STAGE 3.0
BArch Undergraduate
DESIGN PORTFOLIO Michael Choi Men Hin 130527301
CONTENTS PRIMER: Atomosphere Protaganist & Narrative Artifact Precedent Study: Museo de Arte Romano
FIELDTRIP:
La Tourette - Ronchamp - Beyeler-Foundation
STAGING: Design Narrative : Site Analysis Manifesto Concept Development Materials & Atmosphere
REALISATION & REFINEMENT: Design Concept: Materials & Atmosphere Concept Realisation Technology Intergration
INTERGRATED TECHNOLOGY: Intergrated Tech Report
CHARETTE: Navigating Indetermincy
THINKING THROUGH MAKING:
Golden Journey
APPENDIXES
E O
nclosed rder
Being in the studio titled: Enclosed Order, as its namesake might imply, we aim to analyse what monastic architecture is. And through that investigative process come to understand what cumulates these spaces to be spiritual in nature. An investigation carried out in three stages of focused development areas. Firstly, one of atmospheres, its intangible qualities that invoke and imply our phenomenological experiences such as the sense of place, sense of space, our thoughts and memories. Secondly, through the establishment of a protagonist, come to grasp the correlation between the human “body” and its “rituals” to the architecture in a form of narrative driven design process. Lastly, at the hand of certain specific case studies of architecture known to have obtained spiritual cohesion of human experience and physical structure, pinpoint and bolster our comprehension. Therefore, utilizing these spatial languages acquired in the previous analytical stages to generate our designs that best reflect these emotive spatial qualities and furthering our own architectural inquisition. Taking reference from Juhani Pallasmaa’s writing as a driver and the belief that what more suitable method to commence an architecture design about sacred space then through the journey of transcendental self-reflection.
PRIMER - ANALYZING CONCEPT DIRECTIONS ATMOSPHERES - PRECEDENCE
line of sight into the vastness
horizon plane
rigin
openness
taking the works of Kahn which highlights
Scale & Symmetry
Personally think that the immensity of his creation invoke some sort of atmosphere that could be classified as spiritual in nature.
PRIMER - ANALYZING CONCEPT DIRECTIONS ATMOSPHERES - PRECEDENCE
Proportionality & Monumentality Looking at classical works of Piranesi, Pieter Bruegel and Gustave Dore. They are biblical in a sense. Almost capable to be classiflied as a work of art with spiritual connotations. However, the proportion and heaviness of these drawings have an impression of dread and ruin, yet still persisting in our physical surroundings and in the metaphysical relam of our minds. To me speaks a form of temporality which intrigues me.
PRIMER - ANALYZING CONCEPT DIRECTIONS ATMOSPHERES
Q Therefore, through the exploration in the images chosen. I aimed to tackle the topic on sacred spaces not on a particular religion or regligious architecture but through the experience of human psyche against nature in all of it’s sublime aweness. Not focusing on a celestial being but to the most pagan(intial) form, celestial objects: ie: the Sun and everything under it.
PRIMER - ANALYZING CONCEPT DIRECTIONS SKETCHES
intial sketches of exploration of my interpretation of a hemogenous form of sacred architecture. One capable of invoking deep feelings of self reflection
PRIMER - ANALYZING CONCEPT DIRECTIONS MODELS
intial conceptual models and vignettes created to explore intial ideas on scale and symmetry with the sense of monumentality
PRIMER - ANALYZING CONCEPT DIRECTIONS FINAL ATMOSPHERICS
in process of model making of pillar
completed conceptual pillar model
fold out page (look at physical copy)
PRIMER - ANALYZING CONCEPT DIRECTIONS MODELS
series of excercise conducted with the whole studio to start to explore the nature on spatial relations between all of our models. Arranging first a our collective outputs of models and then drawing sections and plans of the whole.
PRIMER - PROTAGANIST SELF REFLECTION
self conflict & lost faith
self reflection
renewed purpose
The protaganist is a reflection of myself to say the least, a person of spilt belonings. Born in the East with the upbringing of the West, a Catholic in a family of Buddhist. A conflict always present in him. And this conflict of self festered more whilst the protanganist went through the relam of hel on earth in the scenerio of war. Thus losing faith in his beliefs (not principles), our protangnist is lost in his existence, searching for new meaning in his life..
PRIMER - PROTAGANIST FINAL ATMOSPHERICS
Therefore, with the combination of self-conflict and lost faith has compelled our protaganist to set himself on a pilgrimage, of self-reflection and discovery. He goes to a place he has discovered by the word of mouth. A place of great spiritual focus by the people and in turn the town’s culture. They have taken the architectural elements of humanity’s past and turned them into a route of pilgrimage to help those who are lost to re-kindle their souls, through discipline and awe and celebration of taking in the overwhelmness of their surroundings
PRIMER - NARRATIVE PILGRIMAGE DIAGRAMS
intial sketches on the intial idea of pilgrimage, the journey of the ‘line’
PRIMER - ARTEFACT ANALYSIS CASE STUDY - MUSEO DE ARTE ROMANO DE MÉRIDA
There is a corridor present underground spanning from the ampitheatre to the site of the museum. Vistors would then start their tour of the museum from the new building and end in the ancient ruins of the roman theatre. This notion of journey peeked my interest as it is similar to what I would like to create, a pilgramage of moments.
PRIMER - ARTEFACT ANALYZING ELEMENTS
There is a corridor present underground spanning from the ampitheatre to the site of the museum. Vistors would then start their tour of the museum from the new building and end in the ancient ruins of the roman theatre. This notion of journey peeked my interest as it is similar to what I would like to create, a pilgramage of moments.
PRIMER - ARTEFACT MODEL CASE STUDY - MUSEO DE ARTE ROMANO DE MÉRIDA
Taking the Distilled elements I have identified to explore and express
building upon ruins created a 1:25 scaled model by combing 2 elements, modern contempory arches made via laser cut and ancient ruined arches made via hand chilsing. a poetic expression between the old and new with the method of creation between handmade and machine made.
PRIMER - NARRATIVE FINAL MODELS
Final presentation in the Interrim Crit for primer - physical model of the pilgrimage of moments where the protaganist would go on, whilst on that journey, would encounter particular architecture that would spur on self reflection.
PRIMER - STAGING: FIELD TRIP RONCHAMP - PILGRAMAGE While traveling to see Ronchamp, we took a bus and on our way there, we were travelling down this long road to the hill where it was situated. What struck me was the clear line of sight we had to the Chanpel itself. Though far, we could make it out straight away, with the sunlight reflecting brightly on it’s plastered concrete. Generating a strong sense of awe and excitement It dawned on me, this idea of line of sight, journey and verticality could help in my design choices later
STUDY TRIP - BEYELER-FOUNDATION REPRESENTATION PRECEDENT
One unsuspecting incident occured was when the studio visted the Beyeler-Foundation Gallery in basel, Switzerland. We actually walked from a small town, Weil am Rhein, across the border from Germany to Switzerland. Though rather far, it was a pleasant walk. Before the trip, I have never come across the name of Wassily Kandinsky. In the gallery I was enthralled with his earlier work rather than his later and more famous works such as Composition VIII. As it was to me filled with more raw emotions, more expressive rather than abstract. More so, his theory and use of this one significant blue stood out to me. Unbeknownst to me, subconsciously, I’ve started to impliment that blue that have captured my mind in my works to come.
3
1
site location: By Ouse Street & Byker Bank
2
site location: Malmo Quay of Hadrian’s Wall Path
site location: By Cross Street & Ford Street
With the new brief parameters, after the lack of site provided in the primer. We are introduced to 3 site options in the Ouseburn Region of Newcastle Upon Tyne to pick and rank from most appropiate to least according to our design narrative. personally, I have opted to utilise site 2, of Malmo quay right off the river Tyne
DESIGN NARRATIVE - SITE ANYLASIS SURROUNDING ELEMENTS
The fascinating thing about Ouseburn valley or more or less the surroundings along the river Tyne, that stood out and intrigued me was the little hints of industrailization present throughout. And I know briefly the rich history of the Newcastle and the Industrial Revolution which drove me to investigate further of my site choice of 2
RIVER TYNE
DESIGN NARRATIVE - SITE ANALYSIS
1920’s
1890’s
HISTORY
In the 1890’s prior to the lead up to the Industrial revolution. The quay side of Newcastle were littered with major factories and production lines. In Malmo quay (our site) was a huge ship building yard which sends then up the river into the ocean once done.
Come the 1920’s, the shipbuilding yard has disappeared and replaced by a huge timber yard which stores transported felled timber from the neighbouring surroundings to be milled then stored or transported elsewhere.
In recent years, the city council has regenerated the area with the residential and commercial projects. Even so in the small area of my chose site, whereby compitions were held to create a mixed development building to boost the area’s social-cultural value to the community.
vs
Jonathan Gales - Megalomania
Otomo Katsuhiro- homage to the Tower of Babel
DESIGN NARRATIVE - PRECEDENTS PRECEDENTS
sacred emotiveness celebration of industrialisation
DESIGN NARRATIVE - STAGING INPUT OF PRIMER IDEAS INTO SITE
CONCEPT DEVELOPMENT- SITE CONTEXT FORM RELATIONS
Intial form idea of design concept placed onto site for comparison to its surroundings
CONCEPT DEVELOPMENT- SITE CONTEXT FORM RELATIONS - SKETCHES
taking the aspects from the the primer, I started exploring them in relation to the chosen site
taking the idea of a non specific monument in the form of a tower and unlike any spiritual architecture (ie: catherdrals)
make a statement to further exaggerated its prominance, I’ve taken inspiration from lighthouses around the coast and displaced it from the site. Only accesible with a narrow platform during certain times when the tide is low. there was a rather nice poetic connection between the journey to make
with the site context and the temporality of said journey
an exaggerated statement
CONCEPT DEVELOPMENT- SITE CONTEXT FORM RELATIONS - SKETCHES
dug into ground yet elevating the visible form - give the illusion of a smaller building and by getting closer, a bigger form is revealed.
considering whether I should place the tower back onto the site
decided not to in these sketches I start to explore in 2 forms - tower & inhabited complex on site. how they relate to each other and in what ways I could position them.
CONCEPT DEVELOPMENT- SITE CONTEXT FORM RELATIONS - SKETCHES
started to layout the spatial programs required for the concept brief of a spiritual complex.
in relation to site parameters looking to attain a functional yet emotive atmosphere throughout the complex, which also promotes the journey towards the tower
CONCEPT DEVELOPMENT- SITE CONTEXT FORM RELATIONS - INTIAL SPATIAL LAYOUT
further explore the potential spatial layout within the complex and the tower in its volumetric form in a series of blue foam models to scale I began to realise by putting the spatial functions externally from the tower(monument) there wasn’t a strong enough point for the narrative. Wherelse by condensing it all into the tower provides a bolder statment I was looking for.
25 flrs
10x10m
with the decision to situate all spatial program and functions into the tower and comments during tutorials that the intial imagining of the tower was too tall. I set about exprimenting with towers of different floor area and height.
15 flrs
8x8m
15x15m
CONCEPT DEVELOPMENT - SPATIAL PROGRAM INTIAL CIRCULATION & SPATIAL LAYOUT turning from seperating spatial functions between the tower and on the site. Instead of having the tower purely as a monument and expressing the ideals of a pilgramage on a small site( which is silly) I have put all spatial functions into the tower itself, forming a story. Using the ver-
tical travel by foot as reflection to the narrative of pilgramage and self reflection attained at the top
CONCEPT DEVELOPMENT - SPATIAL PROGRAM CIRCULATION - VERTICALITY
after setting out the layout of the spatial functions in 2D, I started to visualize them in 3 dimensional form. To start to see how individual volumes set out parameters which would allow me to organise the spaces.
Construction Crane
repurpose
Lift core
CONCEPT DEVELOPMENT - SPATIAL PROGRAM CIRCULATION SKETCHES
simple cross frame brace?
considering directions of starting point of circulation path
span: single floor? multiple floors? exploring how the current idea of verticality and condensed spatial functions in a calssic geometric is constructred structurally and spatial via the circulation path. identified that there is a boundry between public and private : started to address it in section form, explained further later at this point of the project, I decided to have a thought about the materials &
atmosphere of the overall tower .
CONCEPT DEVELOPMENT - INTIAL VISUALISATION MATERIAL REALISATION IN SPACE
tech
going back to the intergrated technology report part 1assignment:. It was done prior to the staging point of the design project ( site intriduction). in order to complete the assignment, I came up with a potential design concept, spatial program and prelimanary material and atmosphere which informed the structural constructuralbility of it
Timber
Glass / translucency concrete taking precedence from the exploration in primer with my main objective of creating ‘real’ spaces that generate genuine experiences and emotions. Resulting in imagery and conceptualisation as shown. Looking back, I felt satisfied with re-implementing the choice and combination of materials used in the construction of the tower
tech
CONCEPT DEVELOPMENT - ANALYZING CONCEPT CIRCULATION - SECTION
by re-using the crane during construction into a secondary circulation path (lift core) - how does this affect the circulation path. access path - circulation paths don’t clash
exprimentation on the options on how the circulation path could be laid out in a 10 x 10m floor space
CONCEPT DEVELOPMENT - ANALYZING CONCEPT CIRCULATION - SPATIAL OPENNESS
tech
chosen because it wastes the least amount of space whilst still having an interesting circulation path
although this choice is my favourite and excites me the most, it is ridiculous
exprimentation on the options on how the circulation path could be laid out in a 10 x 10m floor space
CONCEPT DEVELOPMENT - SPATIAL LAYOUT INTIAL FLOOR PLANS SKETCH
From that, with the circulation wrapping the edges of the floor space, intial floor plan layout were sketched. It soon dawned upon me that there might not be enough space within the 10 by 10 m square floor area to accomadate spatial funtions and circulation paths. (evenafter a couple of different interations)
Lebbeus Wood
Masahiko Yendo
CONCEPT DEVELOPMENT - OVERALL VISUALISATION CIRCULATION IN CONTEXT OF MATERIALS
Due to the issue of the lack of space, and my inability to find a solution to that. I decided to place it outside the 10x10m floor area, and played with the idea of whether it was to be shelted or left exposed to the elements and how it would look as a whole compared to the whole structure and would it fit the narrative of a pilgramage?
Unconsciously in the way I have sketched my tests ideas, it looked something off of Lebbeus Woods’. But it was not something I was aiming for aesthically or conceptually as it did not fit my design ideas
spiritual monumentality
&
celebration of technology
CONCEPT DEVELOPMENT - SPATIAL SKETCH KEY FLOOR PLANS - NEW CIRCULATION
with the new idea on circulation linked to the act of pilgramage going up the tower. The verticality be celebrated and exposed to the exterior and the people internally.
this allowed some freedom in creating more comfortable spaces to accomadate the tower’s many functions. At this point the notion of how the circulation transition from public to private
CONCEPT DEVELOPMENT - SPATIAL LAYOUT CIRCULATION CHANGE
sketches figuring out which layout reduces wasted space
starting to place down parameters and restrictions such as the amount of people to live in this tower and how much space is needed to accomadate them influence
placement of external circulation entry previously identified boundry between the public and private in regards to the circulation path to the top and living quarters of the residence. to preserve their privacy, one could not wrap a public stairs around the residential units can’t we. logically we bring that circulation path in and place it in the middle of the units. (which)
1: improve the efficency of space used. - enough room for good and comfortable living sketches of how the external circulation path cross internally
2:
allow smooth access for the residents and vistors to transit between the external path and internal path.
CONCEPT DEVELOPMENT - OVERALL FORM EXPERIMENT MODELS
1
experimented on the overall form
Whilst achieving some headway in circulation, I hit a snagpoint on the layout of each floor plans and the overall form and in a way function of the building. I felt that something was lacking. Firstly, a strong enough narrative, as I have only been working on the notion elements I liked from primer. Secondly, the obession on the order of the 3 stage material tower.
2
creation of a detailed narrative brief to set proper parameters to the project
better and more critical design choices
notion of spiritual monumentality
& celebration of technology
DESIGN NARRATIVE - MANIFESTO
With all these deliberation pertaining to these convoluting components of abstract and subjective spatial vision. I struggled to define what I was trying to say with my building, felt as if I was going around in circles, something unavoidable with such abstract topics. Creating a manifesto of sorts helped focus and direct the design project:
Sacred. What is it? Sacred objects, sacred spaces, sacred activities. They are an accumulation of material and immaterial constructs defined by us. No matter how much we try to define, design or dictate what it is. What we take as “sacredness” is very subjective and varies from different perspectives of different people in different periods. Therefore for in the sense of questioning the brief and my own fundamental understanding of the term sacred. I have gone forward with a critique on it. Whereby it is set in a reality where in the future, religion has faded into dissolution and stories. People do not pray to entities of divine forces but to ordinary objects, ones that they hold the greatest significance to individually. Moreover, in the ritualistic unconscious self-reflection regarding their “sacred item”, they offer them up into an archive, storing it and exhibiting it. Cementing the memory of us, comparably immortalising ourselves just like the pharaohs of Ancient Egypt did. This sense of heterotopia is a reflection on our current behaviour in society whereby the obsession of collecting and curating a diverse collection of objects is so prevalent. An obession of ‘materials’. This process of pilgrimage to offer their most “sacred” objects funnels everyone’s individuality into a specific a space. Moreover, through the interaction of many other individuals going through the same journey. This manifests as a collective process. The tower itself is a bold statement of representing the condensing of individuality into a collective in an urban context. A contemporary Tower of Babel? Nevertheless, it has set out parameters and definitions to my design narrative, concept and spatial programs. A breakthrough much needed in my project.
DESIGN NARRATIVE - MANIFESTO void
PILGRAMAGE MASTERPLAN
The idea of pilgramage explored in primer is formed within the manifesto. These towers are of a series placed along the North East coast line, the first one starting right in Newcastle Upon Tyne, the last at the edge of Holy Island. Each tower’s significant function was to archive objects related to the archaic notion of basic elements. earth air fire water metal wood
fire
earth / clay
To express and design these 6 towers would be a great feat, therefore I have chosen to focus on a single tower, focusing on the expression and collection of timber related objects.
water
That the sense or form of pilgrimage is focused on the theory of the ‘line’ . The ‘line’ along the coast & the ascension of the ‘line’ vertically up the tower. Personally, I think it forms a poetic connection bweteen the `design narrative and the subject of spirituality in the form of our spatial construct.
metal wood
DESIGN NARRATIVE - CONCEPT INTIAL LOCATION VIGNETTE
DESIGN NARRATIVE - STAGING MANIFESTO
DESIGN NARRATIVE - STAGING MANIFESTO
CONCEPT DEVELOPMENT - SPATIAL PROGRAM FINAL CIRCULATION
with the new narrative, the spatial program made
more sense
-
Removed the meditation space,
as why do you need one when the journey up the tower is already an act of self reflection. Bundled the archive spaces all together = clear distinction between residence and public space. it’s just logical...
Archive library consists of 4 floors, all connected to each other to create a massive space. It’s function is to store the small to medium size objects of ‘offerings’ Large storage containers aretasked to store ‘objects’ that are too large, eg: preserved column and beams tables & chairs doors anything actually these are transported onto the top of the tower via the
crane.
CONCEPT DEVELOPMENT -TOWER ROTATION RESIDENTIAL FLOOR PLAN
considering the transfer of weights once I cantilever 2m of floor space on each side of the tower for the residential
decided to expand the residential floor space outwards - provide more internal space, and solving the issue of placing the stair core in the centre, blocking access into bottom right hand corner units
original 10x10m floor area
under the new narrative, I started to reorganise and design the internal spaces from the residential core. as it would inform both the archive and workshop spaces simultaneously.
introduction of balcony space & consideration of facade treatment
CONCEPT DEVELOPMENT - TOWER ROTATION SITE ANALYSIS REASONINGS
new
work
tech
rotation made such as to increase the exposure of the residential and archice spaces to natural lighting + wind direction to increase the chances of cross ventilation.
wind directions
promoting comfortable inhabitation
sun path
tech
FACADE RESOLUTION
plan
elevation the external facade parallel to the window is attached directly onto the window, however its position alternates from the fixed facade attached to the outer wall window would open & not get jammed
concurrently, in the residential unit design, due to the balconies, openings and perforations start to break the smooth plane of the tower.
taking from a past lourve design I came up with. It provides the illusion of a singlura solid geometry without losing natural lighting and air ventilation.
tech
CONCEPT DEVELOPMENT - REALISATION EXTERNAL CIRCULATION CONSTRUCTION
&
PILGRIMAGE ATMOSPHERE
CONCEPT DEVELOPMENT - REALISATION OVERALL ISOMETRIC
CONCEPT DEVELOPMENT - REALISATION ELEVATIONS
tech
fold out page
tech
DESIGN CONCEPT - CONSTRUCTION LAYERINGS MUESUEM,EXHIBITION FLOORS
DESIGN CONCEPT - FLOOR PLANS TYPICAL MUSUEM PLAN
tech
DESIGN CONCEPT - CONSTRUCTION LAYERINGS WORKSHOP & SERVICE FLOORS
DESIGN CONCEPT - FLOOR PLANS TYPICAL WORKSHOP PLAN
tech
DESIGN CONCEPT - CONSTRUCTION LAYERINGS RESIDENTIAL FLOORS
DESIGN CONCEPT - FLOOR PLANS TYPICAL RESIDENTIAL PLAN
tech
DESIGN CONCEPT - CONSTRUCTION LAYERINGS ARCHIVE FLOORS
DESIGN CONCEPT - FLOOR PLANS TYPICAL ARCHIVE PLAN
1:25 SCALE
ARCHIVE DETAIL
tech
TERTIARY BUILDING ENVELOPE - TIMBER LOUVRE FACADE explained in further details SECONDARY BUILDING ENVELOPE - POLYCARBORNATE PANEL WITH INSULATING GLASS mm thk transluscent polycarbonate panel mm thk air cavity insulating gap mm thk triple glass glazing aluminium frame
3 STEP HEXAGON STORAGE SYSTEM hematically sealed container to ENGRS detail aluminium frame drawer system with electric remote system 25 mm glass insulated planel storage structure
AUTOMATIC RETRIEVAL SYSTEM robotic arm for retrieval and storage of “worshipped” objects numatic track system electronic track system for robotic arm
FINISHED FLOOR LEVEL - INTERNAL FLOOR DECKING 25 mm thk timber decking 60 mm depth raised floor system floor panel 200 x 200 mm electrical socket system 230 mm depth raised floor support frame 100 mm thk mineral wool insulation
SEPERATING FLOOR STRUCTURE - RESIDENTIAL FLOOR & ARCHIVA FLOOR 185 mm deep pre-cast concrete structural floor slab 25 mm thk aluminium sheeting deck bolted onto truss girder 660 mm deep stainless steel strucutral truss beam 75 mm acoustic lining 25 mm thk timber ceiling panel 175 mm x 600 mm steel structural beam 15 mm thk steel L plate bolted to column stiff insulated spacer
1:25 SCALE
RESIDENTIAL DETAIL
tech
TERTIARY BUILDING ENVELOPE - TIMBER LOUVRE FACADE hollow square 75 x75 mm square steel block 150 x 75 mm timber lourve to ENGRS detail 15 mm thk “ L “ plate bolted to timber lourves & hollow steel frame hollow steel rod bolted onto steel plate and primary building envelop - concrete pre-cast wall panel lintel spacer block aluminium connector frame 1500 x 2000 mm window aluminium frame seperate hollow square 75x 75 mm square steel frame - linked to 120 mm aluminium window frame to ENGRS detail
PRIMARY BUILDING ENVELOPE - PRECAST CONCRETE WALL WITH OPENING (DOOR) 300 mm thk pre-cast concrete panel with cavity 100 mm thk hardcore mineral wool insulation waterproof membrane dampproof membrane mm thk lintel block 30mm thk timber wall finish 75mm x 75mm door aluminium outer frame 75mm x 100mm timber door inner frame 50mm thk timber door panel SLEEPING / RESTORATION POD ATTACHED INNER STEEL STRUCTURAL GRID
SEPERATING FLOOR STRUCTURE - RESIDENTIAL FLOORS 185 mm deep pre-cast concrete structural floor slab 25 mm thk aluminium sheeting deck bolted onto truss girder 175 mm x 600 mm steel structural beam 15 mm thk steel L plate bolted to column stiff insulated spacer 25 mm thk timber ceiling panel 500 mm deep service space
INTERNAL NON- STRUCTURE WALL - TIMBER CLAD esplained in further detail in later sections
1:25 SCALE
tech
WORKSHOP -
SERVICE DETAIL SEPERATING FLOOR STRUCTURE - SERVICE FLOOR - WORKSHOP = SEPERATING FLOOR STRUCTURE - RESIDENTIAL FLOORS
WORKSHOP CEILING SERVICES 230 mm dia round HVAC duct main HVAC duct system lightning system industrial crane system on track grid PRIMARY BUILDING ENVELOPE - PRECAST CONCRETE WALL 300 mm thk pre-cast concrete panel with cavity 100 mm thk hardcore mineral wool insulation waterproof membrane dampproof membrane 10 mm thk steel plate connector wall panels internal wall finish cement screed 25 mm thk
CONNECTION DETAIL: EXTERNAL CIRCULATION PRIMARY STRUCTURAL BUILDING ENVELOPE
steel L plate connecter 250 x 250 mm timber batten bolted through L plate into pre-cast structural wall panel 300 mm thk secondary structure wall envelope 25mm thk wall tie to connect 2 100mm precast concrete wall panels PRIMARY STRUCTURAL STEEL FRAME - SPERATE CAGE SYSTEM AS SHOWN AND EXPLAINED IN EARLIER DIAGRAMS
1:25 SCALE
tech
WORKSHOP -
FOOD HALL DETAIL SEPERATING FLOOR STRUCTURE - WORKSHOP 20 mm thk timber finished floor panel 90 mm thk hardcore mineral insulation 90 x 50 mm timber battern 185 mm deep pre-cast concrete structural floor slab 25 mm thk aluminium sheeting deck bolted onto truss girder 660 mm deep stainless steel strucutral truss beam 175 mm x 600 mm steel structural beam stiff insulated spacer 15 mm thk steel L plate bolted to column 25 mm thk timber ceiling panel
SECONDARY BUILDING ENVELOPE - POLYCARBORNATE PANEL WITH INSULATING GLASS 50 mm thk transluscent polycarbonate panel 80 mm thk air cavity insulating gap 30 mm thk triple glass glazing aluminium window frame
taking note of the possibility of rainwater entering the seams of the window. Therefore including a slight incline helps force the flow of water to the exterior.
POLYCARBORNATE WINDOW GLAZING SKETCH
I went through a few interations on the construction of such a window. In my research I discovered that polycarbornate glazings are weak in insulating heat. Thus many manufactorers tend to include a panel of triple insulated glass behind the air cavity and polycarbornate panels to improve the loss of heat.
1:25 SCALE
tech
MUSEUM DETAIL
SECONDARY BUILDING ENVELOPE - INSULATING GLASS WINDOW aluminium window frame 30 mm thk triple glass glazing
DOOR LINTEL - WALL OPENING CONSTRUCTION SKETCH
SECONDARY STRUCTURE - WALL ENVELOPE
1:25 SCALE MUSEUM DETAIL
tech
INTERNAL NON- STRUCTURE WALL - TIMBER CLAD 300 mm thk non structural internal wall 25 mm thk timber panel wall finish 25 mm thk timber batten 15 mm thk plywood board 80 mm thk mineral wool insulation 80 mm thk acoustic insulation 160 x 75 mm hollow aluminium frame block lintel block 60 x 65 mm door aluminium outer frame 60 x 90 mm timber door inner frame 25 mm thk timber door panel
PRIMARY STRUCTURE - STEEL FRAME CANTILEVER aluminium railing 20 mm thk timber finished floor panel 90 mm thk hardcore mineral insulation 90 x 50 mm timber battern 185 mm deep pre-cast concrete structural floor slab 25 mm thk aluminium sheeting deck bolted onto truss girder 170 x 300 mm deep stainless steel strucutral truss beam stiff insulated spacer 15 mm thk steel L plate bolted to column 25 mm thk metal panel finish enclosing damp-proof membrane * probably needs another layer of insulation
POLYCARBORNATE WINDOW GLAZING SKETCH
new
work
DESIGN CONCEPT - FINAL NARRATIVE External atmospheric - Walk along Quayside
DESIGN CONCEPT - FINAL NARRATIVE External atmospheric - Garden Onlooking
new
work
DESIGN CONCEPT - FINAL NARRATIVE EXTERNAL ATMOSPHERIC
EXTERNAL CIRCULATION
DESIGN CONCEPT - FINAL NARRATIVE EXTERNAL ATMOSPHERIC
TOP VIEW ATMOSPHERIC
new
work
DESIGN CONCEPT - FINAL NARRATIVE INTERNAL ATMOSPHERIC - ARCHIVE SPACE
I
ntergrated echnology
T
At the start of the first technology assignment (part 1). It was not as easy as I thought it was going to be. Because it was just fresh off our primer and before the start of our staging process in the design project and that we had no site allocated to as in primer and it was not yet released to us where it was going to be. Therefore, judging from that, the studio had to take whatever elements we have explored in primer and come up with a preliminary design. Even so, the assignment helped kick start our minds to start considering what materials are used and what form of construction needed to be carried out. Which would go hand in hand whilst the design project gained momentum. As it went along the design started to morph slowly into a more defined idea. With the initial thoughts on construction early on, it started to inform me on how I should place my circulation places, where I could place them and where I could not due to the cross frame and primary structural columns. This would then inform on how I would start to sculpt the internal spaces and the external faรงade. Concurrently, informing my choices on which material and what form on construction I should use to attain the atmosphere that I desired. For example, the main concept of my design was the verticality of the tower and the journey of the pilgrimage that one would take to ascend to the top of the tower. Additionally my narrative demanded a heavily technical influenced design, where the structure was showcased and celebrated. Therefore, I had to constantly think about and consider each decision on material layering and how they come together to form the balanced composition of sacred and industrialised atmosphere.
evolution from its simplicity to complexcity
1:25 SCALE
tech
ARCHIVE DETAIL
I hoped to attain a balanced design regarding two highly contrasting elements:
sacred emotiveness & celebration of industrialisation and that my outputs are able to convey these elements and atmosphere much better than my words.
studio
C
harette:
Task:
explore how as architec ts can we intervene and playfully reverse this? We propose one method could be through curating conversational, animated and interac tive spaces. We will explore the creation of intelligent systems that can be embedded as parasitical sub -architec tures, heightening awareness and stimulating new and unpredic table occupations of space.
Output:
thus using Aarduino programming and coding with the implementation of said code into light sensors and led lights. Whereby the the space constantly changes with the introduction of a human body. The sensor picks it up, sends a signal to the LED lights, which reflects from the reflective surfaces, bouncing back to the sensor and rotating the reflective panels, this process then repeats itself, allowing the human body to further move through the space. more bodies = more endless unique paths created
T M hinking hrough
aking
Kintsugi
(or kintsukuroi) is a Japanese method for repairing broken ceramics with a special lacquer mixed with gold, silver, or platinum. The philosophy behind the technique is to recognize the history of the object and to visibly incorporate the repair into the new piece instead of disguising it. The process usually results in something more beautiful than the original reflecting similarly to the Japanese philosophy of Wabi-Sabi, an embracing of the flawed or imperfect. And in a way highlighing the acceptance of change and fate as aspects of human life
(
Kintsugi
)
APPENDIX All stated documents are present in a seperate document
ARC 3013: Architectural technology Coursework Assignment part 1 Architectural technology Coursework Assignment part 2 ARC 3014: Professional Practice and Management ARC 3015: Theory Into Practice ARC 3060: Dissertation in Architectural Studies