Colombia pavilion

Pavilion

Grandstand and Rooftop Garden: Bringing the outside in - A tropical haven for wildlife and growth.

‘I value my garden more for being full of blackbirds than of cherries, and very frankly give them fruit for their songs.’

Joseph Addison - ‘The Spectator’

COLOMBIAN PAVILION - MEDELLIN GROUP 5 - GRANDSTAND AND ROOF TOP ARBOUR Megan, Akmal, Joanne, Lilian

Photograph of the complete pavilion model at 1:10 scale. This is the final result of the eforts of all teams, to produce a piece of work to persuade those on the local governing body, to give the project the go ahead.

1 - The Pavilion - Introduction ‘The Commission: We have been commissioned to build up a full scale outdoor pavilion. Colombian students, together with their tutors, will build and design a second pavilion. The relationship between both pavilions will be a reflective issue introducing the concept of harbour that will be widely developed within the Harbour project.’ This ended up becoming a project of convincing, a persuasive argument for the governing body of the area of Medelin, to build this pavilion as a full scale interractive installation. The decidsion to build will be taken in the New Year (2013), and so our job became prototype makers of our designs, using local materials, resources and skills to create a pavilion nobody could say no to.

Pavilion

Section 3

Section 4

Section 5

Section 6

Section 7

Section 1

Section 2

Above is the complete site plan for the area, with the section lines highlighted. (See sections below). Its transformation marks a new and exciting movement in Medellin, the design and use of public spaces in the City.

Section 1

Section 2

Section 3

Section 5

Section 4

Section 6

1 - The Pavilion - Site and Conditions Above shows a complete plan of the park where the design is meant to be placed. Highlighted on this plan there is the pavilion, as well as the abundant foliage and activities that already take place within the grounds. This will be the skill of the design, to keep all of these aready existing functions, and add tot he nature and personality of the park.

Below the complete site plan are some sections of the site. These cut through the different zones of the park as will be detailed further along in the portfolio. Along with the weather conditions that can be changable and unpredictable within the tropical climate of Medellin, the ecological conditions also have to be addressed efficienty within the proposed design.

Section 7

This is the modern and ongoing plan for the park. Above is zone 4, the area that is offered for the pacement of the pavilion. This area did not always look so green and incorporate ecologyso naturally as it does now, its past has been an industrial one, and its future will be the opposite.

For the past decade the plan has been to relocate heavy industries in rural areas to the outskirts of the city, while the interior of the valley is used primarily for residences and commerce. “Ciudad del Rio�, is the name given to these areas, it is an example of this new goal as it entails a massive transformation from industry to residence and recreation in a couple of years.

1 - The Pavilion - Site To the right is a plan of the pavilion and its intended position within the park. As you can see, it falls into the segment that is labeled zone 4 - This is the furthest from the museum and has an area of massive and dense vegitation, and therefore abundant shade. Social substance use is notuncommon here, with the area being used mainly by students, street artists and musicians, who see he park as a cultural exchange platform.

Within an industrial area of the City, with many different political and economic issues, a comprehensive development plan has been taking place around the public spaces in Medelin. Between the economics and profitability of the new public space initiative, has emerged a vital public space. Ciudad del Rio has become a “messive urban reference point to the people�.

Within the park there are many invisible boundaries dividing the land into 4 zones, which lend themselves to differing cultural and recreational activities:

ZONE 1: Nearest to the museum, with hard ground and few trees, which means not a lot of shade. There is one of the only childrens playgrounds in the area, and so the users that frequent this space are families mainly with young children. Dog walkers and people keeping fit also use this space by night.

ZONE 2: Has a 360° stage to host cultural events, with well established vegitation that provides this space with good dense shade for the hottest times of day. Young people inhabt this space the most, and it is quite common to see picnics taking place in good weather.

ZONE 3: Defined by sports and frequented on a daily basis by people skating, roller skating and BMX-ing, with yoga groups often found here too. It is the smallest section within the newly planted area, and so foliage has yet to take hold.

ZONE 4: This is the furthest from the museum and has an area of massive and dense vegitation, and therefore abundant shade. Social substance use is notuncommon here, with the area being used mainly by students, street artists and musicians, who see he park as a cultural exchange platform.

1 - The Pavilion - Ecological Preservation It is important - despite the lack of public spaces within Antioquia in Medelin, to preserve the ecological qualities of the area, especially the green spaces and parks. The trees, those already existing, and those that were planted new, were the one major considerations when designing the Ciudad del Rio park. Existing mature trees, make the park and its development, seem like a well established ecosystem in its own right.

I feel, keeping in mind all of the activities and groups of people who use the park in its existing state, trying not to diminish its use in these areas, and if anything promoting these functions and aditional users and functions through the entire pavilion design, that our design that was worked upon for the grandstand, roof garden and ventilation space, not only managed to achieve this, but in a way that will produce exciting and new posibilities as the structure and all those that inhabit it, matures.

Zone 1

Zone 2

Zone 3

Zone 4

1 - The Pavilion - Ecological Zoning As previously described, each zone of the park plays a part in the already existing users lives, whether it be to meet with friends, or to play with the children, to simply enjoying the green open space. When designing the pailion, and especially keeping in mind when designing our grandstand, ventilation, roof garden and open stair area of the pavilion, that these functions that organically happen within the space as it is at the moment, need to be kept and enhanced, not inhibited and quashed with the addition of the shelter.

1 - Pavilion - Forna & Flora Out of the 52 species of trees and shrubs that exist within the park, 24 of these species are categorised as ‘neotropical’ plants that attract birds. The above diagram was supplied by the Medelin pavilion group, and highlights the tree and animal species within Cuidad del Rio. Below are some facts and figures about the species on the pavilion site: - Type of bird by %: 50.7% - Nectar eating birds 27.6% - Fruit eating birds 12.7% - Seed eating birds 9.7% - Insect eating birds

- Numbers of Neotropical plant eating species: 13 - Fruit eating birds 5 - nectar eating birds 4 - Insect eating birds 2 - Seed eating birds

Petula Pine originates in Mexico, and so is not native to Colombia. It thrives, though, as like may other areas in South America, Colombia has the abundant sunlght it needs for growth.

Cipress Pine is native to Eastern Europe and West Asia. Unlike the Patula Pine, it demands more specific conditions; direct sunlight, a temperature of at least 15 degrees, and an anual rainfal of 1500 to 3000mm.

PLANTING

Petula Pine originates in Mexico, but need 100-300mm of rain to thrive, and so grow well on the hilld of the valley around Medelin. It hates strong winds, but has a very high tollerance to frosts.

The bark of the tree has distinctive markings, becoming dark brown and cracked several years into its maturity.

GROWTH

Pine ggrows swiftly, at around a rate of 1.5 meters a year in optimum conditions.

FRUIT

SEEDS

The pine produces fruit in the form of cones, that drop to the floor and become seeds for new growth.

The seeds are held within the cones.

Whem the cones fall they dispurse and produce new growth.

FOLIAGE

The foliage takes the shape of long needles that hang downwards. They are sometimes used for medicinal purposes.

1 - Pavilion - From Seed to Product There are many stages between freshly planted seeds in the ground to Petula Pine as a finished product ready to be used as a construction material. Forst there is the ethical planting and felling of the trees within Government certified plantations.

Firstly cones are harvested and dried. Then, the seeds are extracted from the cones, dried and classified. The seeds are then planted and germinate. As these pine grow, small pine that grow from fallen seeds and germinate naturally, are felled as saplings, to reduce competition for light and water. This pine is not wasted though, and used for such things as fences. Pruned branches are also used for kindling within the smaller drying factories, so nothing produced by the Petula is wated.

When the Patula is fully grown (about 15 to 20 years old) and ready to be felled, they are cut down in inverted triangles, thin strips or squares depending on soil and slope, in order to reduce the risk of landslides (see opposite). The site then needs 10 years to recover, but reforrestation occurs, transformation into structural sawn wood, transportation, immunisation and then the commercial process of using within structure.

EXISTING PLANTATION OF PETULA PINE IN ANTIO QUIA

At each stage of the process there are bi-products. After cutting and sawing, sawdust is produced, which can be pulped to produce paper, chipboard and matting.

1 After de-forestation comes re-forestation Opposite is listed the production process of Patula Pine, from felling to structural element.

In Colombi, and especially Medellin, up in the hills, there are many small workshops where Pine working ans sawing takes place.

2 Transformation from logs to cut timber.

3 The comes the imunisation process.

4 The commercial process of cutting the wood to size.

5 Then we are left with the final product for building.

1 - Pavilion - Final Product The above isnt just a process of getting timber from the tree to the construction process, but a major means for employment within Colombia.

By using this pine within our design for the pavilion, we are not only using local produce and so; saving on transportation and pollution, creating a physical link between the construction process and final product with the surroundings, but also nurturing the local industry of wood workers.

Wood Fuel

Wood shingle and chips

Roundwood Pulp

Bi-products f board, paper and celulose

Cortex Sapwood Sawlog Roundwood

Radial

Tangeal Oblique Marrow

Sawtimber and Roundwood

Heartwood

SAWN LUMBER

SAWN WOOD

Root System

Above are the types of timber planks cut according to their orientation within the trunk.

SAWN TIMBER

CYLINDRICAL TIMBER

1 - Pavilion - Cut Timber The above shows the process of sawing the timber into usable chunks, from tree to building material.

Within the pavillion design, we aim to use these provided sizes and cross sections to create an imaginative yet usable public space.

Those cuts indicated with a: pavillion section.

indicates those cuts that we used within the design of our

COLOMBIAN PAVILION - MEDELLIN

GROUP 5 - GRANDSTAND AND ROOF TOP ARBOUR Megan, Akmal, Joanne, Lilian

OVERALL PAVILION DESIGN AND EXPLANATION

Within group 5 we have tried to create an atmosphere that extends from the more closed in part of the pavilion (where the office and storage is located), and the more open end, (where the grandstand and stage balcony is located).

Our proposal is to create a hanging garden above head. The primary structure supports a roof structure. This roof structure then supports numerous verticals that will, above the roof, create a structure for trellis to be mounted, where the plants will grow and inhabit. This roof structure will also create a frame in order to hang hammock fabric growing sacks, as well as hanging baskets from.

Below the roof structure, these verticals will protrude above head height, creating an undulating interior landscape. We propose that these verticals will act as mounts for the bird boxes, as well as structure to support a maintenance and access walkway on one side, (with a ladder mounted between two structural verticals). We would like these verticals to be decorated with traditional molas designs at the bottom, and be able to be touched and navigated around by the users.

The cladding that will stretch the length of the pavilion at ballustrade height, from the office and decking at the top, to th ground following the slope of the stairs, will be constructed of woven plastic tubing. This can be found as off-cuts, or as a cheap material within Colombia. The idea being that the tubing will add colour and personality to the pavilion, as well as acting as a safety barrier between the stairs and a drop to the ground. The water, that is not only directed away from above the users head from beneath the hanging planters by sloped perspex sections, and run off protected from falling on heads by a roll out waterproof membrane (that is hooked onto the verticals above head in case of rain, forming a tent), but the rainwater run off will fall down the plastic tubing, with little worry of rotting them away.

The stairs aim to provide an open air grandstand area to watch theatre and projections from the balcony opposite.

Along the stairs are hammock seats which allow audiences to sit and enjoy the shows. There are seats for one person or a couple. Seats that hang down along the length of the stairs, sit slightly lower than the stair level itself, allowing easy ccss into tnad out of the seats. They can be swung to the side, and attached to hooks on the main frame when performances are taking place, and sliding covers that follow the contours of the stairs, slide over the gaps inthe floor. There is a large, more fixed hammock chair at the top on the decking, allowing for couples to sit and relax.

The first five steps on the stairs are flipping treads, which can be flipped to vertical positions to prevent people from accessing the pavilion when it is not in use.

PAVILION GROUP INITIAL DESIGN OUTCOME: THE PROCESS

Megan (Me) Yr5

Akmal Yr4

Lillian Yr4

Joanne Yr4

Elements taken from Dwellings design

Associated words: - Story Telling - Permeabiity - Intimacy - History

- Reconfigure - Suspension - Permeability

- Reconfigure - Enclosure - Modular

- Enclosure - Fragility - Teetering - History

- Permeability - History - Theatre - Intimacy - Reconfigure The above word are a combination of elements our group felt all designs and models for the three dwellings incorporated. These were the words we used to first start designing our initial pavilion design.

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2

My initial sketches for the first design attempt for the pavilion 1:10 model.

Sketches 1 and 2 depict initial ideas accumilated from the groups designs, showing permeable enclosure and structural considerations for roof garden and public space.

1 - Pavilion - Initial Design The above design is the first attempt at puting all desired aspects of the group’s work together into a 1:10 pavilion model design. Taking the design aspects we most favoured of each dwelling, we each went away separately and came up with initial sketches for the initial design. This then manifest itself into a very sketchy attempt at modelling.

We descovered, although each aspect we were looking at we were all quite fond of, we had to distance ourselves more from our original designs, and create a new design taking the key aspects of the ideas, rather than the literal translation of these from the dwellings.

The above shows how this process took place.

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This sketch depicts a roof system that will become the main structural module for the design of the entire roof within the final design.

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Verticals

2

Ladder

Panels

Structural Verticals

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3 5

Decks

Structural Connections

6 12 Suspension Cables

10 Stair Treads

11 Turning Handles

8

Stair pivot

[Academic use only]

MATERIALS LIST 1 - Sawnwood cuadre of 4 x 4 cm 2 - Sawnwood stringer of 4 x 8.5 cm 3 - Sawnwood duplex tablet 4 - Cylindrical timber alfarda of 5 cm 5 -Sawnwood planks 6 - Sawnwood stringers 7 - Sawnwood planks 8 - Steel rod 9 - Hammock fabrics 10 - Sawnwood duplex tablet

1 - Pavilion - Materials List The wireframe of the design above itemises the materials from the pine product that we will be using.

Each produt will suit th cause for the design as naturally as possible in its raw state, without having to cut it doen and manifacture into an elaborate piece of timber, therefore wasting as much that is used.

The beauty of this design is that the verticals forming the roof, could be constructed out of rough sawn timber off cuts, creating an organic and ecologically friendly feel to the pavilion.

The first design as seen previously, tried to incorporate the groups first dwelling designs in a quite literal fashion, whereas this design shows the amalgamation of the designs in a subtle and new form.

7 Stair stringer

9 Hammock Seats

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ROOF CONNECTIONS 1 - Roof with suspended verticals (1.1) 2 -Bridle joint on beam and principle rafter (1.2) 3 -Step ladder rafter seat on roof (1.3) 4 - Connection of roof structure to primary structure (1.4)

1 - Pavilion - Roof Details Above is a 3D model of the roof structure as it started out in the more updated design. The pages following will go through the structural decisions of each connection and design of these structures within the final model design at 1:10 that was part of the overall pavilion design in Medellin.

Structural decisions were just as important as design to us in group 5, as the aim of the project was to design something that could be constructed. However beautiful the design, if structural decisions were not at the forefront of our thinking, the activity became a pointless one.

These are the hanging growing sacks that were made for the 1:10 model. In reality, they would be made of strong woven plastic.

The below sketch is the forst raft before anything was built of how the structure could work with the trellis and sacks.

A sketch showing the positionning of the bird boxes and feeder on the verticals above the users head.

Bird feeders and boxes made of local materials as below.

Hanging hammock seats.

Shanghai Expo pavilion.

Plastic tube woven facade.

1 - Pavilion - Roof Details - Creating a Garden Ecosystem The ecology of the area was an important considderation when coming up with the design, even before the workshop in Colombia. The idea that the space would have a roof top garden, allowed us to exploit the local ecology and that of the park (explored previously). We decided that the roof structure would not only extend down into head height to create a link with the user and the roof, but also extend upwards, creating a structure to support a trellis. The plants would then be planted within hanging sack planters withn the roof grid structure, and over time would establish and grow to make ther home on the structure. This would also allow for the tropical birds, so prevelent within the area, to start to make their home within the open rooftop. As the space, as set out in the programme by the client, must be an open space to allow for ventilation, the birds could inhabit the space overhead, (encouraged by feeders mounted on higher verticals), bringing the space alive with the sound of birdsong.

Studio Weave Paleys upon Pilers inspired by Chaucer.

Painted timber on pavilion.

The below 1:10 detail shows how the verticals would be connected to the main roof structure as Vikki Church is.

Joint on model between verticals and main roof truss structure.

Below is Vikki Church in Helsinki. The modular roof design and structure used here, is similar to the effet we are trying to create within our roof structure. The difference being that the spaces between are open to the elements, and the verticals will extend down at different lengths into the head space of the user.

The scale of the pavilion is more personal.

Joint on model between verticals and top of truss, at the corner of the roof structure.

Verticals on model 1/4 in place, producing height, shade and an intimate feeling to the space above head.

1 - Pavilion - Roof Details -Verticals (1.1) The main idea behind the roof was to come up with a system for design.

Using the sketch previously for the modular idea, (above) we looked more in depth at the method of construction, in order to minimise costs and materials, but maximise experience and impact of form.

The precident of Vikki Church in Helsinki, provided us with an idea of how to create the atmosphere we were looking for, with the structural techniques to achieve it simply.

These verticals could be made from the rough cut sawn timber off cuts.

The below 1:10 detail shows how the tie beams of the main roof structure (seen to the right), are connected with the principle rafter. This simple timber joint may need re-inforcing with a steel pin plate at the joint.

Below are hand cut bridle joints within rafters used in traditional construction in England and around the world. These techniques have been used since the first barns were constructed, and are simple sturdy timber joints. I proposed we use this type of joint where the principle rafter meets the tie beam in the primary roof structure.

Main primary structure of the roof. This roof sits onto the main pavilion structure and is attached with timbr clamps.

Timber clamps connecting main roof structure to the cylindrical pavilion structure.

Clamps and timber joinst made as comprehensively as possible on the 1:10 final model.

1 - Pavilion - Roof Details - Timber Rafter Joint (1.2) These joints, not only are historically strong and durable, perffect for timber construction, but also are reversable, making the whole structure transportable. This was a key considderation within the design process, with emphasis on how the legacy of the pavilion could be continued through transportation of module to different areas of Colombia.

If the joints can come apart easily, with minimal deformation and breakage, the life of the structure can be maximised.

The below 1:10 detail shows how the roof rafters would be connected at the front and back end of the roof to the main structure.

These joints would be bolted through the section to hold them tight, and propped on the main structure.

Below are images of how the stepped lapped rafter seat fits together when used in construction at full scale.

This technique is a traditional one and really quite sturdy when using larger sections of timber.

From below, the structure would be uninterrupted and neat, with minimal metalwork to ‘spoil’ the timber.

The structure without the addition of the vertical structures. The whole roof could be detatched and lifted off complete.

1 - Pavilion - Roof Details - Stepped Lapped Rafter Seat (1.3) Stepped lapped rafter seats are created as shown in the sketch, by carving out a groove within the structural timber, that matches the inverse of this groove on the rafter. These then slot together as a neat and snug timber joint.

These rafters can be elaborated with timber overhang, or carved timber edges to add softness and craft to the design. We tried to use these techniques, as it minimises the need for excess materials such as steel, and maximises the reversability of the whole structure.

The below 1:10 detail shows how the verticals would be connected to the main pavilion structure and its cylindrical timbers.

Below are examples of how this simple bolting system when using timber works to create a strong joint.

Joint as seen from below, from within the office section of the pavilion. The verticals creating a timber curtain between the two spaces.

These bolts can be used alongside notches to create an even tighter and more structural joint.

The verticals reach the primary structure, creating a sturdy barrier that can be utilised as a ballustrade and ladder for access to the roof garden. It also has the water shield mounted onto them.

These verticals stretch down to the level of the treads on the stairs, a woven skin is then placed between the verticals to create safety barier and hand rail.

1 - Pavilion - Roof Details - Bolt Joint (1.4) This is the only joint within our design, where something other than timber craft is being relied upon.

Due to the long lengths of the verticals that stretch down, and as they are not structural, they do not need to seight bear. Therefore, the joining technique does not need to be as strong as the other timber joints in the roof. A simple notch and bolt into the main structure, as well as a connection at the bottom with the stairs, would be sufficient to create a frame for a light woven skin.

Timber bolts can also be removed easily.

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2 4

7 9

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6 ROOF CONNECTIONS 1 - Stair Stringer 2 - Connection to landing 3 - Connection to ground 4 - Suspension cables 5 - Fixed treads 6 - Flip up treads 7 - Hammock seats 8 - Turning handles 9 - Folding tables 10 - Bent timber arm rests

2 - Pavilion - Stair Details Above is a 3D model of the stair structure. This design has been updated further whilst in Colombia, with the removal of the built in hammock chairs (for safety reasons), as well as the removal of the flip up tables and levers for flipping up the stairs. There are now hanging hammock seats from the main structure, that could be fixed to the side when not being used. As well as more fixed stairs for sitting and watching the performance, with sliding surfaces to cover the holes where the hammocks poke through. This not only optimises safety, but also use at all times of the day, whether there is a performance taking place, or the space is just used as a gathering communal area.

The following pages will go through the dtails of the stair design.

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The below 1:20 detail shows the three timber stringers that form the main frame for the stairs.

Below are some examples of the type of construction of the stars. The treads will sit on top of the stringers.

A view from below on entry to the grandstand and roof garden. The rain protection sheet is rolled out and attached to protect the users.

The top image shows more refined timber treads.

Below, more log shaped treads, allowing for minimal machining.

Gaps in the stairs to allow for the hammock seats to poke through, so use and access is on an easy level.

A bracket that allows for the treads that are ‘flipable’ to be flipped up and fixed. This restricts access during the night, and so should minimise the risk of vandilisation.

2 - Pavilion - Roof Details -Stringers (2.1) The stringers will take a lot of weight, both static and moving load. They not only need to be strong in themselves, cut out of thick, strong timber sections, but the connections between the pavilion deck and the floor, also need to be sturdy.

As the two details show, the connection between the floor has to be sturdy, but also reovable. Similarly with the connection to the decking and primary structure, they must be sturdy, but reversable for when the pavilion is moved.

A view from below on entry to the grandstand and roof garden. The rain protection sheet is rolled out and attached to protect the users.

The below is a detail of the type of support cables that will be attached to the stairs and the primary structure. Thee will minimise deformation within the stair structure.

Gaps in the stairs to allow for the hammock seats to poke through, so use and access is on an easy level.

The below 1:20 details show the measurements and configurement of the stairs at the joints to the main frame structure.

A bracket that allows for the treads that are ‘flipable’ to be flipped up and fixed. This restricts access during the night, and so should minimise the risk of vandilisation.

1:10 connection to the deck

2 - Pavilion - Roof Details -Cables and Suspension (2.2) Within the whole design of the grandstand and roof garden pavilion, there are many elements that are not fixed, but grow and are suspended allowing for an organic and user manipulated space to appear.

- The hammock seats - The Suspension cables for support of the stair - The hanging planters - The growing roof - The bird feeders and boxes - The performances to watch - The manually opperated rain shield.

All together these elements, that are used and influenced by those who use or inhabit the space, create an exciting and ever changing section to the pavilion, that not only provides the practicalities of somewhere to sit and natural ventilation, but also a fun and interractive space.

1:10 connection to the ground

A bracket that allows for the treads that are ‘flipable’ to be flipped up and fixed. This restricts access during the night, and so should minimise the risk of vandilisation.

Right: The diagram indicates thre area of the stairs that are fixed boards. Along with the deck at the top of the space that continues throughout the whole length of the pavilion, the top treads are fixed to the stringers.

Left: The diagram shows the treads that can be pivoted to stand vertical at sun down. By tilting one, they are all connected by a wire, and all follow suit. They can be pinned in place with a simple timber post.

2 - Pavilion - Roof Details -Treads (2.3) The stairs needed to be kept as simple as possible, but with added features of the hanging hammock seats, as well as the flipping boards for safety and reduced access at night.

The solutions thought up relating to these issues were simple manual ones, where a small action creates a greater effect.

Spring

Summer

Autumn

Winter

Above is an exploration of the final pavilion design through the changing seasons. The key to this design was that, hopefully, the space can be used throughout the seasons, come rain or shine, the space is open to the public.

Below: is a complete structural update of the design after the workshop in Medellin. The structure is clearly shown in the final state of completion.

Left: is the completed section of model after the Medellin workshop finished and below that how it fitted in with the rest of the Pavilion as a whole.

It is hard to form a critical viewpoint, as we have put a lot of effort and heart into the design as a group, but I feel we all worked together well to fulfil the brief in an imaginitive as well as practical way. We answered not only the questions of reversibility, ventilation and seating, but descovered along the way some unexpected pleasures.

Access Ramp

Entrance

Kitchen Furniture Theatre

Above: Th completed pavilion as it was left in the Art gellery in Medellin.

2 - Pavilion - Final Design After Medellin Trip The whole group were pleased with the outcome of our section of pavilion, due to the considdered design we tried to create as well as the hard work put into realising the whole group’s vision. We all felt quite sad leaving the pavilion in Medelin, but we hope that the legacy of Colombia and London students working together to create a new form of public architecture, that the board will be convinced of it’s importance within the Medellin area, and throughout Colombia, and push for it to be built.

Grandstand

Office

Above: Process of constructing main frame of grandstand section, from existing structure to group 5’s design.

[Academic use only]

Short Elevation

[Academic use only]

[Academic use only]

Short Section

Floor Plan

[Academic use only]

Long Section

Long Elevation [Academic use only]

2 - Pavilion - Evolution

Above are the technical drawings that we supplied for the document for the local Governing body deciding if the pavilion should be built. They were all drawn at 1:20 @ A2.

This page tries to show the process of construction and design that took place in Colombia, from the initial frame structure through to all of the deisign decisions that were made around the three main considderations. These were the roof, the woven elements and the stairs. Each of the design choices that were made interlink with each element of the design.

This page tries to demonstrate the interwoven ideas and design decisions taken whilst in Medellin. The Bartlett group as well as the Medellin group worked together to come up with some key words that would link in the adjoining section of the office space. The idea of permeability, traditional construction techniques, as well as views out were all taken forward by the Medelin students, who worked on the office space as a group.

We all helped wth the construction of the office space too.

Access Ramp

Entrance

Kitchen Furniture Theatre

Grandstand

Office

Above: The completed pavilion as it was left in the Art gellery in Medellin.

Group 6: Office Space This group worked in conjunction with our group (group 5) in order to design a closed in and private offics space, only accessed by those who have permission, yet open enough, not only to get views out over the spectacular environment surrounding the pavilion, but also views up, through the roof to the roof garden of the grandstand group. Permeability, as well as privacy were the main issues that this group had to tackle. Thatch was used for the roof to provide dense shade, as well as a layered roof to allow for views. The verticles of our group’s section, near to the office space, extended to the floor, creating a screen between the two.

Groups 4 and 3: Performance Space and Furniture These two groups also worked together when in Medellin. The Performance space was adjacent to ours and provided the screen and space for performances that could be watched by those sitting on the grandstand next door. The design was based around shaddows and light, with pieces of wood tessalating and mounted on fabric, to form a section that at night glows and in the day provides a shaded space for workshops also.

The seats provided in this space, as not needed all the time, can be counter-weighted into the ceiling space.

Group 3 carried on from 4, with a space that allowed for public workshops and talks to take place, but designing a facade that allowed furniture to be pushed away into the walls, forming a closed structure when not in use.

Groups 2 and 1: Kitchen and Entrance Ramp Both these groups worked together. The kitchen group had the hard task of providing a space which not only allowed for cooking and storage, but also public access dring the day, and security at night. They devised a design that included a water wall and a smoke wall. Water would be collected and tored on the roof, and filtered down one side of the facade to the kitchen based suspended under the first floor. The smoke from cooking would then oppositely, escape up a flu situated on the other facade.

The entrance group devised a system for the cladding which involved geometric shapes, allowing for inbuilt shelving and storage. They also used the idea of filing the furniture away into the facade. The ramp for entering the pavilion was situated here, and a drawbridge for security at night. The ramp, being almost 25m in length, was supported beneath by structures made of old cable reels.