MATTHEW SMITH
130207573 STAGE 3 2016-2017 ARC3001
ACADEMIC PORTFOLIO Newcastle University
Rituals and the Un c on s c i ou s The rituals and the unconscious studio involved two design project; the japanese
tea house and the architectural institute respectively. The real ethos of the studio became clear to me through the architectural institute graduation project where ritual was used to aid in the understand of elarning and how one learns, where as the unconscious was more ambiguous and was different depending one ach studio with allowed us all to explore different aspects of architecture and to show our true interests in architectural design.
Contents Design Summary
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Manifesto
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Bernard Tschumi
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Architectural Institute AI AI1
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AI2
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AI3
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ARC3001 Integrated Technology Part 2
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Japanese Tea House JT JT1
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JT2
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JT3
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Finland Trip
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Thinking Through Making Week
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Charrette
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= new work
Architectural Institute Among the trees alongside, Collingwood Monument, our assignment was to design an architectural institute with a chosen craft in following in the creation of our design. By following the rituals of education we had to consider the relationship between the tutors, pupils and support personnel. Through the use of our manifesto our unconscious rituals were expected to be exposed. Following a diary of personel rituals, there was a clear direction which could be taken forwards to aid in creating the design.
Design Summary In my approach to third year, I attempted to
start looking at things in a more logical process than previously. Usually how I design is by looking at the context and create architecture from that. This is what I have done since the Urban Delights project in first year. This carried through into third year as even when going to the site in, Tynemouth I immediately began to read the environment in a different way than what was obviously in front of me. I felt this tied in well with the, Rituals and the Unconscious studio, as the ritual, in the case of my process, was using my method of creating architecture and learning how to inform my design. Whereas the unconscious element could be represented in the way, I attempt to convey the environment into architectural objects, as, like the unconscious, it is not immediately obvious why someone could get an impression of something that is not there. That is something that is not in my control as I am not aware of how my thought process works, therefore my unconscious is aiding in creating architecture and representing the site in a way that reflects my ideas. Therefore, through the year I was able to understand my unconscious and how it works. While researching I came across theories such as, the hermeneutical cycle and serial vision, which I was easily able to integrate into my design process when creating the large area of
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my design, as well as architects such as, Bernard Tschumi, who I took inspiration from when analyzing the site. This way of analysing then helped me inform the way I could create the building Through the diary exercise, I was able to monitor my daily activity and how this could affect my design process. As the graduation project was an architectural institute it proved helpful to inform the layout of my design. The main focus and craft of the diary was to take photographic images as often as I could as this was a ritual and hobby that I already had, where I was able to join with my graduation project as the craft of the school was photography. This portfolio shows the process that I took through the academic year. The design of the portfolio is meant to emulate, Bernard Tschumi’s, The Manhattan Transcripts, in its layout of chapters as this easily meant I could explain my process in a story format, which is how I approached the work to create more of a logic and order in my process.
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Manifesto Through using the craft of photography in
an architecture school, the main focuses for design are moments, frames and serial vision. To aid with the experience of the building in relation to the site and photography a narrative will be used to explain the experiences and moments captured within the building. Inspiration for the narrative is taken from Bernard Tschumi’s, The Manhatten Transcripts. Through this book he explores the journey of a murder through architectural photographs, plans sections and conceptual images. “… to introduce the order of experience, the order of time – moments, intervals, sequences – for all inevitably intervene in the reading of the city.”1 Using this quote an
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idea of how to read the site can be suggested by replacing the idea of the city with the site itself. Using moments of the site can be used to create either experiences or possibly physical architectural design inspired by the trees on the site. “Rather than merely indicating directional arrows on a neutral surface, the logic of movement notation ultimately suggests real corridors of space, as if the dancer had been ‘carving a space of a pliable substance’.; or the reverse, shaping continuous volumes, as if a whole movement had been literally solidified, “frozen’ into a permanent and massive vector..”2 From this we can begin to understand how the journey of the photography may be actually carved into the site or taken as a literal path through
the building to make the narrative a physical moment and experience. When thinking about how the create serial vision using ‘frames’ “…it does not depend merely on a single frame (such as a façade), but on a succession of frames and space.”3 This aids us in creating ideas of how to guide people through the building and experience the moments that will have been led out for them. To guide people through the site “puctum’ will be used. ‘Punctum’ is the part in the picture which the eye is attracted and drawn to4, to adapt this to the site however, the punctum will be taken as points of interest such as surrounding monuments.
Using individual moments a whole building can be created. This can be done by using a hermeneutical approach. “The hermeneutical circle has to do with the circular relation of the whole and its parts in any event of interpretation. At first viewing it would seem that we cannot understand the meaning of a part of a language event until we grasp the meaning of the whole; and we cannot understand the meaning of the whole until we grasp the meaning of the parts.�5
1. Tschumi, Bernard. Manhattan Transcripts. London: Academy Editions, 1995. Print. P9 2. Tschumi, Bernard. Manhattan Transcripts. London: Academy Editions, 1995. Print. P10 3. Tschumi, Bernard. Manhattan Transcripts. London: Academy Editions, 1995. Print. P11 4. Barthes, Roland, and Richard Howard, camera Lucida: Reflections On Photography, p42 5. Snodgrass, Adrian, and Richard Coyne, Interpretation In Architecture, p35
For more detailed explanation of my method of working please see Theory into Practice Essay, Creating Architecture through the aid of Photography and Architecture.
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Bernard Ts c h u m i Bernard Tschumi has been the main architect I have looked at through the academic year, especially for the graduation project. The main precedent I have taken from his work is from, The Manhatten Transcripts where he uses a series of images, plans, diagrams, sections to illustrate the journey throughout the book. Therefore I will take inspiration of this and layout my portfolio in a similar way to tschumi. At the beginning of each chapter there will be a small part of a story I imagine would be appropriate for a visiting photographer to the site and the journey he would take.
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Figure 1. Example of Tschumi’s work from The Manhattan Transcripts
Figure 1. Tschumi, Bernard. Manhattan Transcripts. London: Academy Editions, 1995. Print. P17
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AI1 “The
photographer overwhelmed with his surroundings, unable to fully comprehend the large amount of information facing him. He began automatically taking pictures, traveling while doing this. Manoeuvring through the tress noticing; moments, frames, punctum, which reflected his inner interests in his craft of photography. Thus he knew he would continue through the organic frames, following the moments only he would notice, but what will be created from this and what will he discover ...�
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School Ethos The ethos of the school is to take inspiration
from nature and the surrounding context. This will be tought through the craft of photography as it offers a view of the world which can be interperated through moments unique to the designers individual experience. Another element of the ethos of the school will be to encourage interaction between the photographic community and the students, which could potantially enable the faster development in the understanding and use of photography.
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Craft;
Photography The craft with which the school will be
focusing on will be photography. This is due to photography giving the individual to show the unique experiences they encounter through moments that cannot be shared otherwise with anyone else. This includes the use of light, moments, connection through views, framing of points of interests, etc.
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S i t e
The site is located towards the south of,
Tynemouth, close to the sea. The area chosen for the architectural institute is a densly forested area, full of trush, bushes and other foliage. From walking thorugh the site there appeared to be openings within the trees, which appeared to offer potential architectural openings to be considered in future designs. From the site there are also several points of interest within view; this can also be something to be considered within the design. Also due to the formation of the trees and foliage causing openings, which can be walked through sequentially, the practice of serial vision can be easily incorporated into the site by taking inspiration from the site.
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Punctum
“In this habitually unary space, occassionally
(but alas all too rarely) a “detail” attracts me. I feel that its mere presence changes my reading, that I am looking at a new photography, marked in my eyes with a higher value. This “detail” is the punctum.”1
In the case of my architectural approach this “detail” or “punctum” will be the surrounding historical landmarks, such as the Monument and the church.
1. Barthes, Roland, and Richard Howard, camera Lucida: Reflections On Photography, p42
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When
developing the design there became a point where I began to think about how exactly to include moments and punctum within it. Here are early examples of moments within the building, which then were developed in a later stage. They were there to create a point/ moment/ punctum within the building would attract people attention and somewhat juxtaposed the surrounding area, either with materials or focusing purely on that element.
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Serial Vi si on Due to the amount of trees on the
site, which could be considered as frames or doorways, it creates a clear guide throughout the site. This aids with serial vision and can be easily kept within the design to create simple circulation. There are points on the site which could be considered as landmarks and have potential to be explored architecturally.
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This diagram shows when entering the building how serial vision has been incorporated in the organisation of the building. The dotted line shows how the person gets to the studios (left) or to the exhibition space (right).
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S i t e Analysis My approach towards site analysis is two
fold. One is taking inspiration from, Bernard Tschumi and the way he analyses New York through architectural photographs, sketches and conceptual images. The second is regular site analysis as well as taking the views of the surrounding area into account, which will go on to aid in creating the shape of the design.
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When analysing the site, a method
was used similar to, Bernard Tschumi, whereby a path was taken as the journey and from this analysing the different layers of the site became simple. The diagrams show the site in plan sections showing the position of different strees and how the journey emerges the further up the site you go. By doing this moments appears which could then be used either as doorways, coridoors or other architectural respresentations.
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From analysing the site in layers I was able
to create three main walls to the structure of the building. They respresent the lines that were created where the site was cut in plan. From that, using the points where the points of interest (the monument and the church), views were created through the walls which would enable people to experience different moments as they move around the building andthrough the building.
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AI2 O
“ nce away from the site to reflect his experience, the photographer, revises the images taken. He notices easily translatable elements from nature to architectural language. From this he begins to explore. He explores 2 dimentionally and 3 dimensionally to ensure he fully understands the relationship between, nature, photography and architecture. Through exploration he creates ...�
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Hermeneutical Consideration
A hermeneutical cycle is to consider the whole as individual parts and one cannot fully understand the whole as parts until one understands the parts as making up the whole. This was explored within the process from image from site to drawing to model to explore how the entire building can be created by creating architectural language of images from individual parts of the site.
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Using
hermeneutical consideration I was able to create architectural language, through a series of images, drawings and models. From this within the final design moments of the building are designed specifically from these images. The photomontage on the opposite page was created through this process and represents the entrance space of the building, which is placed within the same space and area and the initial image. The light enters the space at specific times of the day and year to ensure no matter how many times people visit the building the moments they experience in time are never the same. this is a reflection of the space the inspiration was taken from as it was the most open and was the only space which did not have a canopy over it.
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Again using the hermeneutical consideration of the site, more spaces where created which could be placed within the building.
On the opposite page another photomontage shows an interior of the building. This space shows how the walkway connects the internal and external in the design. This reflects the ideas from the original drawings and models as this also gave me an impression of connecting spaces and there being a higher level to the design which aids in making the journey the photographer takes through the building more memorable. From this connection point it is also a good moment to take photographs.
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When creating the design,
initially I began massing spaces to begin to get a sense of direction with where I was going with the design. I began by suing the idea of serial vision and levels to create different spaces, while thinking about how to connections with the spaces could be cretaed. I also experimented with these models using light which allowed me to begin to create moments of light instead of creating a larger area covered in direct sunlight.
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As I began to think about space,
I experimented with models, using the journey taken from the site as well as hermeneutical consideration to try and create a logic to the layout of my design. By using different scales I was able to experiment with space and how this could be used to create moments and to guide people through the building. The larger models would help with the journey and understanding how movement through the space could occur. The smaller scale models, which enabled me to experiment with more compact spaces and consider how this could affect the experience of the user.
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When
experimenting with spatial models I began thinking about light, views and pathways. For the entrance space I began with a simple sketch of one ‘moment’ or ‘punctum’ and then began designing around this idea, as well as using the sites environment to help create the space. I also began creating simple moments such as, the sauna juxtaposing the larger concrete surrounding. Vision was also a key factor when creating the space as I experimenting with being able to see straight through the space before even entering. This brought all the main concepts together into one area of the building and from this I then began to use this logic with the rest of the building.
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Once I had began designing spaces hermenautically I realised the next phase would to be produce massing models to allow me to begin to build a more logical formation of spaces. I began by using the walls I had previously created, which allowed me to understand how they would interact with the dimensions given in the brief for each room and space. The roles of these models where two-fold; -one was to understand how light affects the spaces. -the other was to understand how different spaces can be seen when moving around the building. Combined they helped develop the concept of serial vision, by viewing different parts of the building when moving round it.
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Circulation
was created taking into account the walls that were created from the site analysis. From this models were made to experiement with differents routes. The final route created was taken from the journey that I took whilst on my site visit. This was then taken through to the final design and was used to create the journey that could be used by both the public and the occupants of the building.
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The
pathway through the building has a structure of a light weight steal frame with a perforated steel grate. It will be held and supported with steel wires that allow the walkway to hand in place and be secure. To ensure the pathway does not move from side to side while people are walking on it it will be anchored at either end by flooring which is supported by steel I-beams.
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As the sauna is a public element,
as well as something that can be used by the used of the building, I decided to place it at the front of the buliding for it to be easily accessible. However as approach to designing the sauna was different to the hermeneutical strategy used for the rest of the building, it seemed logical to juxtapose it from the main concrete structure and create a ‘plugged in’ element. It juxtaposes the building both by the materiality, being timber. as well as extruding from the building. The meaning behind the extrusion of the sauna is the create a ‘moment’ or ‘punctum’ within the external elements of the building.
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The
workshop space was designed with two different parts to it. One was a regular steeel framed structure where as the second (seen modelled to the right) was a concrete structure where pupils could use it for photography and well as a hidden space which could be used as a dark room. Timber beams, which continued along the entire building, were used to disperse light more evenly when entering from above. A large window was also used to allow light in during winter months when the sun is lower. Within the space that can be used to take photographs, louvres are used to ensure the space is lit with the amount of daylight the user wants/ requires.
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Studios
are designed to be inkeeping with the theme of the school orientating its ethos are photography. Therefore one side of the studios are curved to allow light into it. Experiments took place in order to make sure the angle of the walls were correct to allow soft daylight into the space. To ensure each studio gets the same amount of light the floors have been offset.
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Residential
space is for the visiting leturers. They follow a similar juxtaposision to that of the sauna as they follow a ‘plugged in’ logic. Once again extruding from the building creating moments and punctum within the facade. The residential space is located close to the entrance, yet at one end of the building because through following a linear organisation method, which came from the diary exercise, it creates a simple route for the visitors to follow.
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AI3 T
“ he explorations came to an end. Combinations of elements had taken shape to form one building. The world created within the building was familiar yet unique from what surrounded the photographer previously. The photographer felt as though his journey was over even though it remained in solid form for others to experience. The pathway he took through the site; the architectural elements from nature; the guides through the site that were symbolic turned into concrete. Through the photographers journey he created an architectural institute from the sites surroundings. Using the elements of nature and photography.�
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The basement level of the building contains the exhibition area, workshop,
lecture theatre and toilet near the entrance as well as close to the workshop. It also is the level where the ramp begins, which people use to get into the building. From this point at the bottom the entrance space can still be seenand how the light interacts and fills the space.
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The ground floor contains; the cafe area, residential space, sauna, staff rooms and
meeting rooms. Once people have entered the lobby they wll then see another doorway which will lead them through into the main space of the building. This first space will be the cafe to encourage people to eat or get something to drink on their way to working in either their office or studio.
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The first floor contains the first floor studios, seminar rooms, residentials spaces,
computer cluster and the pathway through the space. The pathway streches across the exhibition space below and is the area where the people entering the space can take photographs through the opening iwthin the building.
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The second floor contains the second level of studios, library and residential
spaces. Within the studios there is one curved wall which allows the users to be able to take photographs of models using the natural light which comes in from above.
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The third floor contains thefinal level of studios, as well as the relaxation space
for the students and the storage/ plant room. The roof of the building has different elements to it. The first is the glu-lam timber beams which stretch overhead and provide a more diffused light even though they do not have a structural property. The second part of the room is where every there is not glazing the services run through to ensure every part of the building has everything it needs.
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The connection between the building and
its surrounding is key to understanding the creation of the views through the building. Through the openings in the building, created by these views, photographers can walking through the suspended pathway through the building and take photographs of these monuments day or night.
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ARC3001 Integrated Technology Part 2 Reflection
The brief of the building asked us to design an
architectural institute in, Tynemouth. Due to the salt air of the area, as the site is located next to the sea, the materials and structures used must be able to prevent not be affected by this. As I finished ARC3013 technology module last year I did not produce much work until the end of the year for architectural technology, the forward-looking part 1 technology report was useful as it enabled me to begin to think about what kinds of materials and structure I thought would be the most appropriate for the design and the surrounding area. The main structure I looked at was concrete with timber as the secondary structure construction as this seemed to be more interesting visually and the juxtaposition of the heavy structure and the light timber frame would help continue the concept of moments through to the technology. Once I had chosen my concept for my graduation project, which was moments, I was able to choose concrete as the main structure and construction for the building. This was so it will change over time in colour and therefore will mean when people return to the building after a period of time their experience will change therefore the moments experienced by these people will be different each time. By thinking about the concept in terms of the technology it helped me to begin looking into ways in which this would give the aesthetic I desired as well as making sure it did not affect the integrity of the structure.
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When designing spaces such as the studio I had to look at different means of technology to achieve the curve I wanted. Therefore, by looking at the technology I was able to conclude using steel cantilevering out from the solid concrete inner leaf. Thinking about my design using architectural technology definitely helped me through making my design as by thinking about the structure and materiality it subsequently helped me understand where things such as, services could go within my building. The main precedent that I used for the services is The Carriage Museum in Lisbon, as the services were hidden from view of the users and were integrated into the walls and ceiling of the building. By looking at this from an architectural point of view and dealing with this problem at an early stage, it enabled me to begin working with this to take my design further and even involve the services in a similar way I integrated the structure. Within the final design the primary structure was concrete with the secondary structure being steel frame, as this made it easier to make sure that the space that extruded from the building, such as the workshop, would not be affected by the salt air. It also showed the most appropriate in terms of cantilevering space such as the studios. Finally the tertiary structure is timber where the glu-lam timber can span over the entire building and is used to disperse light evenly into the deep plan building.
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Studio Specific Te c h n o l o g y For my studio specific technology I have focused on my sauna as it is
completely different to the rest of my building.
The materiality and structure of the sauna is mainly made of timber with conrete foundation. There are special conditions that need to be taken into account for saunas, such as; ventilation and the treatment of the timber to ensure it doesn’t rot.
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10mm Treated timber render 50mm Treated timber panel
Vapour Control membrane
200mm Kingspan insulation
Ventilation grill 200mm Concrete raft foundation
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Ventilation
it important for a sauna to ensure the space doesnt get too hot as well and making sure moisture doesn’t gather and cause rot. There are a number of ways to in which the space can be ventilated. the strategy I have chosen can be seen to the right, where cold air gets in through the bottom and then as the air gets hotter it gets drawn out through the gap and the back where fresh air can get to. the hot air then gets filtered out through the concrete structure.
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Environmental S t r a t e g y and Services
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To keep the building is warm
no matter what time of the day or year it is I have decided to sue thermal mass. Due to the main structure and materiality being made out of concrete it can easily absorb the heat from the sun during the day and release it at night. As the building has a deep plan it seems this method would prove the most affective to ensure the building is thermally comfortable throughout the day.
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To
further ensure the terperature is controlled within the building there is also a trombe wall on the front facade of the building. The constrcution (from left to right respectively) is concrete, steel grate walkway to allow for the air to pass through, glazing and a glu-lam timber beam. At the base of the wall there is a gap to allow air to be drawn in which is then heated up by the sunlight, which is magnified by the glazing and then enters the buliding.
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Structure
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Glu-lam timber with cross section 500mmx200mm
Residents for visiting professors
In-situ concrete structure
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Glu-lam timber with cross section 500mmx200mm
Top floor studio
Second floor studio with secondary structure floor plate
Hanging pathway
Seminar rooms (tertiary structure)
Third floor studio with secondary structure floor plate
Meeting rooms (tertiary structure)
Lecture theatre (secondary structure)
Sauna
Concrete foundation
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raft
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1. Parapet 2. Waterproof membrane 3. Vapour control membrane 4. 300mm In-situ reinforced concrete 5. Steel tray 6. 200mm Steel I-Beam 7. 20mm Timber tiles 8. 100mm Timber batton 9. 600mm Steel I-beam 10. 500mm Steel I-Beam 11. 50mm Timber tiles 12. Vapour control membrane 13. 500mm Steel I-Beam 14. 300mm In-situ concrete outer leaf 15. Waterproof membrane 16. Gutter 17. Retaining wall 18. Services 19. 100mm steel frame 20. 200mm steel I-beam 21. DPM (Damp proof membrane) 22. Pile foundation 23. 200mm kingspan insulation 24. 200mm kingspan insulation 25. 20mm glazing 26. Glu-lam timber beam iwth cross section 500mmx200mm
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Constr uc tion and Materiality
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Roof
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1. Steel Parapet 2. 1500mm insitu concrete inner leaf 3. 300mm reinforced steel concrete 4. 200mm steel beam 5. Services 6. 100mm steel frame
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Residents 1
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1. 100mm conrete outer leaf 2. 100mm steel beam 3. 100mm kingspan insulation 4. 20mm plasterboard 5. 50mm timber render 6. 50mm timber render 7. 100mm kingspan insulation 8. 100mm concrete slab 9. 100mm insulation 10. 100mm concrete slab 11. Waterproof membrane 12. Vapour control membrane
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Studio 1
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1. 600mm steel I-beam 2. 1500mm concrete inner leaf 3. 100mm timber batton 4. 20mm timber tiles 5. 20mm timber tiles 6. Manufactured steel attachment
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Pathway
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1. Vent 2. 300mm concrete inner leaf 3. Vapour control membrane 4. 200mm Kingspan insulation 5. Waterproof membrane 6. 200mm Steel I-Beam 7. 300mm Concrete outer leaf 8. 500mm Steel I-beam 9. 300mm concrete slab 10. Steel cable 11. 400mm Kingspan insulation 12. 300mm reinforced concrete slab 13. 200mm Kingspan insulation 14. Steel parapet
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Wo r k s h o p
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1. Made in-situ concrete wall 2. 300mm in-situ concrete inner leaf 3. 200mm Kingspan insulation 4. 300mm In-situ reinforced concrete 5. 20mm plasterboard 6. 50mm timber render 7. 50mm Timber tiles 8. 100mm steel beam 9. Vapour control membrane 10. Waterproof membrane
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JT1
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Japanese Tea Ceremony The Japanese have a traditional way they make tea. The ceremony
usually is done by a woman who follows a series of specific actions to correctly and respectfully make the tea. There are many interesting features of the tea ceremony, such as the involvement of wabi sabi. However the thing that caught my attention which could be integrated into architectural language is how the person performing the ceremony. This is when the person has performed one task they place everything down carefully and there seems to be a gap or a pause in the creation of the tea. These gaps are represented opposite by the lines inbetween the actions suggesting breaks between each action. this links with serial vision and how one thing cannot be seen until you go further, similar to how with the tea ceremony you cannot have a traditionally made tea if the steps are not performed in the best succession.
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The
site, which is located within, Tynemouth close to Collingwood monument, is surrounded by a vast area filled with tress, along with residential buildings not that far away.
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When
looking into the surrounding context I noticed the moat, close to the site, actually was a good example of how serial vision could be used when entering a buliding.
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I
then took this logic and applied it to the site where I was planning on placing my tea house. I decided to locate it in this position as when visiting the site I noticed gaps within the trees that guided you through the space.
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The
serial vision through the site showed areas which could be easily interprated as gateways or frames. These gateways or frames are example of serial vision on the site, which I was then able to begin to translate into architectural language. Here are two sequential images I produced from photographs that I took of the site on the site visit. They highlight the path taken, in grey, while the red shows the frames on the site and how the site naturally guides you through the space.
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Here
are another two sequential drawings of the site which show how serial vision continues further along the site and not just entering the space where the building will be situated.
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JT2
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Guide and Void When
developing the concept further I began to follow the rules of guide and void, which followed the serial vision concept as well as the gaps taken from the japanese tea ceremony. This was created in the model making workshop where we had to begin to show our concept within one model. The models produced can be seen on the next page where, the guide is created with the white foam board to encourage people to enter from one side only. The void is then represented by the black foamboard which would stop the people entering seeing where they are heading, therefore creating a gap in the knowledge of where you are heading.
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In an attempt to follow these rules of guide and void Lines were created on the
site to understand which direction people would come and and therefore look. The lines are created by imaging someone standing in each corner and looking in different directions. From this two lines are created 50 degrees apart, which represents the field of vision (not including peripheral vision). Then from this certain lines were chosen, which became the diagram on the right. This was then taken forwards in creating more concept models of the building.
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Following
on from the creation of these diagrams massing models were made. The inital massing model can be seen as a representation of the diagram, showing where I imaged the building to be by the large mass in the middle. This was then surrounding by timber walls which I imagined to be what would guide both guests and hosts into the building.
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Through models this I began to experiment with
the mass in the centre, which would develop into the main bulding for the tea house. Through development skylights were created which was to created a gap or a void inbetween the host and the guests through the use of natural sunlight. A void was also created between the large mass structure and the thinner timber structure to allow for more natural light to get into the building.
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Through
the japanese joinery workshopwe learned about the techniques of the chidori joint which meant that you could not see exactly how the timber was put together. This gave me inspiration to think about how I could incorporate this into my own technology for the building. Therefore where creating my joint I used the serial vision concept, where when you see one part of the joint you can then see another. Example of how this is shown can be seen on the other page, where although it is the same joint, through the gap in the timber you can see through to the other side of the beam as well as being able to see different parts of the joint itself as you move around it in different directions
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In the final design the entrance of the building was different depending on the guest and
the host. Th diagrams above show the path taken by each and how they are guided around the building.
The lines highlighted in red show how the walls have been layed out to encourgae people to walk in that direction. The diagram on the left shows the entrance for the host and the diagram on the right shows the path taken by the guests.
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The timber beams act as a visual
barrier to what is above them. The logic of this is to not allow the people entering the space to see above until they have reached a certain point of the buiding. This followed on from the serial vision concept where you can see the light coming into the space but not be able to see where is it coming from.
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The final design consists on four main elements. The
first in the base where the guide is created through carving into the ground where the host goes. The second is the walls surrounding the main building block, which acts as a guide into the building by not allowing you to see where to go next until you have come to that corner. the next is the main block on the building, which would be concrete construction. The final component is the timber beams whos design will follow from what I design from the japanese woodwork workshop.
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Finland For
the process of understanding more of the kinds of things we were expected to either produce in terms of architecture, concept or method, the Rituals and the Unconscious studio went to Finland to look closely at building with a variety of uses, as well as a variety of architects, including, Alvar Aalto.
From this trip I was able to take inspiration from a lot of different kinds of architecture, especially the way in which they deal with the landscape and incorporate that into the design as if the building continues throughout the area.
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TTMW
Thinking through making week was a time I
was able to experiment with different materials. The workshop that I found the most useful was the japanese gold resin workshop. I founs this useful as I found it interesting how once something is broken it can be put back together in an unusual order. We also had a short time at the end where we learned about how to take the most appropriate photograph using the best ISO and exposure time to achieve the image to the right.
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Charrette During Charrette the group I was in had to create
a contraption which had a theme of a roler coaster. The contraption we created was based on a roler coaster that span around. We took the final creation across to a local church to try and get some footage from the camera that was attached to the end which we then edited into a video to add noises to make it sound as though you were someone actually on the roler coaster we had created.
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