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ACADEMIC PORTFOLIO GHOST IN THE MACHINE STAGE 3 20/21 MUHAMMAD SHUJAAT AFZAL 170484172

C O NT ENTS

ILLUSTRATED REFLECTIVE REPORT FRAMING TESTING SYNTHESIS APPENDIX BIBLIOGRAPHY

ILLUSTRATED REFLECTIVE REPORT

As I reflect on my undergraduate journey, I look back at myself progress not only in architectural understanding but also in the way I adapted to certain situations. Having started my architectural education through a year in foundation, I discovered my design methodology very early on in the process. Having not studied Art before as a subject, I always considered hand drawing as my weak mode of representation which is why I was able to express my thinking process and its execution comfortably and effectively in the form of physical models and maquettes which became something very hard to continue with given the unforeseen situation of the pandemic. At the start of stage 3 I decided to stick to the very roots of architecture – exploring architecture through drawings and models - where architecture can be found in its rawest of form. Although I have not been comfortable with exploring design through sketches before, I started mapping out the different processes on site through a series of sketches and perspectives like a storyboard conveying the concept of a ‘journey’. It was only when I started writing my Theory Into Practice essay when I was able to trace similarities of my work with that of Bernard Tschumi and The Constructivist Russian Movement and went ahead with the further exploration of how users move through space. Tschumi’s ideologies are about the movement of body through space which resonates with the user-centric approach of my studio. He would map movement through a series of scenes and perspectives which led me start my design phase with setting scenes and creating these perspectives which would form the basis of the building’s form. What was interesting about my studio was the direct link between its user-centric and systemic design theme. The user experience responds to the way the users interact with the system which meant I had to intricately understand the system: the system of recycling, storing, dismantling, manufacturing and exhibiting film sets, understand the journey of the process, while also linking it to the journey of the visitors experiencing the process. My research on user centricity was also highly influenced by LeCorbusier’s Architectural Promenade where he created fluid spaces that reveal themselves as the visitor progresses. ‘Architecture constitutes the space of processes of movement’. Going back to exploring architecture through physical models, I forced myself to go back to basics and created a moment design model of the moment the user interacts with the system which turned out to be the piece that influenced my design the most. Sticking to the narrative of the theatre of film sets I thought about film sets more intricately as a series of planes and created the moment design model showing how the users experience these different planes along an architectural promenade. This later led me to reimagine these planes as a series of processes of the lifecycle of a film set and create dynamic spaces around these processes.

changing perspectives and scale, which disorientates the user as they move along. Every moment of it, the user finds themselves in a different scene which almost prompts them to think what role am I playing here – one moment you might feel like a comfortable guest in a high-class lobby, next one you suddenly feel like you are in someone’s home and slightly out of place. It creates a feeling that you are an actor in a slightly different scene through thinking of buildings not as a continuity of spaces but as a series of some radically different episodes (ARC3015). Thus, the ideas gathered here prompted me to create a walkway that reveals and conceals views and directs the visitors in the context of different scenes, like film scenes where you get to experience the full narrative only when you move through the building and put the scenes together. It was during the Integrated Construction period of the project when the structure of my building entirely changed after being influenced by the double layered lattice steel structure of the Sainsbury Centre. Norman Foster intended to fit all the secondary elements of the building within its structure, but I took the opportunity to not just fit the secondary elements but integrate my walkways within the structure as well where I allow moments where the visitor pops out of the structure and then go back in creating the experience of going ‘behind the scenes’ of a set. My project aims to revive the struggling tourism industry of Redcar by creating this film set centre in Warrenby, an isolated site in Redcar. Though there is not much building context around to respond to, I take the theatrical opportunities of the site and the opportunities to respond to the Steelworks factory, the coast, the Redcar Beacon, the Redcar Cinema and an existing props and scenery making business on site through my imaginative brief. By showcasing the lifecycle of a film set, my design will not only attract tourists to Redcar but will bring back the rich craftsmanship skills from the industrial revolution period, creating more jobs for the unemployed young adults of Redcar. The project introduces a Drive-in Cinema that acts as a replacement of the now demolished Redcar Cinema and a watch tower café that reveals and conceals views towards the steelworks, the coast and the town. Both drive-in cinema and the watchtower are intended to act as a memory of the important landmarks of Redcar: the steelworks and the Redcar Cinema, once they both are demolished.

1:20 TECHNICAL SECTION AND PART ELEVATION STUDY MUHAMMAD SHUJAAT AFZAL 31 32 33 36 35

WARRENBY FILMSET EXPLORATORIUM WARRENBY, REDCAR STUDIO: GHOST IN THE MACHINE TUTORS: MAGS AND CARA 170484172

INNER FOUNDATION 1. 150MM CONCRETE SCREED FINISH 2. VAPOUR BARRIER 3. 50MM KINGSPAN INSULATION 4. DAMP PROOF MEMBRANE 5. GROUND BEARING SLAB

24 25 26

18 19

OUTER FOUNDATION 6. 50MM CONCRETE SCREED FINISH 7. VAPOUR BARRIER 8. 150MM KINGSPAN INSULATION 9. DAMP PROOF MEMBRANE 10. GROUND BEARING SLAB

20 21 22 23

DRAINAGE 11. DRAINAGE CAP 12. SLOT DRAIN 13. CONCRETE BLOCK 14. CEMENT BOARD RUNNING ALONG INSULATION LAYER DOWN TO GROUND BEARING SLAB

INTERMEDIATE FLOORS 15. 40MM CONCRETE SCREED ON UNDEFLOOR HEATING PIPES 16. 150MM CONCRETE FLOOR PLANK SYSTEM

SUSPENDED EXTERNAL WALKWAY

16 16

16. STEEL GRATING 17. 305 x 165 x 40MM UB - UNIVERSAL BEAM

GLAZING 18. SHALDON 5/8 ARCHITECTURAL PERFORATED METAL 19. METAL BRACKET 20. 60MM RODECA POLYCARBONATE GLAZING 21. 305 x 305 x 97MM UC - UNIVERSAL COLUMN 22. 305 x 165 x 40MM UB - UNIVERSAL BEAM 23. INTERNAL EXPANDED METAL MESH

SUSPENDED CEILING 24. VAPOUR BARRIER 25. 50MM KINGSPAN INSULATION 26. DAMP PROOF MEMBRANE 27. GYPSUM PLASTERBOARD HUNG FROM METAL BRACKETS 28. RADIENT PANEL 29. MECHANICAL VENT DUCT 1

6 2

3 4

11 12 13 14

ROOF

My ideas also from relation with Casa da Música in Porto which unfolds routes that keep 6

30. PROFILE METAL ROOF EDGE TRIM 31. CORRUGATED METAL WEATHER SHEET 32. RAIL 33. METAL BRACKET 34. 50MM INSULATION 35. INNER LINEAR SHEET 36. PURLINS/SHEETING RAIL

FRAMING

MANIFESTO & THEMES

GLOSSARY OF TERMS USER - any entity that engages with the structur, human or not, as the plastic bag is in the film

USER-CENTRIC

DYNAMIC

USER CENTRIC - designed with the user at the centre CIRCULAR ECONOMY - not linear, nothing gets wasted or detioriorates, everything feeds into each other

CIRCULAR ECONOMY

COMPLEXITY

SCALE - considering large and small scale, wider and close context SUSTAINABLE TOURISM - not travelling far, or using a lot of C02 to travel. Staycations.

SCALE

CHANGE

ECOLOGY - engaging approach with what is around us, with nature TANGIBLE - can be seen

ECONOMY OF TOURISM

SYSTEM ORIENTED DESIGN

INTANGIBLE - hidden INTERCONNECTEDNESS - everything is linked to everything, everything affects everything DYNAMIC - moving, alive, fluid

SUSTAINABLE TOURISM

PROJECT

AUGMENT - change the look of, alter DISRUPTION - to interject and change something

CLIMATE CHANGE

DISRUPT

NURTURE - to take care of, creating an environment for growth PROJECT - looking ahead and planning for the future

TANGLIBLE/INTANGIBLE

AUGMENT

ADAPT - being flexible and ready to suit technologies and systems appearing in the future. EVOLVING - changing, growing, developing.

INTERCONNECTEDNESS

KINETIC

SYSTEM - a series of interconnected signals and receptors communicating with each other. They grow, live and are all around us, within us and in our future. SYSTEM DESIGN - designing around a system, with a system and in a system. The is a springboard which defines and influences the design at every stage.

FRAMING

SITE ALLOCATIONS

FRAMING

PRESENT DAY REDCAR 14

INDUSTRIAL REDCAR 15

FRAMING

SITE ALLOCATIONS

REDCAR The project this year is based in Redcar. Redcar and the stretch of coastline from high street up to the south gare is a fascinating manufactured strip of land which incorporates a multitude of territorial conditions, including, post-industrial steelworks, beaches, retail, sites of special scientific interest, ex gun batteries, water sports and fishing huts.

SITE ALLOCATIONS

FRAMING

2D SECTION SYSTEM MAPPING

ELECTRIC SUPPLY + TELECOMMUNICATION

LIVING SYSTEM (CARAVANS)

WARRENBY

BEFORE/AFTER

MOVEMENT

TRANSPORTATION (LAND + SEA)

WIND KINETIC ENERY INTO ELECTRICAL ENERGY

STEEL PRODUCTION

GEOMORPHOLOGICAL SYSTEM

DRAINAGE SYSTEM

FRAMING

POP-UP SYSTEM BEHAVIOUR MODEL This pop-up system model looks into the wind turbine system. The turbine fans are used as gears to show the generation of electricity. When the gear is rotated, all gears move which pulls the string. The string then pulls the skyline up which shows that electricity has been transferred.

STRING REPRESENTS ELECTRIC WIRES

SKYLINE

PULLED STRING

ROTATION ELEMENT OF WIND TURBINES DECONSTRUCTED

USED AS GEARS CONNECTED TO EACH OTHER

FRAMING

3D SYSTEMIC MODEL This 3D systemic model explores the 2D section on page 18 in three dimensions. Here I look into the tanglible and intangible systems present on site and also look into the layers of history present under it. The main systems highlighted here are the recycling system, geomorphological system, wind turbine system and the industrial railway system which are represented in an exaggerated manner and allow for potential spatial experiences within the world of systems.

RECYCLING SYSTEM

GEOMORPHOLOGICAL SYSTEM

OLD FOOTBALL FIELD FACTORY WORKERS HOUSING INDUSTRIAL TRAIN TRACK WIND TURBINE SYSTEM

PLAN VIEW

EAST ELEVATION

PERSPECTIVE VIEW

SITE 8 23

FRAMING

3D SYSTEMIC MODEL For this task I looked into the system of recycling and made a cause and loop diagram for that. This helped me link recycling to numerous other systems which opened more ways for me for example getting to think of carbon emissions of an old or new vehicle or the advantages of recycling rather than manufacturing from scratch. Getting to know more about recycling made me more intersrted in the process which I took forward with me through the other weeks.

FRAMING

PERSPECTIVE VIEWS

FRAMING

3D SYSTEMIC MODEL FUTURE (PUBLIC THEATRE SPACE) NOW (MINI AMPHITHEATRE)

1960s (ROLLER SKATING RINK)

CLOSING OF POOL (POURING CONCRETE)

DEMOLITION SITE 12

REDCAR POOL

For week 3, we were asked to swap our sites with one of our studio mates in order to explore more about redcar. This week’s task looked into one system rather than a lot of systems found on site. For this diagram i looked into the system around an audience which was seen as a consistent layer of history and can even be seen today. This specific site used to be a pool in the 40s, then got demolished and turned into a skating rink in the 1960s. Currently it is used as a small outdoor amphitheatre and will potentially evolve into something of a similar purpose in the near future looking at the pattern. 28

FRAMING

PROTAGONIST - PERSPECTIVE - PROJECTION - GHOST SIGNS For week 3, we were asked to swap our sites with one of our studio mates in order to explore more about redcar. This week’s task looked into one system rather than a lot of systems found on site. For this diagram i looked into the system around an audience which was seen as a consistent layer of history and can even be seen today. This specific site used to be a pool in the 40s, then got demolished and turned into a skating rink in the 1960s. Currently it is used as a small outdoor amphitheatre and will potentially evolve into something of a similar purpose in the near future looking at the pattern.

THE PROTAGONIST

Angie was a train stewardess in the 80s and has travelled to Redcar from the past to see how much has changed over the decades. She finds herself on one of the ghost signs in Redcar. The residents of Redcar are curious to know about the past through similar ghost signs across the town and Angie has the best device for that. Through this device Angie is able to recover old bill boards through projecting the image onto it in an attempt to bring back a sense of the past to the residents.

FRAMING

FRAMING SITE ANALYSIS

WIDER CONTEXT OF WARRENBY CHOOSING A SITE

POTENTIAL SITE LOCATION

FRAMING

At this stage we were asked to finalise a system where the rest of our design project will base on. Warrenby is rich for automobile recycling and manufacturing but I also found out about a business which makes props and sceneries. Both car manufacturing/recycling and sets/scenery making/ recycling appeared to be strong projects to go forward with so I began unpacking these two systems in greater depth.

FRAMING

SITE ANALYSIS

SYSTEM SCALE MAPPING

BUSINESSES

CONTOURS

OLD TRAIN TRACK

SUN PATH

FRAMING

UNPACKING SYSTEM PROCESS

PROCESS MAPPING

BUILDING HIRING

SCREEN WRITING

CREW

FABRIC SETS PAPER

FILMSETS

GLASS MATERIAL SPEARATION MACHINE

STORING

PLASTIC WOOD

LOGISTICS MATERIALS

STORED SETS

PERMANENT?

DISMANTLABLE SHREDDED TO PRODUCE BIOMASS

RECYCLABLE

PORTABLE? STORING TEMPORARY?

REDUCE CARBON EMISSIONS

SALE? CARBON NEUTRAL TRANSPORT

11% OF UK'S ELECTRICITY

RENT?

FRAMING

SPATIALISED PROCESS MODEL

For this task I looked into the processes contained within my Film Sets system. Here I map the storing, dismantling and recycling process of the system spatially onto the site. The views on the next page show the elements i have exaggerated and revealed which create interesting spatial experiences for the users. 38

FRAMING

MOMENT DESIGN MODEL Film sets are made up of a series of planes. The concept behind this model looks into dismantling the sets into a series of layers/components and users get to experience the end of life of a film set. The strings holding the different components/materials are used to represent the light weight structure of film sets and how they can be hung by dismantling machines/vehicles as part of the theatrical experience for users.

TESTING

WARRENBY FILM SET EXPLORATORIUM

PROJECT AIMS The project is about extending the theatrical life of a film set where I explore its lifecycle. I take this hidden process and aim to create a theatrical setting for it. Through this project I reveal the system of storing, dismantling, recycling, manufacturing and exhibiting film sets to provide a new tourist attraction and recycling centre in Redcar where I aim to create a theatre of this process. The project aims to revive the slowly fading away tourism of Redcar showing the potential of Redcar is raising their economy by bringing people to the area. It also takes under consideration the circular economy theme of the studio where the building dismantles, recycles but also manufactures film sets creating a loop within itself.

TESTING

SUSTAINABILITY AND ENVIRONMENTAL INTENTIONS TO ADDRESS CLIMATE CRISIS To address the climate crisis i integrate an existing warehouse in my design to re-use and re-clad the steel. I also integrate a pre-existing (now abandoned) council recycling facility into my design where we recycle Redcar’s waste too. Alongside that my design recycles all kinds of film sets to keep up with sustainability. The building also has all PV roofs so it is selfsustained and creates extra energy to provide to the immediate context of Warrenby.

REVIVE THE TOURISM OF REDCAR IMPROVE THE LOCAL ECONOMY RESPOND TO CLIMATE CRISIS

POSITIVE SOCIAL IMPACT Present day Redcar lacks an important tourist destination with the Redcar Cinema already being demolished, the Redcar Steelworks which is going to be demolished and so on. Warrenby Film Set Exploratorium will not only aim to revive the tourism in Redcar but also create job oppurtunities for the residents of Redcar especially unemployed young adults. It will act as a place where people gather, enjoy but also get educated on the lifecycle of a film set.

ATTRACT PEOPLE TOWARDS REDCAR CREATE JOB OPPURTUNITIES USED MOSTLY RECYCLED MATERIALS CREATE LINKS TO CONTEXT

ISOLATED CONTEXT The immediate context arround Warrenby is very isolated with little or no buildings in the area. With Warrenby in speicifc, the building type is mostly warehouses serving the purpose of auto repair and recycling shops, some caravan dealers and a prop and scenery making business. 44

EDUCATE THE PEOPLE OF REDCAR DESIGN AROUND THE USER

TESTING

WIDER REDCAR MAP REDCAR CINEMA

REDCAR STEELWORKS

SITE

REDCAR BEACON

APPROACH BY FOOT

WASTE RECYCLING

AUTO REPAIR SHOPS

WAREHOUSES ON SITE

APPROACH BY CAR

PROPS AND SCENERY MAKERS

Warrenby sits quite central in location to Redcar almost equidistant from the Redcar Steelworks, The Coast and Redcar Town. Its isolated setting allows a very theatrical approach to the site via the long and narrow Tod Point Road coming all the way from the town passing through Warren-

by and towards the steelworks. The pedestrian circulation around Warrneby is also critical to my design especially the pedestrian path from the coast leading towards my site. Both these approaches I later use to create a dynamic and theatrical approach to the building.

EDUCATION SECTOR

TESTING

ANALYSING THE FILM ‘ANTICHRIST’

The early stages of testing I start analysing architecture through film scenes linking it to my design methodology but also to the brief requirements of designing through film scenes. I analyse scenes from the movie Antichrist to create a kind of storyboard to capture the mood of my site. This helped me identify the oppurtunities the site has to offer which I integrated in some of my views later in synthesis.

TESTING

TSCHUMI’S ANALYSIS OF SCENES FROM ‘THE BLOCK’, THE MANHATTAN TRANSCRIPTS

TESTING

INITIAL PERSPECTIVES EXPLORATION

INITIAL MASSING CONCEPT

Instead of starting the design process through plans or sections, I started exploring my design through perspectives of the key spaces - at this stage the exhibition of the dismantled sets. Perspective 1 is inspired from the Tiajin Exploratorium in China where people people would move around different floors and experience the process from various angles adding to the dynamic aspect of the brief. Perspective 2 however, is an imaginitive sketch of the exhibition area where there are walkways along the side of the hallway. My further explorations progress along the lines of perspective 2 which also has characteristics from my moement design model.

Following the division of process into five different sub processes, I divide my building into five different blocks. The red shows a train route that will take users from the storage space all the way to the exhibition space but after learning that cranes will be needed for the movement of sets I realised that I will have to move all the processes under one roof.

PERSPECTIVE 1

PERSPECTIVE 2

THEATRICAL OPPURTUNITIES OF SITE This view down the road was my first sketch of the appraoch to site where I highlight the backdrop of the steelworks while also hinting an element of verticality in my design (both highlighted in red) to respond to the steelworks in the background.

UNIVERSITY RESEARCH COMPLEX, PARIS The massing idea seen above is inspired by Bernard Tschumi’s University Research Complex Paris where he divides the buildings a series of sectors and joins them through an architectural promenade bringing all the parts together but also narrating the journey of the users through these spaces.

TESTING

FRAMING VIEWS

UNDERSTANDING THE PROCESS - INITIAL STAGES

These are the very initial sketches of the internal key spaces of the massing shown earlier. They form the basis of scenes I later progress with, more importantly the exhbition space and the promenade which will be seen later in my further explorations.

At this stage the mapping of the processes was done without understanding the movement of users, sets and vehicles in space but was a good starting point to think about scale and the movement of users and how they interact with the system.

THE ARRIVAL

EXHIBITION SPACE

PROMENADE

DISMANTLING PROCESS

RECYCLING PROCESS

EXHIBITION PROCESS

TESTING

UNDERSTANDING THE PROCESS - THE JOURNEY OF THE USERS AND THE FILM SETS

SETS DROP-OFF

SETS STORAGE IN WAREHOUSE

CRANES FOR TRANSPORTING SETS

DISMANTLING OF SETS

RECYCLING OF SETS

MANUFACTURING/CONSTRUCTION OF SETS

A lorry carrying film sets arrives at the destination. If the container is full, it is dropped off at the container storage area, otherwise it is quicky unloaded.

The sets dropped off are stored in the storage warehouse while the sets to be stored for longer durations stay in the containers.

A bridge crane will carry and move the sets out of the storage area while a monorail crane will transport it to the other spaces.

The sets will then be dismantled into their composite materials and then the crane will take these materials to be recycled.

The materials are shredded and squeezed into cubes which are then carried by the forklift trucks and the recycled material is transferred to the manufacturing area.

The manufacturing area has shops that sell the important materials needed but there is still a drop off for trucks to bring in other stuff.

TESTING

UNDERSTANDING THE TYPES OF CRANES

JIB CRANE

BRIDGE CRANE

INTEGRATION OF CRANES IN PERSPECTIVES

GANTRY CRANE

MONORAIL CRANE

WORKSTATION CRANE

CRANES USEFUL FOR MY DESIGN

TESTING

INSPIRATION FROM THE CONSTRUCTIVIST STAGE DESIGN

IMPLEMENTING KNOWLEDGE GAINED FROM PROCESS MAPPING AND CRANE INTEGRATION My first concept divided each process (storing, dismantling, recycling, manufacturing and exhibiting) in five different blocks separated from each other and the idea was that an an architectural promenade would act as the main circulation route for the visitors and would connect each process together.

Understanding the movement of sets in detail, their journey and the types of cranes needed directed me towards having my design as one building under one roof which would allow the movement of sets freely.

ITERATION 2

ERROR AND SOLUTION Having the form of the building this way limited the potential of the brief. It appeared that the form of the building is limited and constrained by the boundaries of the site and the dynamic ascpect of the brief and its theatrical oppurtunities did not come across which led me to move out of the site boundaries and make the form more dynamic.

‘Alexandra Exter was one of the most prominent Russian avant-garde artists particularly recognised for her original contribution in the sphere of theatre design. Her collaboration with Alexander Tairov, director of the Kamerny (Chamber) Theatre in Moscow, between 1916 and 1921 provided Exter

with a chance to create stage settings based on the new principles that rejected painted decorations and backdrop curtain. Instead, the artist focused on the construction of volumetrical theatrical space distinguished by dynamism and economical form.’

ITERATION 3

TESTING

ITERATION 4

CEDRIC PRICE INSPIRATION

After iteration 3 I go back to my process mapping and moment design model and take out qualities like the open frame language, dynamic and expressive walkway and integrate it into this design. This allowed me to have that theatre language and that gateway into the world of film affect as the passersby would drive along the building under the bridge.

Inspired by Cedric Price’s Fun Palace, I wanted my building to express the purpose of the building by looking at the language of the design. The raised roof highlighted in red is the raised route of the cranes so as the cranes move the sets the process can be seen from the outside.

DESIGN INTENTIONS The twisting nature of the building allows people driving past to see glimpses of the process similar to seeing film scenes where you do not know how they all go together so you see it in fragments as you drive past and you only see the full narrative when you walk through it.

DESIGNING SPACES AROUND USERS AND CRANE MOVEMENT

CIRCULATION OF VEHICLES AROUND SITE

GROUND FLOOR PLAN

TESTING

TESTING REVIEW ITERATOIN 5 Moving on with the principles of the previous iteration, this iteration presented at testing is a more resolved version which makes the movement of the crane without clutter. The awkward twisting nature of the cranes in the previous iteration did not offer a smooth circulation route for both users and film sets which promted me to change the direction of the manufacturing space on the front of the road rather than the side.

TESTING

BUILDING DIVIDED INTO SERIES OF PROCESSES

TESTING

JOURNEY OF VIEWERS

JOURNEY OF CRANE/SETS

VEHICLE APPROACH

DISMANTLING AREA

PERSPECTIVE SECTION

All views showing how the architectural promenade meets the system and how it allows the viewers to see and interact with it

TESTING

ITERATION 6

STRUCTURE PRECEDENT

After testing reviews I made most of my spaces bigger and looked into the council recycling process in greater detail which is when I realised that the waste recycling process takes up much more space so I cannot have both film set recycling and council recycling within the same space. Which is why in this iteration I move my council recycling faciclity outside the building.

As we went into the integrated construction phase of the project I started looking into precedents with a lattice steel structure and how the tectonics work. The reason for doing so is to respond to an industrial site housing an industrial process.

THE SAINSBURY CENTRE

Steel on the other hand is a very flexible material and has the ability to adapt over time so it is sustainable to use it for the purpose of my project.

The structure of the sainsbury centre worked very well with my brief and the concept of planes and layers, and provided me with the oppurtunity to integrate my walkways within the structure and creates an experience of going ‘behind the scenes’ of the process.

TESTING

INTEGRATING A DOUBLE LAYERED LATTICE STEEL STRUCTURE TO DESIGN

TESTING

CONCEPT SKETCH WITH NEW STRUCTURE

Rather than having the walkways floating in a simple lattice steel structure I successfully integrated this structure into my design for the integrated construction module, moved the secondary elements like building services, toilets etc into the structure while also having the walkways be part of it.

CONCEPT IMAGE INTEGRATING THE LANGUAGE OF BOTH THE SAINSBURY CENTRE AND NANTES SCHOOL OF ART

TESTING

THINKING THROUGH MAKING This thinking through making piece was made during the time I had to travel back home and had limited resources to make a model with the actual materials. The model shows a 1:10 detail of the gantry steel walkway susoended from the ceiling, on which visitors would walk and experience the system. The model also hints the lattice steel structural column which later changed as shown earlier.

SY N THESIS

SYNTHESIS

FINAL LANDSCAPE DESIGN

LANDSCAPE DESIGN In order to make my building site well in the context, I landscape the immediate context around the building. I work out how diffferent users will approach the site and how will they circulate around the building. Because the approach of vehicles is very important to my brief and design it is important for all types of vehicles to enter and exit without sny clutter. Trees are added in parts around the north facing facade to diffuse and filter light entering the building. The yellow arrows show the journey of the drop of lorries, the blue shows the journey of the cars wihile the green shows how the visitors would approach the building.

NEW COUNCIL RECYCLING FACICLITY 76

PARKING AREA

PAVED ENTRANCE TO EXHIBITION AREA

DRIVE-IN CINEMA PARKING 77

17 SYNTHESIS

SYNTHESIS 6

10 9

17 14

1 12 16 6

4 6

GROUND FLOOR PLAN

SECOND FLOOR PLAN

1 ENTRANCE 2 RECEPTION 3 CONTAINER STORAGE 4 PROMENADE/WALKWAY 5 SETS STORAGE 6 TOILETS 7 DISMANTLING AREA 8 RECYCLING AREA 9 COUNCIL RECYCLING 10 SCRAP ROOM 11 SHOPS 12 MANUFACTURING WORKSHOP 13 EXHBITION PODS 14 OPEN EXHIBITION AREA 15 DRIVE-IN CINEMA PARKING 16 SETS COURTYARD 17 CAR PARKING

1 OFFICES 2 PROMENADE/WALKWAY 3 RESTING SPOTS 4 TOILETS 5 STUDIOS 6 COMPUTER ROOM 7 BRIDGE 8 VIEWING BALCONIES 9 OPEN INDOOR THEATRE 10 STAIRS TO WATCHTOWER

6 4

SYNTHESIS

WATCHTOWER CAFE FLOOR PLAN

SYNTHESIS

INTERNAL CIRCULATION ROUTES

JOURNEY OF VISITORS JOURNEY OF FILM SETS

GROUND FLOOR PLAN

SECOND FLOOR PLAN

SYNTHESIS

WARRENBY TOURIST GUIDE

EARLY CONCEPT IMAGE SHOWING THE DYNAMIC NATURE OF THE BRIEF AND HOW THE USERS INTERACT WITH THE SYSTEM

SYNTHESIS

JOURNEY DOWN THE ROAD This storyboard shows scenes from a car going down the road as it enters ‘the world of film’. The driver passing by sees the process in fragments a bit like film scenes where they only see the full narrative once they walk through the building.

SYNTHESIS

EXPLODED WALKWAYS This exploded diagram shows how the walkways sit within the frame of the building. The complexity of the walkways showing their twisting nature is a result of creating varying scenes for the users as they move along the space. One moment they are inside a narrow enclosed structure, the next moement they’re in an open atrium creating a sense that you are an actor in a slightly different episode. The walkways are intentionally kept along the parameters of the structure to allow going ‘behind the scenes’ as previously mentioned but also because of the clutter free movement of heavy cranes, vehicles and sets. So both the system and the user do not interfare with each other rather appreciate each other. This exploded axonometric of the design’s final execution relates back to the language conveyed through the moment design model made during the framing phase of the project.

JOURNEY OF THE VISITOR

SYNTHESIS

SITE AREA COAST

SYNTHESIS

PERSPECTIVE SECTION This perspective section is my celebration piece which brings the entire design and its meaning together. It shows the movement of film sets through spaces, how they are concealed as they move and revealed again as they reach the bridge. It highlights the vehicle movement around the site and also shows the landscaping done to make the building site well in the context. And most importantly shows the watchtower’s relation to the steelworks factory in the background. The watchtower is designed inspired by the language of the steelworks so when it gets demolished in the near future, this watchtower will act as its memory.

SYNTHESIS

STEELWORKS BACKDROP This view highlights the watchtower’s relation to the steelworks factory. It is inspired by the same language and creates a theatre of people walking up and reveals and conceals views towards the steelworks, the coast and redcar town as you go up.

VIEWERS GETTING GLIMPSES OF SETS This view highlights the user-centric theme of the studio showing how the visitors interact with the moving system of film sets along their journey towards the exhbition space. The set shown here is from the movie ‘Atonement’ and will be seen in other visuals as well.

SYNTHESIS

DRIVE-IN CINEMA

MOVEMENT THROUGH THE STRUCTURE

This view shows the film ‘Atonement’ being played in the drive-in cinema while also showing how the drivers passing by will see the different processes in a series of fragments like film scenes.

SYNTHESIS

POINT OF VIEW OF A FILM SET IN THE WORKSHOP

A SCENE FROM THE VIEWER’S JOURNEY

This view shows a scene from the journey of a film set through the building. The set sits around the edge of the room ready to be picked up by the crane and taken ti the exhibition space.

This view frames a scene from the journey of a viewer where they see the dismantling process of the sets from Harry Potter and Atonement and also shows the movement of visitors in the layered facade.

1:20 TECHNICAL SECTION AND PART ELEVATION STUDY MUHAMMAD SHUJAAT AFZAL 31 32 33 36 35

WARRENBY FILMSET EXPLORATORIUM WARRENBY, REDCAR STUDIO: GHOST IN THE MACHINE TUTORS: MAGS AND CARA 170484172

INNER FOUNDATION 1. 150MM CONCRETE SCREED FINISH 2. VAPOUR BARRIER 3. 50MM KINGSPAN INSULATION 4. DAMP PROOF MEMBRANE 5. GROUND BEARING SLAB

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OUTER FOUNDATION 6. 50MM CONCRETE SCREED FINISH 7. VAPOUR BARRIER 8. 150MM KINGSPAN INSULATION 9. DAMP PROOF MEMBRANE 10. GROUND BEARING SLAB

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DRAINAGE 11. DRAINAGE CAP 12. SLOT DRAIN 13. CONCRETE BLOCK 14. CEMENT BOARD RUNNING ALONG INSULATION LAYER DOWN TO GROUND BEARING SLAB

INTERMEDIATE FLOORS 15. 40MM CONCRETE SCREED ON UNDEFLOOR HEATING PIPES 16. 150MM CONCRETE FLOOR PLANK SYSTEM

SUSPENDED EXTERNAL WALKWAY

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16. STEEL GRATING 17. 305 x 165 x 40MM UB - UNIVERSAL BEAM

SUSPENDED CEILING 24. VAPOUR BARRIER 25. 50MM KINGSPAN INSULATION 26. DAMP PROOF MEMBRANE 27. GYPSUM PLASTERBOARD HUNG FROM METAL BRACKETS 28. RADIENT PANEL 29. MECHANICAL VENT DUCT 1

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3 4

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ROOF 30. PROFILE METAL ROOF EDGE TRIM 31. CORRUGATED METAL WEATHER SHEET 32. RAIL 33. METAL BRACKET 34. 50MM INSULATION 35. INNER LINEAR SHEET 36. PURLINS/SHEETING RAIL

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A PPEN DIX

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SYSTEM

EXHIBITING CONTEMPORARY ART HEAVY SKIN - HOLLOW INSIDE LIGHT SKIN - FILLED INSIDE

FRAC DUNKIRK LACATON AND VASSAL DUNKIRK, FRANCE GROUP 1 SHUJAAT AFZAL EMILY DUCKER ADA DING NATALIA STASIK JACOB BOWELL

PRE-EXISTING STRUCTURE

INDUSTRIAL TIME (SHIPYARD)

ALLOWING LIGHT + ALLOWING TO SEE THROUGH

PRESENT DAY (EXHIBITIONS)

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The FRAC, currently a gallery for contemporary art was once a shipyard during the industrial days. The form of the building and the open interior is designed around the size of the ships that were stored and manufactured inside. The skin of the old part conceals the inner process whereas the new extension reveals the inner movement and art through its deliberate translucent skin.

NEW STRUCTURE

EXHIBITION SPACES 104

HISTORY AND PURPOSE OF FRAC (SHIPYARD)

ADAPTABLE EXHIBITION AREAS + TRANSLUCENT STRATEGY

“GIVES VISITORS AN INDIRECT HISTORY LESSON IN ADDITION TO A LESSON IN ART”

The images on the left shows the FRAC during the industrial times and the use of space in comparison to how it is used now. The parti diagramson their right show how the form of the building revolves around the process/system inside. 3

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THE TRANSPARENCY OF THE SKIN ALLOWS TO SEE THE BACKGORUND VISION OF THE OPAQUE VOLUME OF THE ARTWORK RESERVES 106

USER

VERTICALITY

USER-CENTRIC DESIGN

INTRODUCTION The project repaired and extended an industrail space to contain an art gallery. It creates an ambitious public resource, of flexible capacity, which allows work at several scales from everyday exhibitions to large-scale artistic events The new building was constructed by translucent and transparent materials, linking visitors to the harbor outside. The transparency of the skin also allows to see the background vision of the opaque volume of the artwork’s reserves. The intersecting layers and openings encourage people to interpret with space. USER AND THE FABRIC The whole building is open and bright. When visitors stand closed to the fabric, they can feel the outside temperature immediately. "Under a light and bioclimatic envelope, a prefabricated and efficient structure determines free, flexible and evolutionary platforms, with few constraints, fit to the needs of the program," said the architects. "The transparency of the skin allows to see the background vision of the opaque volume of the artworks reserves."

1 View 1

3 View 2

LIFT DESIGNED TO TRANSPORT ALL SIZES OF ARTWORK PIECES 107

The aspect of verticality can be seen throughout the building - the circulation corridors, the exhibition spaces and the elevator. It is essential for circulation corridors to be wide and open to allow movement of all kinds of art pieces. The double height ceilings create an open atmosphere, allow more light in and help with acoustics of the space. ABLE TO CARRY 7600 KG

Translucency and Transparency Diagram

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BUILDING TYPE AND USER’S SPATIAL EXPERIENCE

INTERSECTING LAYERS AND HUMAN SCALE The project creates a double of the halle, of the same dimension, attached to the existing building, on the side which faces the sea.

SOILD AND VOID

LAYOUT

SPATIAL AMBIENCE

From the ground floor, there is a café attached to an exhibition place. After going up through two exhibition halls, another forum hall appears for conducting events. What intersected with the forum hall are intermediate spaces for sitting and chatting. On the top of the whole building, harbor landscape shed the light on the artworks through the translucent fabric. The existing hall is left it empty so it can be used to host events, exhibitions and house large-scale artworks The designers applied multi height on different spaces. The ceiling heights were varied from 3m to 5m, producing dynamic spatial ambience in the gallery. As visitors walk through the halls, the ceiling will go up and down, implicating the shifts of functions.

SOILD AND VOID

Exhibition Space - Small Scale Artworks 109

Exhibition Space -- Big Scale Artworks

Exhibition Space --Artworks and Landscape

LAYOUT

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CLIMATE

EXPLORING ITS RELATION TO CLIMATE AND SUSTAINABLITY The approach Lacaton and Vassal took towards the buildings composition is where the structures ecological and environmental significance is exposed. The building consists of two main structures. The first and outter most strucure is made up of an enormous metal frame which supports and encases the plastic cladding, essentially forming a bioclimatic bubble of insulation around the more interactable elements of the building. The second is seen in reference to the inner structure comprised of a concrete frame in which commercially available prefabricated posts, insulation and beams are joined.

Dimension of Side Entrance

Position of Public Passenger

Dimension of Side Entrance and Wheelchairs

Image of Public Passenger

The ingenious design of the FRAC building , which will be explored in more depth has its routes set in a former project on which the architects worked. Its most impressive environmental and ecological features stem from the winter-gardens project used in the redesigning of the Tour Bois-le-Prêtre.

Position of Ramps, Elevators and Automatic Doors

ACCESS FOR ALL As a gallery, this building also emphsize the importance of access for all. The area surrounding the building is accessible for wheelchair and so is in interior. A new public passenger was added to make the gallery morer approachble. The widths of the doors and the slope of ramp allow all users to use the entrance comfortably. Automatic Door on the entrance

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Automatic Door to Ap2

Automatic Door to Exhibition1

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THE WINTER GARDENS AND BIOCLIMACTIC INSULATION

The winter-gardens system was developed by Lacaton & Vassal whilst working on redesigning the Tour Bois-le-Prêtre. The Tour Bois-le-Petre is a 16 storey apartment block, originally designed by Raymond Lopes in the 1960s, that was redesigned by Frederic Druot in collaboration with Anne Lacaton and Jean-Philippe Vassal of Lacaton and Vasal. The Building was Nicknamed ‘Alcatraz’ and was in need of serious modernisation.

Most of the building is clad with corrugated polycarbonate panels which suffice in terms of insulation requirements for the areas where the concrete innerstructure meets the outerframe, however the upper most floor of the building requires a much more efficient and effective level of insulation as the architects wanted to make the most of the fantastic volume between the inner concrete structure and greenhouse roof. The Illustrations featured above and to the left represent how Lacaton and Vassal have translated the Winter-Garden method of design over to the FRAC building. In comparison, the winter-garden in this example is essentially the orange area, the space between the exterior of the building and inner most concrete mass. Through utalizing the natural heat generated by the sun and storing it within the bio-climactic zone this drastically reduces the amount of energy needed to heat the building as a whole. In fact it creates a buffer zone that only uses sustainable energy sourced from the sun.

It is here that Lacaton and Vassal first designed the ‘Winter Gardens’ System, which is featured in the FRAC building. It was designed in response to the desire for the apartment block to expand in terms of floor space and bioclimatic insulation. As detailed by Illustration No (insert) external sunlight penetrates through the glass and corrugated plastic sheeting in the outside of the building into the ‘winter garden’. This sunlight essentially heats the space refered to as the ‘winter-gardenn’ located between the balcony and inner apartment. This ‘winter-garden’ essentially forms a bioclimatic bubble between the inner rooms of the apartment and the harsh exterior temperature of the balcony. The solar curtain depicted in illustraition (insert) allows for the occupants to control how much sunlight enters the garden and in turn the internal temperature of the apartment. With the addition of these winter gardens, balconies and heated extensions the overall square footage of the building was increased from 8900 m^2 to 12469 m^2. With the addition of these elements in particular the winter-gardens, the consumption of energy throughout the building fell by more then 50%.

This solves both a technical and energy efiiciency issue at the same time. Overall this makes a tremendous contribution to the enviornmnetal strength of the project. Winter Garden Extension Solar Curtain Balcony Extension

Climactic Bubble/ Outer Frame

Supporting/ Load Bearing Collumns

Concrete Inner structure Lift Access Lacaton and Vasssal here used air-filled cushions fashioned out of ETFE sheeting in order to provide a sustainable and effective level of insulation. The ETFE allows for the entry of natural sunlight into the buffer zone much like the corrugated plastic sheeting however with an increased level of insulation. The air-filled cushions are represented above in blue. In order to add increased control to how the space can be maintained at a moderate temperature the solar curtain used in the Tour Bois-le-Prêtre has been elevated and hangs bellow the bubbles, operating on cable ways. The air-filled cushions at the apex of the roof can be opened to allow for natural ventilation with no worries of birds flying into the building with the built in anti-bird net. Lacaton and Vassal really thought of everything for this project.

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Corrugated panelling

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PREFABRICATED PANELLING AND ITS EFFICIENCY RELEVANCE PRE-CASE CONCRETE SUSTAINABILITY In order to actually cast and manufacture concrete lots of carbon is released into the atmosphere. However, during the buildings life-time pre-cast units will actually absorb much of the CO2 that was used to manufacture them making them more sustainable then other building materials. In addition to this Pre-cast/ prefabricated concrete panels can withstand all kinds of weather conditions and uses meaning that they will most likely not need replacing for a very long time further adding to the buildings sustainability.

THEORY Prefab Prestressed Honeycomb daife Quartz Hardened Concrete Floor

TIMELINE OF ARCHITECT’S PROJECTS

Thermal insulation Pre-fabricated/Cast concrete beam

Lacaton and Vassal met as students during the late 1970s, and though their career they have advanced a set of ideas, a theory of architecture not divorced from use and inhabitation, from life. The timeline shows some of the architects’ buildings which I thought to be the most essential as examples of their architectural approach. I draw a line following the timeline to mark the scale of each project depend on its purpose and importance in their career.

ETFE SUSTAINABLITY ETFE sheeting or Ethylene Tetrafluoroethylene is a translucent polymer and as illustrated it is utilized by Lacaton and Vassal with reference to the outer shell or structure of the building. ETFE actually transmits more light and importantly insulates better then glass. Its also incredibly light weight and its malleable workable properties are the reason why the Winter-Gardens area of the building is able to be unfit with energy consuming heating systems. However, it is still plastic, an unnatural building material that will take thousands of years to decompose. When accounting for sustainability however, the lifecycle of the building must be taken into account and the benefits that this sheeting provide can be argued to outweigh the energy used to produce them. Without the use of this material the closest substitute to form the outer structure of the building would have been glass. This would have had direct implications on insulation and in turn energy consumption in relation to heating. This may have further had design implications forming a completely different building. As it stands Lacaton and Vassal have found a relatively sustainable and eco-friendly way of delivering their design aspirations with seemingly unnatural materials. Could they have utilized natural sustainable building materials for this project? Of course. However, the building would not be able to accommodate the design the architects have envisioned that stands today.

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IMPORTANCE AND VALUE OF EXISTING

TIMELINE OF ARCHITECT’S PROJECTS

EXTRA SPACE, FREEDOM OF USE

“Never demolish, never remove or replace, always add, transform, and reuse!” Lacton and Vassal has incredible architectual approach to the importance and value of the existing buildings, as they believe that place has beauties if we are attentive enough to see them. Throughout their creation they prove that every restriction can be positively turned around by reusing, transforming and reinventing what already exists. Each project requires focusing on accuracy, amiability and attention: to people, to uses, to structures and everything that already exists which allows appreciation of the values which already there. In the architects’ oppinion this is the great opportunity for the sustainable development of the cities. Therefore, they believed that Halle AP2’s interior needed to be saved because it still had potential. Filling the building wasn’t just senseless, but as Lacaton and Vassal argued: it was unnecessary. So they decided to propose that new structure, ‘‘twin building’’, of the same volume and shape be erected beside the AP2, one specifically designed to the house the required galleries, cinema, offices, educational spaces, and art storage. Futhermore, the Halle AP2 makes the FRAC not simply a museum or an archive, but a fully-functional complex the architects identified as a “unique and symbolical object”. The building is not only a visual magnet in the post-industrial landscape of the port area but a presenvation of its raw and industrial atmosphere of the area.

The halle AP2 collage - ‘‘freedom of use’’ Lacton and Vassal’s aim to design an architecture that is not standardized but creative, that challenges conventional answers to free the uses of buildings from artificial constraints. They believe that architecture is the freedom to use a space, to innovate a space, to get beyond mere functionality and provide a kind of liberty in the spaces we create that allows many types of functionality. The halle AP2 therefore is completely available space to be ‘‘free in use’’ for creativit, which can work either with the FRAC, in extension of its activities, (exceptional temporary exhibitions, creation of large scale works, particular handlings) or independently to welcome public events (concert, fairs, shows, circus, sport, art exhibitions) and which allows work at several scales of regional but also european and international resonance, which consolidates the redevelopment of the port of Dunkerque. 15 117

View from the port area

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TYPOLOGY

A BIOCLIMATIC CONCEPT

SIMILAR RE-PURPOSED PRECEDENTS

“Circulation between indoor and outdoor is better than insulation”

DUPLICATION

Lacaton & Vassal by using their economical construction techniques and the winter-garden approach, build upon the climate using the maximum of the natural resources. Natural climatic controls, such as passive cooling, natural ventilation, and solar heat gain, allow architects’ to create bioclimatic spaces which are not only luxurious but also they eliminate most of the costs associated with installation and operation of mechanical systems. They believe that greenhouse technologies are incredible sustainble solutions which are much better than traditional architectural approaches. Rather than learning from other disciplines how living conditions could be better designed, building regulations force architects to surround themselves with thick walls, small windows, and a maximum amount of insulation (whose greatest beneficiary is clearly the industry supplying the insulation material).

MODUALR

THROUGH

FRAC Lacaton and Vassal

TATE MODERN Herzog & de Meuron

FONDAZIONE PRADA OMA

THE BALTIC Ellis Williams Architects

Architect: Lacaton and Vassal Location: Dunkirk, France Year built: 1949, re-purposed and re-built 2013 Original Purpose/Function: Shipbuilding Workshop New Purpose/Function: Art Gallery and exhibition Context: Situated by the Harbour Architect’s Aim: Create a catalyst for the new area and to keep the existing halle in its entirety.

Architect: Herzog & de Meuron Location: London, UK Year built: 1940’s, re-purposed 2000, extended 2017 Original Purpose/Function: Power Station New Purpose/Function: Art Gallery Context: Situated by the River Thames Architect’s Aim: Enhance the physical power of the existing building without breaking or diminishing it. Shape the energy in a new and unexpected way.

Architect: OMA Location: Milan, Italy Year built: 1910, re-purposed and extended 2015 Original Purpose/Function: Gin Distillery New Purpose/Function: Gallery/Museum Context: Part of the industrial complex, south-side of Milan Architect’s Aim: To expand the repertoire of spatial typologies in which art can be exhibited.

Architect: Ellis Williams Location: Gateshead, UK Year built: 1950, re-purposed and re-built 2002 Original Purpose/Function: Flour Mill New Purpose/Function: Art Gallery Context: Situated by the River Tyne, Quayside Architect’s Aim: To maintain the building’s idiosyncratic and dominant presence on the river front through maintaining its verticality.

The sketches highlight the number of different ways architects can approach extending or re-purposing existing buildings. The three examples picked to compare to the case study each embody one of these techniques.

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DIFFERENTIATION

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INDUSTRIAL HERITAGE

TIMELINE OF RE-PURPOSED BUILDINGS

AIMS FRAC, The Baltic and Tate extension both aimed to keep the original dominance of the existing building, whilst Fondazione Prada was less precious in its approach. Perhaps this is due to the context - FRAC, the baltic and the Tate are next to water, which can instil a feeling of calmness for humans, whereas the Fondazione Prada is situated in an industrial complex, arguably much less of a beauty spot. Maintaining the site means less change, which could disrupt the calmness of the water presence.

FRAC

THE BALTIC

TATE MODERN

FONDAZIONE PRADA

The black line shows footfall before the change, whilst the white line shows footfall after the extensions. In all cases, the extensions have brought more people to the area and increased the presence of people in the buildings and surrounding.

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Industrial buildings are inherently vast and spacious, as they need to house large equipment and complex processes. This makes them ideal for architects’ re-use, as their space can be manipulated for a number of programmes. In the case of FRAC, the original building was nicknamed the cathedral by locals, due to such height and character. Art exhibitions also require flexible space, as for different layouts, sizes and lighting requirements, making disused industrial buildings a superb choice. FRAC, the Tate, and the Baltic have all utilised the verticality of the existing building in their adaptations of industrial to exhibition, maintaining fragments of existing heights. They recognise such dramatic heights are not needed throughout, so have divided some elements into smaller heights, allowing multiple floors. Fondazione Prada lacked verticality in the existing building, instead the architect built a vertical element to accompany the smaller modules of the gallery. This suggests that galleries benefit from a mixture of spaces to experience art and re-enforces the notion that industrial buildings make for great exhibition spaces. 20

FRAC LACATON

AND

VASSAL

TATE MODERN HERZOg & DE MEuRON

FONDAZIONE PRADA OMA

ELLIS

THE BALTIC WILLIAMS ARCHITECTS 122

LIST OF FIGURES SYSTEM (TONY)

MATERIALITY

Exploded Axonometric: Own diagram

Materials used in new part of building

Shipyard sketch-over: Own diagram sketched over image found on https://www.lacatonvassal.com/index.php?idp=61 Present day exhibition: photo found on http://francebelgiqueculture.com/creation/gigantisme_-_art__industrie.htm

FRAC Lacaton and Vassal

Exhibition space FRAC2: photo found on https://theartsdesk.com/visual-arts/theartsdesk-dunkirk-spirit-frac Historical Shipyard: Photos found on http://www.fracnpdc.fr/?page_id=2323&lang=en Building form parti diagram: Own diagram Adaptable exhibition area sketches: Own sketch traced over images found on http://www.fracnpdc.fr/?page_id=2325&lang=en FRAC at night: Photo found on https://www.lacatonvassal.com/index.php?idp=61

TATE MODERN Herzog & de Meuron

Transparency parti diagram: Own diagram Floor plans axonometric: Own diagram made by using floor plans from https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal?ad_medium=gallery Section sketch: Own diagram traced over photo found on https://www.lacatonvassal.com/index.php?idp=61 Circulation corridor: Own sketch traced over phot found on https://www.lacatonvassal.com/index.php?idp=61

FONDAZIONE PRADA OMA

Glass is used in each of the new elements of the typologies.

Elevator interior: Photo found on https://www.nyirlift.hu/en/elevators-escalators/freight-elevators LIST OF FIGURES USER (ADA) View1.2.3: Photos from http://www.fracnpdc.fr/?p=2632&lang=en, http://www.fracnpdc.fr/?p=2632&lang=en Translucency and Transparency Diagram: Own diagram traced from plans and sections found on https://www.archdaily.com/911719/lacaton-and-vassals-frac-dunkerque-is-an-architectural-echo-both-in-form-and-in-concept

THE BALTIC Ellis Williams Architects

Fabric in Details: Photo from https://www.detail-online.com/article/architectonic-twin-frac-nord-pas-de-calais-by-lacaton-vassal-16665/ Transparent Facade Introducing Natural Light in Exhibition Space: Photo from https://www.archdaily.com/911719/lacaton-and-vassals-frac-dunkerque-is-an-architectural-echo-both-in-form-and-in-concept Transparent Facade Allowing People to Look Out: Photo from https://www.archdaily.com/911719/lacaton-and-vassals-frac-dunkerque-is-an-architectural-echo-both-in-form-and-in-concept

FRAC, the Baltic and Fondazione Prada all use materiality as a tool to distinguish old and new elements, whereas Tate Modern differentiates the extension through shape, whilst maintaining a similar material palette. That being said, Tate Modern has added a glass top floor in the first stage of its extension. Such elements give the dense, older buildings a facelift, signifying their new use. The diagrams show the uses of glass in a building, proposing reasons why this has been used for galleries. 123

Ceiling Height and Human Scale: Own diagram

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Programming: Own diagram

vassal-detailed-section

Exhibition Space -- Small Scale Artworks: Own Diagram

Photograph of roof structure bubble: photo from https://www.pinterest.com/pin/488218415853839635/

Exhibition Space -- Big Scale Artworks: Own Diagram Exhibition Space --Artworks and Landscape: Own Diagram

Illustration of ETFE bubble pressure: traced and edited from https://www.sciencedirect.com/science/article/pii/S0950061814002104

Figures in Building Type and Spatial Experience: Own Diagrams

LIST OF FIGURES THEORY (NATALIA)

Facilities for Disabled People: Diagram marked by author traced from ground plan from http://www.fracnpdc.fr/?p=2632&lang=en, http://www.fracnpdc.fr/?p=2632&lang=en

Fig 1 and 6. “Nantes School Of Architecture / Lacaton & Vassal”, Archdaily, 2020 <https://www.archdaily.com/254193/nantes-school-of-architecture-lacaton-vassal> [Accessed 17 December 2020]

Automatic Door 1.2.3: photos from http://www.fracnpdc.fr/?p=2632&lang=en, http://www.fracnpdc.fr/?p=2632&lang=en

Fig 2 and 7. “23 Semi-Collective Housing Units / Lacaton & Vassal”, Archdaily, 2020 <https://www.archdaily.com/254147/23-semi-collective-housing-units-lacaton-vassal> [Accessed 16 December 2020]

Dimension of Side Entrance: Own diagram

Fig 3 and 8. “Polyvalent Theater / Lacaton & Vassal”, Archdaily, 2020 <https://www.archdaily.com/475683/polyvalent-theater-lacaton-and-vassal> [Accessed 16 December 2020]

LIST OF FIGURES CLIMATE (JACOB)

Fig 4. https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal

Photo of Front facing façade and walkway: photo from https://commons.wikimedia.org/wiki/File:Frac_Nord-Pas_de_Calais.jpg

FFig 5 and 9. “Lacaton & Vassal Have A Strategy To Save France’s Social Housing - Metropolis”, Metropolis, 2020 <https://www.metropolismag.com/architecture/preservation/lacaton-vassal-pioneered-strategy-saving-france-social-housing/> [Accessed 10 December 2020]

Detailed Diagram of building section: photo edited and sketched over. Original source https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal/52f9b9d3e8e44ef35c000095-frac-of-the-north-region-lacaton-and-vassal-detailed-section?next_project=no

FFig 10, 11, 12, 13, 14 . https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal

Photo of Tour Bois-le-Petre: photo from https://www.dezeen.com/2013/04/16/tour-bois-le-pretre-by-frederic-druot-anne-lacaton-and-jean-philippe-vassal/

LIST OF FIGURES TYPOLOGY (EMILY)

Photo of winter garden interior: photo from https://www.dezeen.com/2013/04/16/tour-bois-le-pretre-by-frederic-druot-anne-lacaton-and-jean-philippe-vassal/

External View of FRAC – photograph sourced from https://www.archdaily.com/911719/lacaton-and-vassals-frac-dunkerque-is-an-architectural-echo-both-in-form-and-in-concept/5c6adb7a284dd1af740004a6-lacatonand-vassals-frac-dunkerque-is-an-architectural-echo-both-in-form-and-in-concept-photo

Illustration over photo graph of winter garden: original photo from https://www.dezeen.com/2013/04/16/tour-bois-le-pretre-by-frederic-druot-anne-lacaton-and-jean-philippe-vassal/ Illustration of winter garden design: Diagram traced and edited from https://miesarch.com/work/1594

External View of Tate Modern – https://www.artfund.org/whats-on/museums-and-galleries/tate-modern, edited in Photoshop External View of Fondazione Prada – https://www.archdaily.com/628472/fondazione-prada-oma/554af3afe58ece423b00012d-fondazione-prada-oma-photo, edited in Photoshop

Illustration of roof window and main concrete section perspective: Own illustration photo in background from https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal/52f9b74be8e44ef35c00008afrac-of-the-north-region-lacaton-and-vassal-photo?next_project=no

External View of the Baltic – https://baltic.art/about, edited in Photoshop Ariel view highlighting context of FRAC – https://earth.google.com/web/, edited in Photoshop

Illustration of Large building section with coloring over the top: Illustration edited original source https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal/52f9ba65e8e44ef35c00009a-frac-of-thenorth-region-lacaton-and-vassal-section-2?next_project=no

Ariel view highlighting context of Tate Modern – https://earth.google.com/web/, edited in Photoshop

Illustration Close up detail of Roof structure: Illustrated over the top of photo original source fromhttps://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal/52f9b9d3e8e44ef35c000095-frac-ofthe-north-region-lacaton-and-vassal-detailed-section

Ariel view highlighting context of Fondazione Prada – https://earth.google.com/web/, edited in Photoshop Ariel view highlighting the context of the Baltic – https://earth.google.com/web/, edited in Photoshop

Photo of roof and winter garden nighttime: photo from https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal/52f9b71be8e44ec9bf00006b-frac-of-the-north-region-lacaton-and-vassal-photo

Footfall diagram before and after extension of Frac – own diagram produced on Photoshop

Illustration of elevation colored in: edited illustration originally from https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal/52f9b9e9e8e44eb4cf00007a-frac-of-the-north-region-lacaton-and-vassal-east-elevation

Footfall diagram before and after extension of The Baltic – own diagram produced on Photoshop

Illustration of concrete inner structure: edited original photo from https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal/52f9b9d3e8e44ef35c000095-frac-of-the-north-region-lacaton-and23 125

Footfall diagram before and after extension of Tate Modern – own diagram produced on Photoshop 24 126

BIBLIOGRAPHY Footfall diagram before and after extension of Fondazione Prada – own diagram produced on Photoshop

“23 Semi-Collective Housing Units / Lacaton & Vassal”, Archdaily, 2020 <https://www.archdaily.com/254147/23-semi-collective-housing-units-lacaton-vassal> [Accessed 16 December 2020]

3D Timeline of construction of precedents – own diagram produced on Sketchup and edited on Photoshop

“126 TATE MODERN - HERZOG & DE MEURON”, Herzogdemeuron.Com, 2020 <https://www.herzogdemeuron.com/index/projects/complete-works/126-150/126-tate-modern.html> [Accessed 16 December 2020]

Analysis of scale, original function, new function and shape – own diagram produced on Photoshop, images included from https://ewa.co.uk/en/portfolio-item/baltic-centre-for-contemporary-art-gateshead/, https://www. pinterest.co.uk/pin/82331499412858985/, https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal/52f9b933e8e44eb4cf000078-frac-of-the-north-region-lacaton-and-vassal-photo Materiality diagram FRAC – own sketch diagram

“AD Classics: The Tate Modern / Herzog & De Meuron”, Archdaily, 2020 <https://www.archdaily.com/429700/ad-classics-the-tate-modern-herzog-and-de-meuron> [Accessed 16 December 2020] Allen, Katherine. 2019. “Lacaton & Vassal’s FRAC Dunkerque is an Architectural Echo Both in Form and in Concept”, ArchDaily <https://www.archdaily.com/911719/lacaton-and-vassals-frac-dunkerque-is-an-architectural-echo-both-in-form-and-in-concept> [accessed 12 December 2020]

Materiality diagram Tate Modern – own sketch diagram

“Anne Lacaton, Lacaton & Vassal: “It Is Important To Make Buildings In Which Users Find Freedom””, ICON Magazine, 2020 <https://www.iconeye.com/architecture/features/anne-lacaton-it-is-important-to-makebuildings-in-which-users-find-freedom> [Accessed 16 December 2020]

Materiality diagram Fondazione Prada – own sketch diagram Materiality diagram the Baltic – own sketch diagram Images showing old and new materiality of FRAC – images can be found https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal

‘Architectonic Twin: FRAC Nord-Pas de Calais by Lacaton & Vassal - DETAIL - Magazine of Architecture + Construction Details’ <https://www.detail-online.com/article/architectonic-twin-frac-nord-pas-de-calais-bylacaton-vassal-16665/> [accessed 15 December 2020]

Images showing old and new materiality of Tate Modern – images can be found https://www.inexhibit.com/wp-content/uploads/2015/10/Tate-Modern-expansion-Herzog-de-Meuron-June-2016-04b.jpg, https://www. archdaily.com/429700/ad-classics-the-tate-modern-herzog-and-de-meuron

‘Art Gallery by Lacaton & Vassal That Mirrors the Adjacent Building’ <https://www.dezeen.com/2013/12/11/art-gallery-and-archive-by-lacaton-vassal-mirrors-the-former-shipyard-building-next-to-it/> [accessed 15 December 2020]

Images showing old and new materiality of Fondazione Prada – images can be found https://www.archdaily.com/628472/fondazione-prada-oma

“BALTIC Centre For Contemporary Art, Gateshead | EWA”, Ewa.Co.Uk, 2020 <https://ewa.co.uk/en/portfolio-item/baltic-centre-for-contemporary-art-gateshead/> [Accessed 16 December 2020]

Images showing old and new materiality of the Baltic – images can be found https://baltic.art/visit/openingtimes, http://www.aestheticamagazine.com/wp-content/uploads/2014/09/Daniel-Buren.jpg

Charbonneau, Linda, Maria Polak, and Alexander Penlidis. 2014. “Mechanical properties of ETFE foils: Testing and modelling”, construction and building materials, 60: 63-72 <https://www.sciencedirect.com/science/ article/pii/S0950061814002104> [accessed 14 December 2020]

Diagram analysis why glass has been used and impact on user experience - own diagram

Craven, Jackie. 2018. “ETFE, the Bubble Wrap of Building”, ThoughtCo <https://www.thoughtco.com/what-is-etfe-new-bubble-buildings-177662> [accessed 14 December 2020]

Diagram keys related to images highlighting features present – own diagramT

“EUMiesAward”. 2020. Eumiesaward.com <https://eumiesaward.com/work/1594> [accessed 10 December 2020] “Fondazione Prada”, OMA, 2020 <https://oma.eu/projects/fondazione-prada> [Accessed 16 December 2020] “Fondazione Prada / OMA”, Archdaily, 2020 <https://www.archdaily.com/628472/fondazione-prada-oma> [Accessed 16 December 2020] “FRAC Dunkerque / Lacaton & Vassal”. 2013. ArchDaily <https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal> [accessed 6 December 2020] ‘FRAC Nord-Pas de Calais, Dunkirk, France, Lacaton & Vassal - Architectural Review’ <https://www.architectural-review.com/today/frac-nord-pas-de-calais-dunkirk-france-lacaton-vassal> [accessed 15 December 2020] ‘FRAC NORD-PAS DE CALAIS » INAUGURAL EXHIBITION’ <http://www.fracnpdc.fr/?p=2632&lang=en, http://www.fracnpdc.fr/?p=2632&lang=en> [accessed 15 December 2020] “France Belgique Culture | Ambassade De France En Belgique | Gigantisme - Art & Industrie”, Francebelgiqueculture.Com, 2020 <http://francebelgiqueculture.com/creation/gigantisme_-_art__industrie.htm> [Accessed 18 December 2020] Frearson, Amy. 2013. “Tour Bois-le-Prêtre renovation by Frédéric Druot and Lacaton & Vassal”, Dezeen <https://www.dezeen.com/2013/04/16/tour-bois-le-pretre-by-frederic-druot-anne-lacaton-and-jean-philippevassal/> [accessed 10 December 2020] 25

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‘Lacaton & Vassal’ <https://www.lacatonvassal.com/index.php?idp=61> [accessed 15 December 2020] “Lacaton & Vassal Have A Strategy To Save France’s Social Housing - Metropolis”, Metropolis, 2020 <https://www.metropolismag.com/architecture/preservation/lacaton-vassal-pioneered-strategy-saving-france-social-housing/> [Accessed 10 December 2020] Mill, Baltic, “What’s On :: BALTIC Centre For Contemporary Art.”, Baltic.Art, 2020 <https://baltic.art/> [Accessed 16 December 2020] “Nantes School Of Architecture / Lacaton & Vassal”, Archdaily, 2020 <https://www.archdaily.com/254193/nantes-school-of-architecture-lacaton-vassal> [Accessed 10 December 2020] “Nyírlift - Elevators, Escalators, Lifting Devices, Accessibility”, NYL - Nyírlift Kft., 2020 <https://www.nyirlift.hu/en/elevators-escalators/freight-elevators> [Accessed 18 December 2020] “Polyvalent Theater / Lacaton & Vassal”, Archdaily, 2020 <https://www.archdaily.com/475683/polyvalent-theater-lacaton-and-vassal> [Accessed 16 December 2020] Products, Nitterhouse. 2020. “Precast Concrete Sustainability | Nitterhouse Concrete”, Nitterhouseconcrete.com <https://nitterhouseconcrete.com/sustainability/precast-concrete-sustainability/#:~:text=Precast%20concrete%20 is%20truly%20a,materials%20in%20LEED%2Dcertified%20buildings.> [accessed 12 December 2020] Src.Lafargeholcim-Foundation.Org, 2020 <https://src.lafargeholcim-foundation.org/dnl/9f6b15d0-7219-4d2c-bb67-ca9661c8aa51/Nantes.pdf> [Accessed 7 December 2020] “Sustainable Precast Concrete”. 2020. Britishprecast.org <https://www.britishprecast.org/Sustainability/Sustainability-The-Precast-Concrete-Industry.aspx#:~:text=Quality%20of%20life%20is%20a,sustainable%20benefits%20 in%20these%20areas.> [accessed 15 December 2020] “The Baltic, Newcastle-Upon-Tyne, UK”, Manchesterhistory.Net, 2020 <https://manchesterhistory.net/architecture/2000/baltic.html> [Accessed 16 December 2020] Vaizey, Marina, “Theartsdesk In Dunkirk: The Spirit Of FRAC”, Theartsdesk.Com, 2020 <https://theartsdesk.com/visual-arts/theartsdesk-dunkirk-spirit-frac> [Accessed 18 December 2020]

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SYNTHESIS WIDER CONTEXT

STUDIO READINGS REFLECTION

BIBLIOGRAPHY

REFLECTION I took the readings as a way to better understand the concept around systems and systemic design. Though ecological thought talked about ecology, to me it also meant systems and how broad a system can be. Infrastructure and modernity taught me that there are so many different systems interconnected with each other. Each system leads to another.

Abram, Joseph, Tschumi Le Fresnoy : Architecture In/Between (New York: Monacelli Press, 1999) E. Bowlt, John, “Constructivism And Russian Stage Design”, 1977, 71 <https://www. jstor.org/stable/3245250?seq=3#metadata_info_tab_contents> [Accessed 13 February 2021] Joseph, Etulan, “Perception And Production Of Space Through Montage”, 2019 <https://issuu.com/etulanjoseph/docs/perception_and_production_of_space_> [Accessed 11 February 2021] Mcglain, Martin, “What Is Cinematic Architecture”, 2014 <https://issuu.com/martin_mcgloin_b_arch/docs/issu_book> [Accessed 10 February 2021] Modi, Kushal, “Architecture And Cinema”, 2010 <https://issuu.com/modzarch/docs/ architecture_cinema_montage> [Accessed 11 February 2021] “Rosa Barba Blind Volumes At The Schirn Kunsthalle | Livegreenblog”, Floornature.Com, 2021 <https://www.floornature. com/blog/rosa-barba-blind-volumes-alla-schirn-kunsthalle-12262/> [Accessed 19 February 2021] Tschumi, Bernard, The Manhattan Transcripts (London: Academy Editions, 1994) ‘FRAC Dunkerque / Lacaton & Vassal’, ArchDaily, 2014 <https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal> [accessed 7 June 2021] ‘Gallery of Alstom Warehouses, Nantes Métropole Higher School of Fine Arts / Franklin Azzi Architecture - 18’, ArchDaily <https://www.archdaily.com/915442/alstom-warehouses-nantes-metropole-higher-school-of-fine-arts-franklin-azzi-architecture/5cb8e1ca284dd139dd00001c-alstom-warehouses-nantes-metropole-higher-school-of-fine-arts-franklin-azzi-architecture-detail> [accessed 21 March 2021]

INFRASTRUCTURE AND MODERNITY “every household is an individually configured infrastructure for a family or a small group” “Infrasturcture also looks into corporate and polotical economic elements”

THE ECOLOGICAL THOUGHT “ecology isn’t just about global warming, recyling, and solar power - and also not to do with just everyday relationships between humans and nonhumans. It has to do with love, loss, despair... it has to do with depression...it has to do with society. It has to do with coexistence.”

‘Geograph:: Tod Point Road © Stephen McCulloch Cc-by-Sa/2.0’ <https://www.geograph.org.uk/photo/412382> [accessed 1 June 2021] ‘Recycling - Set-a-Side-Storage’ <https://www.setasidestorage.co.uk/recycling/> [accessed 7 June 2021] ‘Références - Reconfiguration Des Halles Alstom Pour l’Ecole Nationale Supérieur Des Beaux-Arts à Nantes (44)- Bureau d’études TRIBU Développement Durable Bâtiment et Urbain’ <https://www.tribu-concevoirdurable.fr/references/ecoledes-beaux-arts-de-nantes-et-reconfiguration-des-halles-alstom-44.html> [accessed 21 March 2021] ‘Sainsbury Centre | AJ Buildings Library’ <https://www.ajbuildingslibrary.co.uk/projects/display/id/370> [accessed 7 June 2021] Samuel, Flora, Le Corbusier and the Architectural Promenade, Le Corbusier and the Architectural Promenade (Birkhäuser, 2010) <https://www.degruyter.com/document/isbn/9783034606073/html> [accessed 6 June 2021]

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‘School of Fine Arts, Nantes | TESS’ <http://www.tess.fr/en/projet/school-fine-arts-nantes#> [accessed 21 March 2021] ‘This Is Redcar & Cleveland’ <https://www.redcar-cleveland.gov.uk/Pages/default.aspx> [accessed 7 June 2021] Victoria and Albert Museum, Online Museum, ‘Design for a Constructivist Stage Setting by Alexandra Exter’ (Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@ vam.ac.uk, 2011) <http://www.vam.ac.uk/content/articles/d/design-for-a-constructivist-stage-setting/> [accessed 1 June 2021]

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