[A] ffect
MICHAEL DE BEER
PORTFOLIO 117, Simonstraat, Delft, Netherlands
Michael de Beer
My belief is that there is no final answer or master plan for the urban realm. Cities are built by the efforts of many, often conflicting views, over time and space. The role of the urban designer and architect is to reconcile this landscape through mediation and exploration for alternate futures. It is this layered characteristic that drives me to engage in urban morphologies through catalytic and responsive interventions.
117 Simonstraat Delft, South Holland 2628 TG +31 (0)757 6002 dbrmic011@gmail.com MDB_ARX (skype)
Atlantis Magazine
GAPP Architects and Urban Designers
References
Editor
Urban Designer
Dr Henri Comrie,
01/05/2017–Present (Part time / Pro Bono )
06/01/2015 – 30/06/2016 (Full Time)
Architect and Urban Designer
Atlantis is a quarterly publication for the Urbanism department of TUDelft with a wide readership with numerous universities worldwide. As an editor the primary focus is to source contributers, review articles as well as make contributions myself as well as helping with general issues related to running of the magazine.
Working within a large team of urban designers working on a range of projects such as developing Spatial Development Frameworks, precinct plans, scenario testing and development, recommendation reports, design guidelines, preparing tender documentation, assisting with architectural design and cartography. Due to my unique skillset I have also helped fundamentally redesign the GAPP website as well as assist in laying down the platform for social media administration.
URBA Architects and Urban Designers
TUDelft (Netherlands) Urban Design Institute of South Africa (UDISA) Steering Committee Member 06/05/2015–Present (Part time / Pro Bono ) Steering Committee members are nominated and voted in at the AGM of the Institute. Steering Committee members are designated portfolios to manage for the institute, mine being events. We meet on a monthly basis to discuss progress, make decisions and formulate strategic agendas for the institute, its goals and on-going work.As head of the events portfolio I organise and manage events for the institute, ranging from lectures, film screenings to workshops. I also manage social media and marketing material for the institute. 71 Hout str, Cape Town, 8001 Cape Town (South Africa) http://urbandesigninstitute.co.za
T: 0027 (0)83 4121010 Email: henri.comrie@urba. co.za Barbara Southworth Spatial planner and urban designer
150 Longmarket Street, Cape Town, 8001 Cape Town Director at GAPP Architects (South Africa) and Urban http://www.gapp.net Designers ARX Architects Architect
T: 0027 (0)21 4242390 Email: office@ctn.gapp.net
20/01/2015–20/09/2015 (Part-time)
Guy Briggs Specifically helping in the design development of Urban Designer House Deon a project based in Limpopo. DHK architects 10 Buxton Ave, Gardens
T: +27 (0) 21 421 6803
Jaclyn Cattell Architects Drafting Technician 01/06/2015–30/10/2014 (Part-time) Specifically helping in the design development of House Pacak in Cape Town
2
Email: Guy@dhk.co.za
SKILLS Adobe Suite Drawing/ Rendering and film making - Photoshop, Illustrator, InDesign, Premuim Pro, After Effects, Acrobat Revit (Architectural BIM Program) AutoCad (Drafting program) Sketchup (3d modeling program) Model-building (laser cutting, 3d printing and hand crafting) Hand Drawing Editorial Report writing Event organisation Public Speaking / Seminars & workshops Public Participation AWARDS 2017 Oppenheimer Memorial Trust Scholarship South Africa 2016 Kate Neal Kinley Fellowship| University of Illinois, USA Oppenheimer Memorial Trust Scholarship South Africa Interntional Student Travel video Contest 2016 The Urban Archi - 3rd Place 2015 Seapoint Parklet Competition | Implemented in Regent Road, Sea Point, Cape Town 2014
World Design Capital : Award of Excellence for Project A | Foreshore +
2015
Urban Design Institute of SA: Best Student Award
Kim Dovey | 29th Oct, Informalising Urban Design | 30th Oct, Assemblage thinking in Urban Design
SA Planning Institute of SA: Best Student Award
Inaugural Roelof S. Uytenbogaardt UDISA Memorial Lecture| 3rd Sept
Western Cape Government: Best Project A and B prizes | Foreshore + & The District Study
2014 UDISA Conference Charrette | 31st March
National Research Foundation Scarce Skills Scholarship MCPUD Class Representative
2012
2013
ArchitectureZA 2012 - Re-scripting Architecture | 12-18 September, National Architectural Conference
New Universities Competition: 1 of 5 winners, working with Henri Comrie AAFF Short Film Competition: Urban Brave
Contents 4
Sonic City Research on Sound in Valparaiso, Chile
10
Open City Applying a unique approach to design and construction in the city - a unique and once in a life time experience.
14
St Barbara’s Church
Class 2013 Class Representative
The redevelopment of an underutilized church in the Parkstad area, which creates a multi-functional space offering the church the ability to provide for varied functions in the community.
2012 Dean’s merit list
20
AZA Short Film Competition: Urban Brave
Usce Tower The redevelopment of a commercial tower which has been integral to the history of Belgrade, Serbia.
2011 Dean’s merit list Golden Key International Honour Society Member
36
BAS Class Representative UCT Mentorship program
User Generated Approach
EVENTS ORGANISED
the design presented formed the completion of an extensive research project that aimed to propose how the city of cape town could strategically stimulate urban development in the post-Apartheid landscape.
2016
42
Roelof S. Uytenbogaardt UDISA Memorial Lecture| 23rd June
Foreshore +
UDISA AGM | 27th May
A proposal for the redevelopment of the urban center of Cape Town
Future of Public Space Series |4th April, African Cities | 4th May, Activism | 12 June, Implementation and control
3
4
SONIC CITY Research in Valparaiso, Chile Sound = sonic element
Soundsapces situate & orientate
In the complex sonic environments that we inhabit, one is constantly bombarded by an array of sounds. Analysing them as waves and troughs highlights the overlap and seemingly unidentifiable jumble of noise that meets our ears. Recording studios go to great length in isolating sound, designed to minimise reverberation and exclude and separate various sounds. Yet – astonishingly – we can discern varied sounds in a complex sonic environment. We can have in-depth conversations in the most unsuitable of situations. This is due to the brains unique ability for pattern recognition. Sounds are discernable and in this sense have a strong link to those elements that they are associated with - sonic-elements.
Soundscapes exist beyond the visual realm. They are composed of varied sonic elements that form an environment, a spatial composition. These ensembles are composed of how sounds interact with an environment and intuitively offer an understanding of dimension, materiality and space. As Pallasmaa (2017) describes the ability of sound to orientate and situate, he highlights how in the dark the dripping of water carves out a void in our imagination – Sound gives form. Yet soundscapes also place one in the world – in our socio- cultural landscape. Sound as a composition constructs a sense of place – it not only positions one in space but also gives an understanding of what that space is. It allows one to form a nuanced awareness that is unattainable through sight.
5
Soundscapes are Affective Blesser (2009) draws a clear distinction in defining aural landscapes as a phenomenon of experience - that sound is able to be measured and quantified yet it is the intangible ability of sound to AFFECT us which is critical for architecture. It’s affective quality, not only influences how one feels but also how one acts in response. It reverberates through us physically, directly engaging the body and influencing how one physically feels. It also stimulates memory, drawing on past experience as well as engages our sense of being, stimulating emotional and cognitive responses. Collectively these attributes of sound position soundscapes as highly experiential and in turn impactful environments.
Sound as an Act To listen and to make a sound is both an act. Underappreciated, these acts are fundamental to how we navigate the world and this has been informed from a long lineage of cultural influences. To walk softly in a library, or scream at the top of ones voice in a protest, to change the way one talks in a crowded elevator. These actions seem natural - unconscious – however, it is closely linked to behaviour in social and environmental circumstance. We readily adjust the tone and level of our voice or the manner in which
6
we listen according to the situation. Ganchrow (2017) highlights how we do not simply listen, but actively listen by making gestures and sounds that denote the act. During an a cappella performance in a small space or a church, this is pronounced as one is aware of ones own presence – holding in the sneeze to the end of performance. The extreme situation however is true of the everyday as one navigates ones own interaction with collective sounds and society. The notion of presences is linked to the act as to make a sound is to alter the soundscape and denote ones existence. In this sense sound as an act is closely linked to behaviour and presence.
Soundscapes as spaces of appearance The space of appearance as the public body, a temporal definition of seeing public space as a verb rather than a noun draws to the fore the interaction of sound in the landscape of the city. Sound as an act, drawing forward the notion of presence highlights how individuals create the public through their interaction with-it. Examples in Valparaiso are; the beginning of the student protest where the hills and city both filled with the sound of clang metal as
Dogs Barking Nearby
Shouting
Indistinct chatter Truck drives in the distance T:1
citizens throughout the city supported the movement; or the end of the America’s cup where horn’s and shouting resonated through the city as a amphitheatre for celebration. Sound expands the public realm into the home as it permeates walls and ones private domain. It is the everyday where sound as an act is seen as a constant mediation of society. In the words of historian Peralto (2009), “Valparaiso is place of harmonic disorder”, where chaos remains in careful balance.
Kids laughing Shouting
T:2 Indistinct chatter Car drives past Car drives past Car drives past Indistinct chatter
Birds singing and dogs barking in the distance
T:3
Dogs Barking Nearby T:4 Hammering
7 T:5
Exposure / view
Cordi
Port Site
8
Sound funnel by retaining wall
Sonic Zones Sonic Zones Lessor Reflection elements
Sound funnel street noise Stairs, ascensor, and niche
Reflection elements
Sloped Square with varying elements making for niches
Courtyard Segmented rooms
View point: no sound obstruction, only reflection from behind
Courtyard University
Walled space
Retaining wall reflection View point: no sound obstruction, only reflection from behind
Street high reverberation Courtyard Street low reverberation
Niche between building and retaining wall Garden
football
Niche between building and Slope
Parroquia Perpetuo Socorro
illera Community Amphitheater
Sonic Section 9
Open City Workshop Applying the methodology of the Amerieda - building space
10
The workshop, a merger of work between Chile and the Netherlands, culminated in the construction of a 3 small meeting points in the Open City. Critically drawn from the methodologies of the Amerieda group, unique to Chile, the simple intervention formed a unique response to site. With limited materials and contrasting sites each groups work was fundamentally different, highlighting the unique manner in which the method generates form through its on site application.
11
12
Open City Junction Creating a point of meeting in the open city The exploded structure is generated from the notion of acts and its relationship to the landscape. The form, from a distance, would change as one moves around the structure. Once inside, various seats and platforms and the careful application of posts, beams and plains, aim to influence how users interact with the structure. It was the unique focus of the users relationship with structure and landscape that would come to inform the response to the specific site, a junction in the landscape.
13
14
St Barbara’s Church Heritage reconstruction, Parkstad, Netherlands St Barabara’s church, is a century old. Built as part of a garden city town, Treebeek, to support the mining industry in Parkstad. However the past 40 years has seen the closure of the mines and a dramatic change of the area to a dormitory town that holds few economic opportunities. However, in the transition, a critical opportunity has emerged as the town begins to see a growth in elderly care facilities.
community center, the intervention draws together the need for a dynamic space, able to transform and accommodate varied functions. Allong side this core programmatic requirement, the intervention had to remain cognizant of the architectural tradition of the building, drawing on its history and those elements which make it up. Informed by an indepth study of the church’s history as well as core issues surrounding functionality and urban situation, the intervention aimed to seem indistinguishable from the original structure. Only those familiar with the old church would be able to discern between old and new.
The church, now underutilized, is positioned in the center of this lush sleepy town. Aiming to create a space of inclusion with a core focus only loneliness, a product of major transitions in peoples lives – such as moving to retirement facilities. Positioned as a
15
16
17
18
19
USCE TOWER REpurposing a modernist tower Museum of the city; a library, archive and viewing deck; the usce tower renovation aimed to form an intervention that would celebrates the long and arduous history of Belgrade and the site. Inspired by the work of performance artist Marina Abramović, the design aimed to confront people with the scars of the past and take visitors on a sensational tower of the city and rich cultural legacy.
20
ISLAM
ORTHODOX
ORTHODOX
NATO BOBMING
RELIGION
SECOND WORLD WAR
FIRST WORLD WAR
INDEPENDANCE UPRISING
OTTOMAN INVASION ORTHODOX
DEFENSIVE STRUCTURES
ORTHODOX
ORTHODOX
EDUCATION & SCIENCE
POLITICAL CULTURE
CREATIVE INDUSTRY AGRICULTURE COMERCAIL
INDUSTRY INFORMAL SETTLEMENTS
RESIDENTAIL NEW BELGRADE
2016
1990
1890
1790
1690
21
To Friendship Park 1. Market Square 2. Underpass
To Modern Museum
3. Usce Tower 4. Open air Theatre 5. Museum Entrance 6. Entry Square 7. Theatre Square Framework Plan 1:2 000 To Palace of Serbia
3 4 5
1
7 6
2 To New Belgrade
To Old Belgrade
22
Usce Site
Edge conditions The corners mark key transitions in the city morphology. Old city to New; Nature to Urban, marking transitions in the landscapes. These moments are given space in the form of a square as an entrance or gateway.
4
Axis
3
1
Key axis informed by the surrounding city gives guidance to dissecting the block. Moments of intersection are celebrated through public open spaces.
2
1. Axis New Belgrade; 2. Primary pedestrian crossing axis; 3. Axis with fortress and Modern museum; 4. Axis connection with Friendship Park
Human scale The Framework is further broken down to a pedestrian block scale that has been informed by the fabric of Belgrade.
60m 60m
Intensity The Framework is further manipulated in relating to the conditions of the surrounding context. Responding to the natural landscape and pedestrian priority roots. Fine network verse larger blocks.
23
5
BB
7
4 10
13 12
8
11
14 9 6 1
AA
2
on
on
cti
cti
Se
Se
24
15 2nd Floor Primary Entrance 1:500 1. Exit to Museum 2. Museum Shop 3. Museum Entrance
3
4. Archive 5. Library Silent Workspace 6. Research Areas 7. Common Workspace 8. Lower Library Floors 9. Library Stacks 10. Chimney Air control 11. Lift Core 12. Fire escape 13. Service Core
16
14. Shops 15. Theatre 16. Market
25
Viewing Deck
Archive
Museum
Library
Museum Entrance
26
27
7 8 9
10
6 3 5
2 1
4
Section BB 1. Museum Entry Chamber 2. Museum Exit 3. Museum Entrance Building 4. Library Stacks 5. Research Space 6. Seminar Space 7. Viewing deck 8. Restaurant Kitchen 9. Service Space 10. Solar Chimney
29
30
31
Museum Section
Detail Interior Elevation 1:20
32
Detail Interior Elevation 1:20
33
Detail Section Museum Solar Chimney Facade 1:10
35
535
12
3
170
109
21
14 682
4 38
143
760
55
22 11
12 3
13 18
34
19
Standard Solar Chimney Loss of 30% radiation energy
Insulation
Double skin glass sheet well performing glass: G Value: 0.7 or 70%
Metal Plate
PMMA Plexi Glass PMMA Plexi Glass Copper Rod
Double skin glass sheet G Value: 0.7 or 70% Copper Rod
Loss of 16% radiation energy y
Double skin PMMA Plexi Glass UV Permiable G Value: 0.84 or 84%
G-value is the coefficient commonly used in Europe to measure the solar energy transmittance of glass - called a Solar Factor on some window literature (%) i.e. 53% = 0.53; where 1.0 or 100% Insulation prevents represents the maximum amount of solar energy heat transfer to the passing through it and 0.0 or 0% represents a inside window with no solar energy
Double skin PMMA Plexi Glass UV Permiable G Value: 0.84 or 84%
Optimised Solar Chimney
100
100
100
100
All year around Sun exposure 10 000mm2
Circumference of rod: 31.42mm Circumfrence exposed to sun: 15.71mm
Area exposed for Conduction heat transfer from metal to air 10 000mm2
Area exposed for Conduction heat transfer from metal to air 274 505mm2
67 degrees : Summmer Solstice 45 degrees : Mid Year 21 degrees : Winter Solstice
100
Summer Solstice 10 054mm 2
524
100
100
Mid Year 22 050mm2
220
100
Winter Solstice 108 291mm2
541
524 1083
35
USER GENERATED CITY Final thesis for the Masters in City PLanning and Urban Design, 2014 Cape Town / South Africa
36
With recent imperatives in South Africa to align nodal development with urban networks, this dissertation adds to an understanding of economic factors influencing development. By identifying principles, relationships and factors that bear on the economic performance and impact of urban interventions, the study aims to contribute to an informed perspective that enable actors in the built environment to design and implement achievable visions that support sustainable growth. The research engages with transport orientated development, factors influencing development, competitiveness of cities and locations, as well as the spatial economy, characterising the primary economic factors influencing the built environment. The research finds that users and firms guide the actions of developers, but their relationship is under considered and at times taken for granted. The current paradigm believes that good economics are a
result of good urban interventions. This dissertation, however, views an interdependent system of cause and effect in which users and firms, as a sign of good economics, are an origin and result – they’re what we react to and plan for. If we understand this catalytic influence of users and firms in the context of spatial economic dynamics we can begin guiding city growth and addressing socio economic inefficiencies, a critical issue in post-Apartheid South Africa. With focus on transport orientated development in Cape Town, a proposed design intervention is rationalised on various scales according to principles drawn from the research. The site, in Mitchells Plain, is identified as a priority urban area to develop sustainable economic growth and address issues of inequity and inefficiency in the city of Cape Town.
37
38
39
40
41
42
Foreshore + Redeveloping the City Bowl of Cape Town The Foreshore redevelopment plan was part of a drive by the City of Cape Town to reinvision the City Bowl. The project informed by an in depth urban analysis aimed to create an urban strategy to implement a city wide project that would fundamentally improve the conditions of city. Key interventions are those of the port, station and large area of development. In creating a diverse area of intervention the project aims to introduce a mix of social housing and other uses to create mixed use area supporting the inner city, while establishing key nodal developments seen as being core urban center conditions.
43
44
Implementation Strategy
45
46
Harbor Redevelopment
47
48
Station / Castle redevelopment
49
ADDRESS 117 Simonstraat 2628 Delft, South Holland
ONLINE urbanarchi.myportfolio.com dbrmic011@gmail.com