the site was previously occupied by a large horticulture exhibition hall constructed in 1863, according to the plans of August Weber. The exhibition hall hosted a number of events such as flower sale markets as well as horticulture and exotic plants exhibitions and shows. Underground, the former city moat was used as a large (60m long) hall for a restaurant and private events as well as wholesale flower markets. Many music ensembles performed in the space, including Vienna Schubertbund as well as Carl Michael Ziehrer. After World War I the Gartenbaukino cinema opened in the hall, and the rest of the area has been transformed into shops and tennis courts. The remaining parts of the hall were demolished in 1959 and a hotel and office tower block was constructed, including a large cinema designed by Robert Kotas. The cinema has become an important cultural venue, with many movie premières taking place there. One of the most infamous events was the premiere of Spartacus on 19th December 1960, attended by the full cast, including Kirk Douglas.
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Gartenbaukino, 1930s
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Kirk Douglas, Spartacus premiere, 1960
Office block construction, 1958
21ST CENTURY PARKRING The Parkring, on which the site for this semester is located, is one of the areas that has been heavily transformed during the 1960s and 70s. The main building located on the site is a mixed-use development housing a hotel, offices, residential flats as well as a cinema on the ground floor. It is surrounded by a mixture of developments including a Marriot hotel from 1970s as well as a large city car park. However the area itself still carries the signs of the past. Behind the site, the Coburg Palace, built in 1845 is now a five star boutique hotel and on the Thodor-Herzl Platz there are remains of the old city fortification and one of the city gates leading to the city centre. The site overlooks the historical Stadtpark and the office building provides views of the cathedral and historic city centre from the top floors.
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GEOGRAPHICAL SITE ANALYSIS The site is located in a dense urban area, with similar volume buildings located on each side of the tower block. The existing block is located on an approximately 8m high plinth, accommodating the cinema. The main street facing facades are located to the North and East, with the Eastern facade also facing the Stadt Park. The existing tower provides views towards the Stadt park to the East as well as views towards the city centre and the cathedral towards the West. The main movement on site is located along the Parkring, following the general movement around the Ringstrasse. The Parkring is also the main source of noise on site with a large, multiple lane road and tram lines. The site is accessible on foot from each side, and includes vehicular access at the Western and Northern facades as well as service vehicular entry on the Southern side. A line of trees and greenery separates the Eastern facade from the main road, providing some level of noise sheltering.
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St. Stephen’s Cathedral
Mozarthaus
Mozart Sterbehaus
Schubert’s statue
Cafe Frauenhuber
Site
Strauss’s statue
Kursalon
Musikverein
Wiener Konzerthaus
Brunnenmarkt, Ottakring District, 2019
03 DIVERSITY OF VIENNA
VIENNA AS A MIGRATION DESTINATION SEMESTER 1 URBAN STUDY The city of Vienna has been a centre for migration over the past centuries. Even in 16th century the city was called Babel, due to the number of foreigners that made Vienna their home. The 18th and 19th century migration was dominated by movement of craftsmen, including musicians, in search of better paid positions, often for royalty or bishops. From the 1900s migration was mostly influenced by political and economic factors. Due to its geographical location, Austria is the easiest to reach Western country for Eastern and Central Europe, therefore making it a viable and attractive migration destination. From the 1960s, after the introduction of guest workers rights, large scale migrations from the Balkans and Turkey changed the demographic of the capital. People migrated in search of better employment opportunities in Western Europe, however following the 90s Balkan Wars, many people were also accepted into Vienna as political refugees. The migration patterns created large migrants communities in certain districts of Vienna such as Ottakring or Margareten, where foreign background residents constitute approximately half of the area population.
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DISTRICT: Rudolfsheim-Fünfhaus POPULATION: 74,791 FOREIGN NATIONALS: 53% COUNTRY OF ORIGIN: Serbia, Montenegro, Turkey, Poland, Croatia, Bosnia, Germany
DISTRICT: Brigittenau POPULATION: 86,502 FOREIGN NATIONALS: 50% COUNTRY OF ORIGIN: Serbia, Montenegro, Turkey, Poland, Bosnia, Croatia
DISTRICT: Ottakring POPULATION: 102,580 FOREIGN NATIONALS: 47% COUNTRY OF ORIGIN: Serbia, former Yugoslavia, Turkey
DISTRICT: Favoriten POPULATION: 186,450 FOREIGN NATIONALS: 49% COUNTRY OF ORIGIN: Serbia, Montenegro, Turkey, Poland, Croatia, Bosnia
Demographic study, Semester 1
DISTRICT: Margareten POPULATION: 53,610 FOREIGN NATIONALS: 49% COUNTRY OF ORIGIN: Serbia, Montenegro, Turkey, Croatia, Bosnia, Germany
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VIENNA POPULATION: 1,889,000 FOREIGN NATIONALS: 40.7%
Migrant communities collage, Semester 1
MINORITIES CULTURE HUBS SEMESTER 1 URBAN STUDY The culture of the minorities living in Vienna is very visible outside of the city centre. While the central part of Vienna focuses on tourism, with large numbers of hotels, souvenirs shops and cafĂŠs, the outer districts have a completely different atmosphere. The district that I focused on in semester 1 is Ottakring, 16th district of Vienna, located approximately 3 kilometres away from the city centre. The district is known thanks to the Ottakring Brewery as well as the multi-cultural Brunnenmarkt. Ottakring is widely advertised by the Viennese council and the tourist board, however tourists rarely make their way to that area, concentrating on exploring the Innere Stadt. In recent years many of the multi-cultural districts have seen a rise in popularity amongst Viennese residents, with the emergence of young visitors from more affluent parts of the city. This has led to gentrification of the communities, with new businesses opening, such as organic shops or wine bars, suited to the needs of the more affluent visitors.
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PUBLIC GHETTO WORLD MUSIC
FOLKLORISTIC PRACTICE
MUSICAL PRACTICES
INTERNAL PRACTICE Music practices in migrants' communities, Semester 1
IDENTITY AND MUSIC SEMESTER 1 URBAN STUDY 'Amongst the countless ways in which we 'relocate' ourselves, music undoubtedly has a vital role to play. The musical event, from collective dances to the act of putting a cassette or CD into a machine, evokes and organizes collective memories and present experiences of place with an intensity, power and simplicity unmatched by any other social activity. The 'places' constructed through music involve notions of difference and social boundary ' Martin Stokes in his book, "Ethnicity, Identity and Music: The Musical Construction of Place", talks about importance of music in building collective memories. He proposes five categories of musical practices within migrants' communities: internal practices such as weddings or family celebrations, folkloristic practice where the cultural knowledge is passed onto the new generations of the minority, public ghetto, where the culture is shared with the wider public in spaces such as cafĂŠs or restaurants, world music which focuses on sharing traditional culture in form of organised event to general public and finally mainstream musical practices, where the musicians are not showing links to their cultural background and the music does not show any links to traditional culture of the members. Music seems to play a vital role in creating a sense of community on different levels, from small family gatherings to sharing the culture during events. Sharing of the music culture helps define one's cultural heritage and place it in a context of a foreign environment. Right: Mansur Bildik, since 1980s he has promoted saz and folk music to new audiences in Vienna, establishing saz lessons in Franz Schubert Conservatory from 1984. Thanks to the support of Austrian Cultural and Educational state he has taught and introduced saz lessons to the curriculum of public high schools.
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Mansur Bildik, 1962
No 3, Polka, Slavonic Dances Op 46 Antonín Dvořák
Antonín Dvořák
Johannes Brahms
FOLK MUSIC IN 19TH CENTURY 'Let's hope that nations which have and represent art will never cease to exist, no matter how small they are. You must excuse me, but I simply wanted to tell you that an artist also has his country, a homeland in which he has to have unshakable faith and for which he has a fervent heart.'
ANTONÍN DVOŘÁK, 1885
Throughout centuries the music stage in Vienna has been recognised around the entire world. The most famous compositors such as Beethoven, Mozart or Strauss are known by almost every person, with their creations setting up the canon of understanding classical music. However, the music stage in Vienna has also seen performances by less recognised musicians, often from foreign backgrounds, that performed music that reflected their culture and history. Their music has been often heavily inspired by folk rhythms and melodies. Dvořák, a Czech composer, frequently used melodies from folk music of Moravia and Bohemia. He won the Austrian State Prize for Composition, awarded by a Viennese jury led by Johannes Brahms in 1874. Dvořák and Brahms built a strong bond that lasted until Brahm's death in 1897. However, even with support of Brahms, Dvořák struggled with achieving approval in Vienna, due to anti-Czech sentiment in the city following the 1848 Revolution. Despite Dvořák's musical success in Germany, the United Kingdom and the United States, his pieces were never appreciated in Vienna, which became the centre of minorities conflicts in 19th century, after dissolution of Austrian-Hungarian empire.
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Typical Wienerlied group
WIENERLIED The Wienerlied is a genre of song from the city of Vienna and its surroundings. Traditionally the songs are centred around a theme of everyday life in Vienna and almost all of them are sung in Austro-Bavarian dialect, typical for the Viennese region. The genre was created in the second half of the 19th century and it is a fusion between folk Alpine songs and urban singing styles, heavily influenced by folk music of migrants from the crown lands of the Austro-Hungarian Empire. The genre mixes rhythmic forms of Landler, Walzer, Marsch and Polka. A two-part rollover with interval steps typical for Austrian rural music is one of the main characteristics of the Wienerlied and is preserved even in solo pieces. The Slavic and Hungarian components of the folk music are also recognizable in many Wienerlied pieces, creating a unique mixture of musical elements. The genre reached its peak popularity in 19th century, which is linked to the rise of popular entertainment in spaces such as inns, restaurants and wine taverns. The folk style was existing in two different spheres of social life at the same time in the city of Vienna, and while in the popular entertainment environment it was embraced and enjoyed, it was frowned upon in higher class venues and within more affluent social groups.
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Schrammel Quartet
SCHRAMMELMUSIK In 1878 the Schrammel brothers, Johann and Josef, formed an ensemble with guitarist Anton Strohmayer. Inspired by the Wienerlied as well as urban and rustic melodies, the group performed folk songs and dance music, mostly in wine taverns and inns around Vienna. Georg Danzer, a clarinetist, joined the group in 1884 and the group changed their name to "Schrammel Brothers Specialities Quartet". They quickly gained popularity, promoting the genre of Wienerlied and soon started to receive invitations to perform in palaces and manors. Their great popularity gripped the Viennese elite and the folk genre performances made its way to the more affluent neighbourhoods of Vienna. Their popularity extended throughout Europe, with the group composing more than 200 musical pieces in just seven years. In 1893, the Schrammel Quartet performed at the World Expo in Chicago. The quartet promoted the folk, popular entertainment music to upper class elite in Vienna, in times of political unrest and minorities conflicts.
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Arnold Schรถnberg (centre) playing cello in a quintet
Comparision of Schรถnberg's opening theme and Augustin theme
Schรถnberg attempted to satirize Wienerlied
SCHRAMMELMUSIK AND VIENNESE SCHOOL Several of the Viennese musicians were enthusiasts of Schrammelmusik, including Strauss and Schรถnberg. Strauss first heard the quartet in 1884 and offered his recommendation; "I hereby declare, with pleasure and confidence, that the ensemble's musical leadership, in execution and presentation, is of artistic significance in the true sense of the word. I highly recommend them to everyone with a sense for the faithful musical representation of Viennese humour and the poetic characteristics of the Viennese folk music genre." Schรถnberg in his early years of music career was quite familiar with Schrammelmusik, as he was playing cello in the early 1900s in a quintet. In later stages of his life he seemed to use elements of the Schrammelmusik and Wienerlied for creating surprising contrasts in his musical pieces as well as a form of satire towards popular music. He has used melodies and lyrics from a folk song "Ach, du lieber,Augustin" in his Second String Quartet, Op. 10, Mvt. 2 as well as attempting to rewrite a Wienerlied piece by Rudolf Sieczynski in order to satirize it.
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Parkring, 2019
04 PERFORMING VIENNA
INSTITUT FĂœR VOLKSMUSIK UND KULTUR The second semester work aims to create a cultural centre located in the proximity of Vienna's old town that would combine the heritage of classical music with the heritage of the multinational society of Vienna. During the first semester I have focused on creating an alternative music walk dedicated to the history of folk music and migrant musicians in Vienna, leading from the city centre to the district of Ottakring. This semester's work will create a physical manifestation for that route in the city centre, creating a destination for tourists as well as migrant communities from other districts. The proposal aims to create a centre that would provide spaces for up and coming musicians to perfect their skills and create an open environment for people to learn and perform. The centre will focus on Schrammelmusik and its development in the city of Vienna as well as highlighting the history of migrant musicians such as Brahms or Dvořåk. The building will act both as a performance hall as well as a community centre. Many migrant communities set up their own centres to promote their culture and have a place to celebrate specific events. The city of Vienna is supporting local initiatives such as language schools, reading clubs or community canteens that promote the integration of migrant communities into the population of the city. Building on the rich heritage of the social housing in Vienna, the proposal will provide residential quarters for refugees, in light of current migrant and refugee crisis in Europe. The proposal aims to create a space in where the refugees could adapt to new life, while being surrounded by people with similar experiences. The aim of the proposal is to integrate the somewhat overlooked history of minorities into the mainstream heritage of Vienna. Music is an important part of the culture, Martin Stokes argues that music has a vital role to play in a way in which we relocate ourselves. The settings of the music school would ease the social boundaries and highlight the positive differences between different groups, while also affecting their emotional understanding of different cultures.
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TOWN-LIKE RESIDENTIAL QUARTERS
DEVELOPMENT MODEL The interim review massing model explores the idea of zoning the project vertically and dividing the building by the function. I was exploring the possibility of using three different construction systems to highlight different atmospheres and functions of spaces. That idea later developed into materiality studies of timber interiors and different uses of timber to create an atmosphere required by specific function. Already early on in the design process I was exploring the idea of a 'village-like' residential top floor, contrasting with the rest of the building.
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LIGHT WELL STUDY
RESIDENTIAL
SCHOOL
AUDITORIUM TRIPLE HEIGHT SCHOOL SPACE
VIEWS FROM BACK TO THE FRONT
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SECTION A 1:200 SHOWCASING CINEMA, ARCHIVES, PRACTICE SPACE AND MUSICAL INSTRUMENT WORKSHOP AND SHELTER SECTION A 1:200 ON TOP FLOORS
Section A-A
SHOWCASING CINEMA, ARCHIVES, PRACTICE SPACE AND MUSICAL INSTRUMENT WORKSHOP AND SHELTER ON TOP FLOORS
SECTION B 1:200
Section B-B
SHOWCASING GALLERY, ADMINISTRATION OFFICES, MAIN AUDITORIUM, SMALLER PERFORMANCE SECTION B 1:200 SPACES AND SHELTER ON TOP FLOORS
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SHOWCASING GALLERY, ADMINISTRATION OFFICES, MAIN AUDITORIUM, SMALLER PERFORMANCE SPACES AND SHELTER ON TOP FLOORS
A
B
GROUND FLOOR PLAN SHOWCASING EXTERNAL STORES, ARCHIVES, GALLERY AND CINEMA SPACE
A
A
A
A
B
B
B
B
Ground floor plan
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4TH FLOOR PLAN
GROUND FLOOR PLAN GROUND FLOOR PLAN
SHOWCASING MAIN AUDITORIUM SPACE, PRACTICE SPACE AND EXTERNAL TERRACE
SHOWCASING STORES, ARCHIVES, GALLERY AND CINEMA SPACE SHOWCASING EXTERNALEXTERNAL STORES, ARCHIVES, GALLERY AND CINEMA SPACE
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5TH FLOOR PLAN
8TH FLOOR PLAN
SHOWCASING MAIN AUDITORIUM SPACE, PRACTICE SPACE AND EXTERNAL SHOWCASING MAIN AUDITORIUM SPACE, PRACTICE SPACE AND EXTERNAL TERRACE TERRACE
SHOWCASING BLACK BOX, MUSICAL INSTRUMENT WORKSHOP AND MUSIC SCHOOL SPACES
SHOWCASING SHELTER ACCOM
Fourth floor plan
Fifth floor plan
DEVELOPMENT DRAWINGS The drawings explore spatial links between the spaces, focusing on the vertical layering of the spaces. Due to specific site constraints of the existing buildings and the perimeter of the city block, the proposed building has to have a strong vertical form in order to match the street frontage facing the Stadt Park. Many of the examples of auditorium and music school buildings tend to be two or three storeys with quite large footprint, therefore the main challenge of the project was the verticality of the proposal.
FLOOR PLAN 5TH FLOOR5TH PLAN
FLOOR PLAN 8TH FLOOR8TH PLAN
SHOWCASING BLACK BOX,INSTRUMENT MUSICAL INSTRUMENT MUSICSPACES SCHOOL SPACES SHOWCASING BLACK BOX, MUSICAL WORKSHOPWORKSHOP AND MUSICAND SCHOOL
SHOWCASING SHELTER ACCOMMODATION SHOWCASING SHELTER ACCOMMODATION
page 47
SIMPLIFIED RESIDENTIAL SPACES
LARGE SKYLIGHT
FRAMING VIEWS
CINEMA VERTICAL SHADING ELEMENTS
DEVELOPMENT MODEL In the second development model I was exploring the ideas of stepping in and out of the different spaces in the building to create more dynamic facades. I also started to play around with framing views towards the Stadt Park and creating a layout that would provide maximum daylight to main public spaces in the building such as bar areas, library etc. I started looking at different ways of shading spaces by using louvres or vertical elements that could be used throughout the building. I was also exploring the idea of creating a large cinema space in the building, as the current site is occupied by the Gartenbau cinema.
page 48
PUSH AND PULL ELEMENTS
page 49
Sketch exploring stepped access to the residential floor
Idea of independent stepped spaces at the rear facade providing alternative vertical circulation
page 50
Light well
Human-scale external circulation
View of the external facade
TREE-NESS HOUSE, TOKYO, JAPAN The Tree-ness house in Tokyo is a residential property designed by Akihisa Hirata. The design is inspired by the complex but organic combination of elements of a tree. The architecture aims to reflect the hierarchical combination of different parts such as a trunk, branches or leaves by creating elements such as planter balconies, dynamic openings and concrete boxes. While the main structure is based around threedimensionally stacked concrete boxes, the complex system of voids and openings create visual links between spaces. The window openings with concrete 'pleated' balconies create links between inside and outside and at the same time create human-size elements, dividing the facade into smaller elements. The balconies connect different levels of the building, creating an alternative external circulation and allowing visual links with different internal spaces.
page 51
SITE ACCESS
FRONT VS REAR FACADE
ENTRANCE
REAR FACADE
WALKWAY
VERTICAL DIVISION
DEVELOPMENT SKETCH: SITE STUDY page 52
View towards the site from the Parkring
Southern facade of the existing office block
Entrance to the cinema
Entrance to the cinema
View towards the site from the Stadtpark
Parkring pedestrian and cycle boulevard
VIENNA 1770
VIENNA 1770
MOZART 1756-1791
MOZART 1756-1791
VIENNA 1770
VIENNA 1770
MOZART 1756-1791
MOZART 1756-1791
1770
1770
2019
2019 1770
1770
2019
2019
1780
1805
VIENNA 1821
Mozart
VIENNA 1821
Haydn
BEETHOVEN 1770-1827
BEETHOVEN 1770-1827
VIENNA 1821
VIENNA 1821
BEETHOVEN 1770-1827
BEETHOVEN 1770-1827
1821
1821
2019
2019 1821
1821
2019
2019
1821
1870
Beethoven
Strauss
First Viennese School
MUSIC WALKS Vienna is known as a city of music. Home to a number of world-renowned musicians, the city carries the heritage and memory of artists such as Beethoven, Mozart or Strauss. In order to promote the spaces linked to the musicians in the city, the tourist board of Vienna advertises a series of walks leading through a number of spaces linked to a certain musician. The website offers four detailed walks for four musicians: Beethoven, Mozart, Haydn and Strauss. The walks focus on the so called First Viennese School, as it is the most known and famous part of musical heritage of Vienna. In the first semester I have studied the walks in relation to the historical maps in order to showcase the differences in experiencing the city between now and 18th century, based on the urban changes, mainly in the city centre area due to the construction of Ringstrasse. To oppose the mainstream representation of only one genre of music in Vienna, the alternative music walk I have proposed in the first semester follows folk musicians and connects the ethnic minorities district with the city centre.
Ratha 16th district: Ottakring
ALTERNATIVE MUSIC WALK In the first semester I have established a new, proposed route following spaces connected with performances of folk music such as Viennese State Opera, Musikverein or Brahms´ house in Vienna city centre. The route was leading to Yppenplatz in Ottakring district, where the square could be adapted into a festival area that would combine elements of adjacent street market, Brunnenmarkt, with a music pavilion to create an outdoor cultural venue. On the opposite end, in the city centre, the route leads to the proposal located on Parkring, approximately 10 minutes away from the St. Stephen´s Cathedral. The route would connect the central district with Ottakring creating a link between two different cultures of Vienna.
0
100
200
300
m
aus Cathedral
Innere Stadt
Operaring
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5
10
15
20m
FORMAL STREET FRONT
INFORMAL GRID OF CIRCULATION
STADT PARK
FORMAL
INFORMAL
VERTICAL CIVIC SPACE
INFORMAL COURTYARD
DESIGN PROPOSAL The proposal aims to create a performance venue that will also act as a cultural catalyst for the area. Following the research in the first semester focused on displaced communities and the heritage of folk music in Viennese classical music stage, I would like to focus on showcasing the somehow forgotten genre of music, by creating a cultural venue that will educate the residents and visitors about the rich history of folk in Vienna, but also create an intimate, accessible space for people to learn about classical music. The first semester work focused on highlighting the displacement of migrant communities as well as their culture from the mainstream vision of Viennese culture, therefore I would like to create a venue that centres around rich heritage of the city and the connections between classical and folk genres. The building will also act as a physical cultural catalyst, intensifying the cultural associations of Ringstrasse by proposing a physical intervention in the landscape of late 20th century redevelopment.
page 60
7
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8
2 9
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1
0 1 2 3 4 5m
BASEMENT PLAN 1. VEHICULAR ENTRY 2. UNDERGROUND CAR PARK 3. DELIVERY BAY 4. SERVICE LIFT 5. FIRE STAIRS 6. LIFTS 7. RAINWATER RETENTION SYSTEM 8. WORKSHOP/STORAGE 9. PLANT ROOM
page 61
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GROUND FLOOR PLAN 1. MAIN ENTRANCE 2. RECEPTION 3. LIBRARY/CAFE 4. COURTYARD ENTRANCE 5. GALLERY 6. KITCHEN 7. STORAGE 8. TOILETS 9. OFFICE 10. WARDROBE 11. OUTDOOR AUDITORIUM 12. AQUAPONICS POND 13. COMMUNAL GARDENS
LIBRARY/CAFE page 62
10
4 1 5 3
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FIRST FLOOR PLAN 1. ATRIUM ABOVE THE LIBRARY/CAFE 2. PRACTICE ROOM 3. EXTERNAL TERRACE 4. WALKWAY 5. INFORMAL SEATING SPACE 6. TOILETS
PRACTICE ROOMS page 63
4 5
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6 8
7
7
0 1 2 3 4 5m
SECOND FLOOR PLAN 1. INFORMAL SEATING AREA 2. STAGE 3. CRAWL STORAGE SPACE 4. DRESSING ROOM 5. PRACTICE ROOM 6. STORAGE/UNLOADING 7. TOILETS 8. ACCESS TO PRACTICE ROOM ON FLOOR BELOW 9. WALKWAY
AUDITORIUM page 64
1 2
2
5
3
4
4
0 1 2 3 4 5m
THIRD FLOOR PLAN 1. BAR 2. AUDIO/VISUAL ROOM 3. STORAGE 4. TOILETS 5. WALKWAY
BAR page 65
1 2
3
3
0 1 2 3 4 5m
FOURTH FLOOR PLAN 1. GALLERY SITTING 2. WALKWAY 3. TOILETS
GALLERY SEATING page 66
3
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2
1
9
3 7 5
6
8
8
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FIFTH FLOOR PLAN 1. TEACHING AREA 2. REVIEW SPACE 3. PRACTICE ROOM 4. DIGITAL LAB 5. BACKSTAGE 6. STORAGE 7. BLACK BOX PERFORMANCE ROOM 8. TOILETS 9. WALKWAY
TEACHING AREA page 67
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6
7
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8
8
0 1 2 3 4 5m
SIXTH FLOOR PLAN 1. SMALL PERFORMANCE ROOM 2. ATRIUM ABOVE REVIEW SPACE 3. OFFICE 4. CAFE 5. BLACK BOX PERFORMANCE ROOM 6. KITCHEN 7. RECORDING STUDIO 8. TOILETS
CAFE page 68
1
4
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5
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SEVENTH FLOOR PLAN 1. CIRCULATION 2. EN-SUITE ROOM 3. COMMUNAL DINING 4. COMMUNAL KICTHEN/LOUNGE 5. COMMUNAL STUDY 6. STORAGE 7. LAUNDRETTE 8. COURTYARD 9. WALKWAY
ENSUITE BEDROOMS page 69
1
WIEN BLEIBT WIEN! - JOHANN SCHRAMMEL The piece Wien Bleibt Wien composed by Johann Schrammel around 1880 is a lively march composition, representative of Schrammelmusik style. The piece is quite simple, based around the repetition of the lively march theme. I have created a graphic representation of the two main rhythm themes from the piece, the fast march and more mellow interludes. I have used the graphic diagrams to represent the rhythm of the architectural proposal by associating the public busy areas with the fast part of the music and more private, quieter spaces with the interlude part. The overlay of the graphic diagrams onto the plans provides an insight into the rhythms of the spaces.
RHYTHMIC ANALYSIS: FAST AND BUSY The diagram represents the parts of the piece that are fast and dynamic, mainly march melodies form the beginning of the piece. The rhythm is quite repetitive with slight changes in pitches and volumes.
RHYTHMIC ANALYSIS: SLOW AND PERSONAL The parts of the piece between the main marching melodies are in contrast quite mellow and melodic, the rhythm is more emotional and in a way more harmonious.
page 70
GROUND FLOOR
FIRST FLOOR
FIFTH FLOOR page 71
1 2 3 4 5m
page 72
page 73
1
2
3
4
5m
page 74
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POCKETS OF INFORMALITY page 76
INFORMAL 'STUDIO'
ACOUSTICS AND COMFORT
PRACTICE ROOM
FLEXIBILITY OF ACOUSTICS
Materials: timber, textile drapes
6th floor
Materials: softwood flexible wall panels
1st floor
COMFORT
STUDY ROOM
Materials: softwood finishes, rugs, pillows
7th floor
page 77
PIROT, SERBIAN RUG
BULGARIAN TRADITIONAL COAT
FORMER YUGOSLAVIA, FEMALE SHIRT PATTERN
PATTERNED TILES, ISTANBUL
CULTURE OF PATTERNS Patterns are a very prominent part of the culture of many minorities in Vienna. The patterns are visible in various areas of art and design, from paintings and illustration to everyday life design objects such as embroided textiles or patterned tiles. There are many patterns that we associate with certain cultures and they represent the culture and tradition of ethnic groups. The main minorities in Vienna are of Balkan and Turkish origin due to economic migration and the political situation in the Balkans in the 90s. Those culture have a rich history of using patterns in everyday objects such as tablecloths or tiling. The patterns and textiles can be incorporated into the building to create a visual background to the exploration of folk music and culture. The integration of patterns will link the interior with the main facade and the modular panels inspired by Viennese Secession pattern.
page 78
RESIDENTIAL COMMUNAL SPACE
CAFE page 79
JOSEPH OLBRICH, CARPET PATTERN, 1900
JOSEPH OLBRICH, WALLPAPER DESIGN, 1900
KOLOMAN MOSER, WALLPAPER DESIGN, 1901
KOLOMAN MOSER, WALLPAPER DESIGN, 1901
PATTERNS OF VIENNA In the first semester I have looked at different patterns connected to the Secession movement. In architecture motifs are repeated in order to create patterns, most commonly in the form of decoration such as tiling or wallpaper. The Viennese Secession members such as Olbricht or Moser created a number of patterns for wallpapers and carpets, many of them inspired by natural elements such as flowers or plants. The pattern I have chosen to study in more detail is designed by Joseph Olbricht for the Secession building and covers the front facade of the building. The delicate flower design is gold leaf plated and creates an illusion of flower trees wrapping around the facade. I have decided to incorporate this pattern detail into the facade of my proposal as it links back to the art history of Vienna as well as creates a link to the floral motifs used in traditional folk art. The pattern also can be easily transformed into 3D pre-fabricated elements that can act as a brise soleil and minimize the glare on the Southern facade whilst still providing visual connection to the external surroundings.
page 80
page 81
1:50 EXTERNAL FACADE
1:20 ZOOM IN FACADE DETAIL
page 82
FACADE SECTION
page 83
2000mm
4000mm
30% OPACITY
60% OPACITY
90% OPACITY
PANEL CONFIGURATION
1:75 EXTERNAL FACADE
FACADE STUDY The facade is build out of digitally fabricated panels made out of copper. The panels measure 2000x4000mm and are attached by clip on fixings onto the external curtain wall mullions. The panels have three configurations, varied on the basis of pattern density. The three options include: a very dense panel with a minimal amount of openings providing approximately 30% of the window opacity, a semi-dense panel, approximately 60% and an open panel providing around 90% of visibility provided by a window.
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SELEXYZ BOOKSHOP, MAASTRICHT, NETHERLANDS The architects, Merkx + Girod, created a contemporary bookstore environment, for the bookshop chain Selexyz, inside an former 13th century Dominican Church. The church structure has been preserved and re-adapted into a contemporary business venue. In order to preserve the character of the church, while also achieving the required size of commercial footage, the architects proposed a two-storey steel structure, housing the majority of the book resources. The erection of the structure helped in maintaining the vertical, spatial character of the church while also utilizing the height of the church. While the structure is quite simple, it created a complex spatial organisation of the main area. The introduction of the walkways, creates a covered area on the ground floor that is more reminiscent of the typical scale of bookstores, while the upper levels create more intimate spaces, while also giving an overview of the entire ground floor. The open structure creates division of the vertical space without introduction of new floor levels that would take away from the character of the church.
page 86
View from the top level of the structure
Development sketch of library structure overlooking practice rooms
Development sketch of library 1st floor plan
page 87
ATMOSPHERE STUDY: LIBRARY/CAFE GROUND FLOOR
1:50 SECTION
RYTHMICS OF USE- GROUND FLOOR LIBRARY/CAFE page 89
TOHOGAKUEN SCHOOL OF MUSIC, CHOFU, JAPAN The Tohogakuen School of Music, designed by Nikken Sekkei, explores the concept of place for music learning opposing the notion of traditional one sided, corridor based compartments. The design explores ideas of more visual contact between the students and surroundings, as well as provides opportunity for eye contact with fellow co-musicians and school visitors. The school is designed in a way that provides informal practice spaces. Generally, music students tend to prefer open spaces, such as staircases or corridors as oppose to isolated practice rooms. The design aims to create open school plan, with glass practice rooms that provide visual links to the surroundings. The move will also contribute towards bringing more liveliness to the shared spaces in the school as well as help create bond and community amongst the students. Due to large areas of glazing in the practice rooms, solutions such as flexible, timber wall panels have been installed in most spaces. The wall allows the user of the space to adapt the acoustics depending on the size of the group or type of music performed. The absorptive, timber panels can be angled, created different levels and directionality of sound reflection.
page 90
View of a practice room
Development sketch of flexible wall module
Development sketch of practice room wall build-up
page 91
ATMOSPHERE STUDY: PRACTICE ROOM
1:50 SECTION
RYTHMICS OF USE- PRACTICE ROOM
1:50 PERSEPCTIVE
1:20 PLAN
ACOUSTICS- FLEXIBLE WALL SYSTEM
ACOUSTICS- FLEXIBLE WALL SYSTEM page 93
CHAMBER MUSIC HALL, BERLINER PHILHARMONIKER The Chamber Music Hall has been constructed in 1987, around 25 years after construction of Berliner Philharmoniker. Designer by Edgar Wisniewski, an understudy of Hans Scharoun, the new venue was showcasing the flexibility and connectivity of the spatial design between the main Philharmonie venue and the chamber room. The symmetrical internal layout of the Hall is developed around a hexagonal central podium stage. Due to its specific layout, people moved, even during the performances, between the seating block located at the front of the stage to the series of galleries overlooking the stage. This specific design aspect links back to general design rhetoric of Scharoun and Wisniewski, about democratic enjoyment of music. Compared to other concert halls, the specific spatial concept of the hall allows to minimize the division between relative social status of the audience. Many other concert halls include a series of balconies, served by separate staircases and entrances, connecting to separate foyers and bars. None of the seating areas are interconnected, creating division between classes. In the Chamber Room by contrast, the notion of music in the centre is extended to the notion of integration of the audience attending the concert. The Chamber Room and the Philharmonie are constructed using cast in-situ concrete structure and steel trusses, allowing for creation of 'tent-like' structure.
page 94
Chamber music hall, main stage view
Development sketch of auditorium section
Development sketch of auditorium floor plan
page 95
Balcony detail, Musikverein
Ornamented acoustic panels
ORNAMENTATION IN MUSIC VENUES Many of the traditional music venues in Vienna, but also around Europe, has been preserved in 18th/19th century style, with many gold-plated ornamentations, sculptural ornamentations and plush, red velvet seating. However, this style of opulence often alienates the audience, especially cultural minorities and lower socio-economic classes. In order to democratize the experience of classical music, I was aiming to create a space that creates a less overwhelming architectural experience. By using familiar materials such as concrete and timber, as well as their acoustic properties, the main auditorium design aims to create an alternative venue for the performance of classical music. However, to still maintain the link between the democratized space and traditional venues the notion of ornamentation has been translated into more contemporary style, by including the Secession pattern as a form of acoustic panelling running around the whole auditorium.
page 96
The GroĂ&#x;e Musikvereinssaal, Musikverein
Tea Salon, Wiener Staatsoper page 97
1:50 MAIN AUDIT
page 98
TORIUM SECTION
page 99
SIGHT LINES AND SOUND PROPAGATION
45°
SOUND REFLECTION page 100
page 101
MELBOURNE SCHOOL OF DESIGN, MELBOURNE, AUSTRALIA The Melbourne School of Design, designed by John Wardle Architects in collaboration with NADAAA, is formed around a central atrium space providing space for informal occupation throughout the day. The large open space helps with provision of natural daylight as well as assists with natural ventilation. The base level of the atrium provides an informal area for students' collaboration, one of the key elements of design education. The central space is overlooked by a series of balconies that provide additional study and review spaces. The open layout creates a feel of collaboration and allows the students to observe their fellow colleagues during work or reviews. There are many similarities between music and design education. Many of the elements that are key for design education, such as collaboration spaces, studios and review spaces will also benefit music students. An enclosed study space creates divisions and segregation between groups, while more open approach helps with building a community spirit.
page 102
Review spaces
Informal study spaces
Development sketch of open plan school
page 103
ATMOSPHERE STUDY: TEACHING AREA 5TH FLOOR
1:25 SECTION INTENSITY OF USE
1:20 SECTION
MOVEMENT OF PEOPLE IN TIME
page 105
Typical Austrian villages
Human-scale timber 'huts'
Town-like layout with external spaces
HUMAN-SCALE ARCHITECTURE The top floor of the building would serve as residential quarters for the international students attending the school as well as provide housing for refugees and migrants coming into Vienna. The building acting as a cultural centre will provide an opportunity for the migrants to learn about the history of migration and diversity in Vienna in the context of music. As discussed before, music plays a strong role in mentally adapting to living in new places and could be a vital element in assimilating with the culture of the new place of residence. To facilitate living within a civic building, the residential floor is constructed in a way that gives the architecture a more human scale. Taking inspiration from the typical Austrian alpine villages, the rooms are located in small wooden 'huts' and the entire level has a feel of a micro-town located on the top of the civic building.
page 106
INTEGRATIONSHAUS: REFUGEE SUPPORT IN VIENNA The city of Vienna has many programmes for the migrants and refugees, to help them adapt to the new way of living in the city. The city council runs its own programmes such as reading stories events in multiple languages, free language class and free legal advice. There is also a number of organisations functioning in Vienna that help the refugees to make Vienna their home. Integrationshaus is an organisation providing advice on subjects such as housing, education or employment. They also organise a series of events such as language classes, cultural events to promote music and art of ethnic minorities.
page 107
ATMOSPHERE STUDY: RESIDENTIAL QUARTERS
1:50 SECTION
MOVEMENT OF PEOPLE IN TIME
1:50 SECTION
RHYTHMICS OF USE- RESIDENTIAL QUARTERS page 109
Hydroponics systems
Detail of hydroponics system integrated into the vertical circulation
HYDROPONICS In recent years there has been a rise in different technologies aiming to increase the sustainability of agriculture. Hydroponics are a subset of a more general approach of hydroculture, which is a method of growing plants without soil. The plants grow by using mineral nutrients provided by a water solvent, circulating throughout the system. The biggest advantage of the hydroponics is the decrease in the amount of water needed for the cultivation, which allows the plants to grow in much harsher environments with less water access. The system also allows for vertical cultivation and the production can be increased up to 10 times in the same amount of space as traditional cultivation. Thanks to the space optimization, the hydroponics can be used to create vertical farms in dense, urban environments.
page 110
CITY FARM: AUGARTEN, VIENNA City farms have been a growing movement in many cities around the world. Many people, especially residents of large urban areas, want to live more sustainably and grow their own produce. The city farms also offer the opportunity for children to learn about food and agriculture as well as management of garden space. The city of Vienna has been supporting multiple city farms projects, one of them located in Augarten, in the city's second district. The city farm provides local residents with a space to cultivate their own products and the children's area is utilized by many local schools to teach children about the process of growing vegetables. The farm also has its own solar-powered kitchen, which allows the harvest to be processed on site.
page 111
ATMOSPHERE STUDY: COURTYARD GARDEN
1:50 SECTION
RHYTHMICS OF USE- COURTYARD
SUMP TANK
FILTER TANK
1:50 SECTION
AQUAPONICS SYSTEMS
page 113
BEIJING HORTICULTURE EXPO 2017, CHINA The wooden village designed by Panda studio for the 2017 Horticulture Expo in Beijing is a modular construction creating over 30,000 square metres of exhibition space. The main aim of the proposal was to create an alternative to the traditional form of a pavilion, creating an architectural design that provides exhibition space both inside and outside as in itself becomes part of the exhibition. The design has no prescribed route leading through it and the visitors can choose their own path. Entertainment areas consisting of theme gardens, playgrounds and ping-pong tables are dotted around the proposal, creating informal spaces for social interaction. The architects believed that the space should be explored by the visitors, without a one guided route leading through it, to create more personal bond with the installation. The modular system allows for a range of different layouts and combinations.
page 114
Paths leading trough the exhibition
Proposal overview
Sketch exploring the relation of structure to the building
page 115
ATMOSPHERE STUDY: EXTERNAL WALKWAY 2ND FLOOR
1:50 SECTION
PEOPLE'S MOVEMENT IN TIME
1:50 SECTION
RHYTHMICS OF USE- EXTERNAL WALKWAY page 117
ATMOSPHERE STUDY: EXTERNAL WALKWAY 5TH FLOOR
INFORMAL SEATING
VISUAL LINK
PHYSICAL LINKS
ALTERNATIVE CIRCULATION
VISUAL LINKS
RELATION BETWEEN INSIDE AND OUT The external structure with a series of walkways creates an alternative vertical circulation for the building. It allows the students and the residents to enter the school and the residential floor without entering the main civic spaces of the building. The structure also allows for the introduction of series of pocket spaces for informal social interactions, such as informal platform seating. The location of the structure on the rear facade allows for the creation of a connection between the main, formal programme of the building and the informal programme of the centre. The levels of the external walkways match the levels of the floors inside the building and allow to peek into main spaces, such as practice rooms or the library. The visual connection creates an opportunity for integration of the two programmes: musical venue and civic education.
page 119
ATMOSPHERE STUDY: OUTDOOR CINEMA IN THE COURTYARD
VEHICULAR ACCES TO CAR PARK
OUTDOOR CINEMA
INFORMAL SEATING/PERFORMANCE AREA
URBAN FARM
OUTDOOR CIVIC SPACE The external courtyard acts as an outdoor civic space, providing space for informal outdoor performances. The blank wall of the existing building adjacent to the site can be used for an outdoor cinema during summer months, with the wooden steps in the garden and the external facade structure acting as the seating. It can also be used as part of the exhibitions as the gallery space is directly connected with the courtyard. The wooden steps provide an informal setting for external performances, with a large decked area acting as a stage. The courtyard also provides space for gardening and an urban farm that compliments the residential urban garden located on the 7th floor. The city farm can be accessed both by the residents and the local community, providing a space for integration between different social groups. It can also be used as an educational facility for local schoolchildren to teach them about agriculture and selfsufficient food production.
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ARB CRITERIA
I have attempted to cover most of the ARB assessment criteria with my work during this semester. It has aided my own assessment of the work over the past few months against the criteria required by both ARB as well as the module criteria listed in the module handbook.
GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. The proposed building combines the elements of aesthetics in form of usage of patterns and ornaments with a technical resolution of requirements such as ventilation or acoustics.
GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences Understanding of the history and theory of music in context of historical migration in Vienna. Looking at psychology of creating communities and integration of minorities by creating social events relating to arts and culture.
GC3 Knowledge of the fine arts as an influence on the quality of architectural design. Understanding of cultural importance of patterns in context of both Vienna as well as ethnic minorities. Adaptation of the fine art into architectural element used as a form of relating the physical manifestation of the building with the art tradition of different communities.
GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process. The proposal works with the urban context of the Ringstrasse and Stadt Park while also relating back to the urban scale studies from semester 1, creating an understanding of relations between different parts of the city.
GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. The proposal aims to create large civic building with pockets of informal, human-scale spaces such as the teaching areas, library or the residential quarters. The informal circulation located at the rear facade explores active relationship between building and the users and aims to create an architectural, open civic space.
GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. The aim of the project is to look at the different ways we can approach the social issues of refugees and migrants integration, through introducing more culture exploration centred approach. The projects aims to understand how the architecture can create spaces that would help with creating a community feel and a civic space.
GC7 Understanding of the methods of investigation and preparation of the brief for a design project. Understanding different requirements of the type and scale of the proposed building, such as core spaces and services, acoustics, circulation that have to effectively be incorporated into the architectural proposal. The project aims to respond to the main questions posed by the studio brief about creation of cultural music venue in context of the urban research conducted during the first semester.
GC8 Understanding of the structural design, constructional and engineering problems associated with building design. The proposal aims to create space where the technology is well integrated and helps in achieving the architectural ideas and concepts, as well as responds to the technical requirements of specific spaces such as practice rooms or auditorium.
GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. The design and internal layout of the proposal aims to create a sustainable building that benefits from natural daylight and provides opportunity for natural ventilation. The external courtyard creates a micro climate that improves the comfort of use of the external facade structure. Elements such as modular facade shading help with the issues of sun glare and overheating. page 124
CRITICAL REFLECTION
This semster has influenced my understanding of how the design can be positioned within the wider context of urban scale design as well as the impact and importance of research during the initial stages of the design. I have been influenced by the issues studied during the first semester, which allowed me to focus my research on relations between architecture and socio-political issues faced by the city's communities. It has been an interesting study approach to look at these issues through the context of music and the cultural heritage of music in Vienna. This approach allowed me to think about the process of design research in a more abstract way, leading to studies of psychology of communities and the importance of music in migrants minorities. I have been intrigued by the historical study of the development of the Ringstrasse and the radical urban scale changes that Vienna underwent over the past 200 years. I have found the historical study very helpful in defining the initial steps of my design, as usually, especially in an office environment, I did not have an opportunity to spend that amount of time to study the history of the site. In my opinion the understanding of socio-political as well as historical issues surrounding the part of the urban fabric we were working with enriched my design process and helped me in defining the brief for the proposal. The understanding of different perspectives helped me in positioning myself as a designer in the context of needs and requirements of different social groups in the city. Basing my research on the initial urban studies from the first semester I was able to draw links between the representation of the Ringstrasse by the tourist board and the idea of alienation of the residents of the city from the urban fabric due to representation aiming for financial gain by tourism. The series of requirements set out in the brief as well a the theme of cultural assemblage, helped me in defining the project's main design drive. This semester challenged me to create an architectural proposal that not only responds to the technical and spatial requirements, but also tries to address a wider set of social issues. It encouraged me to think about architecture as a way of creating physical solution to many invisible problems in society and aiming to create a building that not only works in the sense of providing shelter and accommodation, but also creates a new and exciting civic platform. In the context of recent issues connected with class and race segregation as well as in the light of Covid-19 outbreak, I think that it is now more important than ever to think of creating architecture that can offer solutions to the problems faced by society. Architecture has a large platform to create spaces that can help bring communities together and aim to dissolve the barriers faced by many displaced or overlooked groups.
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COVID-19 IMPACT
This semester has been heavily impacted by the outbreak of Covid-19 in late March. The remote delivery of the rest of the academic year has impacted my ability to develop the project to the standard I would try to achieve while working in the studio. As a person, who works almost exclusively in the studio or workshop environment, the first few weeks of lockdown have been difficult and I have spent a considerable amount of time trying to adapt to the new way of working. Due to different rates of the outbreak development across Europe, I have not been able to travel back home, as my country closed the borders mid-march, before the lockdown measures were announced in the UK. Staying in the UK with no access to studio has impacted my productivity as I am sharing a small studio with another student and the lack of space and proper working environment has impacted my ability to focus on work. Additionally, no access to workshop and lack of printers and scanners has affected the way in which I am working, as normally I would overlay print outs and my sketches during the initial stages of the design. It has also affected my ability to create sketch models, which I normally rely on during the design process. Overall I would say that lack of access to the facilities as well as lack of the studio atmosphere has negatively impacted my productivity over the past semester. I do enjoy the studio culture and I find interaction and support of other architecture students invaluable during the design process. While I do appreciate the quality of remote teaching delivered by the tutors and the creative way of using digital tools to convey the ideas and lead the design conversations, I have struggled due to the lack of face -to-face conversation.
Group site model before the lockdown
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