Benoit Rawlings Portfolio

Stage 3 Academic Portfolio City Ruins 2020/21 Benoit Rawlings 170276739

Contents Reflective Summary

1

City Ruins

7

Framing - Ruin Lust - City Grain

9 23

Testing - City Building

37

Synthesis - City Threshold

69

Thematic Case Study

87

Typology Case Study

111

Appendix

120

List of Figures

124

Amended Work New Work Group Work

Reflective Summary + Cultural Bibliography

Framing

Testing

Our project was structured through three stages: Framing, Testing and Synthesis. The journey began with observations and explorations of Newcastle’s urban grain, focussed on the studio theme of ruins. My line of enquiry was how ‘ruins’, in the broadest sense, are embedded within the evolution of the city. I analysed this through the forms of roofscapes, producing several compositions before creating a final print and sculpture. These works were inspired by artists ranging from Matisse and his colourful cut outs to Whiteread and her largescale casts alongside theoretical texts such as Collage City.

This way of working, free from the technical and contextual aspects of architecture, allowed me to maximise my creativity. The works I produced were iterative and in the latter stage produced using the medium of model making, techniques which I explored in my ‘Theory into Practice’ essay on the art of model making in art and architecture. Physical models, combined with sketching and digital modelling, proved to be a powerful way of testing ideas. The Framing stage was concluded by bringing the artwork to the proposed building site such that my more abstract ideas could be transformed by site constraints.

Here I created two models: the first developed massing ideas for the building, adopting casting techniques used in my sculpture; the second translated my massing into floor plates of balsa wood and circulation blocks of plaster. Both models took formal ideas developed in print and sculpture and morphed them to respond to topography, context and daylight.

The Testing phase of the project started with the development of a brief or programme for my proposal, drawing on case studies; for me this was the Glasgow School of Art by Charles Rennie Mackintosh and the Apartment Along a Party Wall by Herzog & De Meuron. My proposal provides living and working opportunities for young ceramic and wood working artists as well as facilities for the community such as a lecture theatre, gallery, café and a shop. Ouseburn, the location of the site, is the heart of Newcastle’s art industry and I aimed to create a hub for the trade, contribute to the regeneration of the area and provide affordable living accommodation for aspiring artists. I tested the programme through plan and sectional studies. My ‘Integrated Construction’ and ‘Professional Practice’ essays helped me reflect on the rationale for the decisions I made at this stage. The primary aspect I developed was the insertion of a central courtyard at the heart of the building that would reduce floor plate depths, improve daylighting to the surrounding spaces and provide a focus for circulation. A second decision was to restore the existing ‘ruined’ building on site, aiming to bring life back to the street, creating a pathway from the street to the courtyard, responding to the sustainability agenda of re-use and minimising the carbon footprint of the project. A third important decision was to connect the central courtyard to surrounding landscape, through a new park and stairs, which gave opportunities to build on the green agenda and enhance public access. I explored the stepping up of the building to the rear of the site in section as a response to topography, daylight and privacy needs of the residential accommodation.

Figure 1 - Key works and influences from Framing phase

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Figure 2 - Key works from Testing phase

Reflective Summary

+ Cultural Bibliography

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Synthesis

Cultural Bibliography

The Synthesis stage took a more detailed view of the proposal, focussing on the facade expression and internal atmosphere developed through the use of materials. I chose red brick for my elevations, influenced by the existing building’s brick facade as well as the material’s widespread use in the area. I focussed on the courtyard facades because they make the major contribution to the character and identity of the building. My objective was to give texture and depth to the facades through patterned brickwork, a subject I researched in the ‘Thinking Through Making’ exercise where I tested various brick patterns at a scale of 1:1. For the ‘Integrated Construction’ technology essay I developed the façade proposal in elevation and section and had to confront the technical difficulties of reconciling my aesthetic aspirations with the practicalities of construction. Behind the brick facade I chose to use a glulam and CLT structure, partly for their low embodied carbon and partly as a reference to the wood working practice inside the building. The design of the facades evolved in my 1:20 scale model where I chose to simplify the brickwork panel design, which made it more buildable but also feels more settled. For the model I used ply laminates to express the coursing of the brickwork. This was a crucial task in the development of the proposal’s facades and further reinforced the importance of model making as an explorative testing tool in my method of working.

RIBA Journal I have access to the RIBA Journal which I read when it arrives every month. It is a way of keeping up to date with current architectural trends and themes as well as discovering interesting architectural projects.

Figure 3 - Key works from Synthesis phase

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Figure 4 - RIBA Journal front covers for March and April 2021

Rome I was fortunate enough to go to Rome before the second lockdown. It was fascinating to see all the Classical Roman ruins such as the Colosseum and the Pantheon as well as the structures at the Roman Forum. I also went to an architecture museum called the ‘Imperial Forums Museum’ located in Trajan’s Market which had many architectural models of reconstructed monuments from around the Roman Empire. The trip enriched my cultural knowledge of ancient and contemporary Rome and was fundamental for my Dissertation.

Thematic Case studies - St Peter’s Seminary by Gillespie, Kidd and Coia - Walmer Yard by Peter Salter - Dawson Heights by Kate McIntosh - House in Vienna by Sergison Bates - Frac Dunkirk by Lacaton and Vassal - Terrassenhaus Berlin by Brandlhuber and Emde, Burlon and Muck Petzet - Suburban Housing by Sergison Bates - Housing in Mulhouse by Lacaton and Vassal

Figure 5 - Photos from trip to Rome

Reflective Summary

+ Cultural Bibliography

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City Ruins is a studio focussing on ideas of context, history and materiality towards the design of enduring architecture. The studio investigates the place of ruins in the contemporary city and their sustainable re-use and adaptation to create rich architecture embedded with history. Observations of the city and its ruins with influence from artists such as Rachel Whiteread create a foundation for a characterful proposal to emerge and compliment its surrounding urban landscape.

City Ruins

Studio Introduction

Framing

Ruin Lust

As a studio, we observed the city around us to develop a line of enquiry based on the studio theme of city ruins. I studied the idea of a ruin, in the boradest sense, through the evolution of the city, in particular, how ruins are embedded into the constantly developing urban grain. I observed and recorded how the city ruins are expressed in the layering and overlapping of the roofscapes in Newcastle. My observations were focussed on Ouesburn, the location of my site, an area with steep topography and consequently more exagerated roofscapes.

The objective of these observations and the line of enquiry was to produce a print to inspire a sculpture which would in turn influence my building design.

Figure 6 - Photograph observations of roofscapes in Newcastle

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Figure 7 - Sketch observations of roofscapes in Newcastle

Framing

Ruin Lust

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Figure 8 - Collage inspired by observed roofscape forms and Matisse

Figure 10 - Print inspired by collage and geometric abstraction

Using the forms observed from Ouseburn’s roofscapes, I took inspiration from Matisse’s formal collages to develop a collage of my own. When arranging the vibrantly coloured cut-outs, I either placed the forms to compliment their neighbouring cut-out by lining them up with their boundaries, or disregarding them and overlaying them upon one another. This idea of placement is one I observed when studying the evolution of the urban grain.

Developing my observations from a collage to a print, I took inspiration from geometric abstraction artists such as Kandinsky.

I created geometric forms based on those from the collage and arranged them on the page following the same approach. The dappled effect of the print enhanced the idea of ruin within the piece.

Figure 9 - ‘L’escargot’ (left) and ‘La Gerbe’ (right), both 1953 by Henri Matisse

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Figure 11 - ‘Mit und Gegen’ (left), 1929 by Wassily Kandinsky and ‘Dynamic Compostition’ (right), 1919 by Lyubov Popova

Framing

Ruin Lust

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The geometric forms allowed for more freedom in their arrangement on the page. I began printing using similar arrangement ideas as the previous works, complimenting or disregarding the neighbouring forms, but with more abstraction in their composition. I then experimented with monochrome printing, arranging the forms around void spaces, as can be found embedded into the city. These prints were more effective, expressing how city ruins are embedded into the evolution of the city.

Figure 13 - Final print

Figure 12 - Selected print developments

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Framing

Ruin Lust

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Figure 16 - ‘Expanding Form’ (left), 1954 and ‘Spiral Movement’ (right), 1951 by Mary Martin

A second influence in the transition from my print to a sculptural form came from a study of Martin. She uses simple cubic forms cut from wood and painted white to form her reliefs. Some blocks have tilted faces to develop varying surfaces to her compostion, creating areas of play and conflict. These varying surfaces reminded me of the varying rooftop geometry I had observed. Taking influence from Martin’s compositions and Whiteread’s technique, I formed a relief from plaster to express my line of inquiry. The forms of the piece are visually enhanced by its monochrome nature.

Figure 14 - Card and parcel tape mould for initial plaster cast relief

To develop my print into a sculpture, I looked to Whiteread for inspiration. She is an artist who works on a human scale and is well known for casting the negative spaces of architecture.

Whiteread embeds the memory of the room or building into the cast, an idea which I wanted to expand to the scale of the city for my sculpture, embedding the memory of the city into a cast inspired by the rooftop geometry studied in print.

Figure 17 - Initial relief cast in plaster

Figure 15 - ‘Ghost’ (left), 1990 and ‘House’ (right), 1993 by Rachel Whiteread

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Framing

Ruin Lust

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Figure 19 - Final relief cast in plaster

To develop my intial sculpture further, I looked at the sculptural works of Nicholson.

Like Martin, he sometimes worked in monochrome but with more variation.

Inspired by Nicholson, I chose to add more vertical layering to my sculpture, reflecting the varied levels of roofscapes as well as interlocking cubes referring back to the layering of the city’s evolution.

Figure 18 - Initial relief cast in plaster

Figure 20 - ‘Relief’ (left), 1934; ‘White Relief Sculpture’ (centre), 1936; ‘Sculpture’ (right), 1936 by Ben Nicholson

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Framing

Ruin Lust

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Figure 21 - Final relief cast in plaster

The final sculpture concretizes my line of enquiry, casting the memory of the city in an abstract fashion; it expresses, through roofscape forms, how ruins become embedded in the evolution of the city. The enhanced forms of the cast have a dual quality to them, reading not only as a sculptural compostion but also as an abstract architectural massing.

Figure 22 - Final relief cast in plaster

Ruin Lust

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Framing

City Grain

Figure 23 - Site location plan within Newcastle Upon Tyne 1:5000 0

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150 m

1 - Site 2 - City Centre 3 - River Tyne 4 - Ouseburn Valley

The site for my proposal is located in Ouseburn, a district to the east of Newcastle city centre. A late 19th century building sits at the front of the site along Stepney Road, my city ruin. The red brick building is an old school which currently houses a car garage and pizza takeaway on the lower floors. The surrounding area has recently seen a development of large-scale student accomodation buildings, two of which sandwhich my site. Opposite the existing building are smaller-scale buildings housing independant businesses, and to the back of the site is the City Stadium park.

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Figure 24 - Aerial photograph of site and context

Figure 25 - Facade of existing building behind photographed couple, mid1900s

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City Grain

Figure 26 - Facade of existing building with distinct castelated tower behind, 2016

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Figure 27 - Site plan highlighting key routes and green spaces 1:1000 0 3

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1 - Site 2 - Stepney Road 3 - City Stadium park 4 - Student accomodation 5 - Independant businesses 6 - Ouseburn Valley bridges 7 - Main route to site 8 - Pedestrian route to site

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Site

Existing building

Student accomodation windows

Proposed public park

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I planned the massing of my design to respond to the different features surrounding the site. The intention was to vary the scale of the proposal to not impose upon the smaller-scale buildings and neighbouring student accomodation windows, yet also step the building up in scale with the site topography and height of surrounding student accomodation.

This massing would be an evolution and development of the existing building on site which will have its front facade partially restored to bring life back to the street. I also proposed a public park to the northwest of the site, creating a green corridor linking the street front to the City Stadium park.

Figure 28 - Site massing responses

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Framing

City Grain

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Figure 29 - Massing process work

Figure 30 - Massing process work

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Framing

City Grain

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To form the massing I superimposed my final scultpure on site, morphing it to respond to the chosen parameters previously set. I cut a courtyard at the centre of the proposal to create a circulation hub for the building and to allow natural lighting into the main bulk of the design. The square shape of the courtyard was inspired by the square void tested in my final print.

Figure 31 - Iterative development of massing from sculpture in response to the site (left to right, top to bottom)

Figure 32 - Axonometric situating initial massing (grey) in context 1:1000

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Framing

City Grain

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Figure 33 - Initial massing plaster cast test 1:1000

I tested this massing at 1:1000 with a plaster cast, emphasising its descendancy from my final scultpure.

The sculpture enabled me to carry out lighting studies showing how the courtyard’s exposure to sunlight is not obstructed by the massing of the building.

Figure 34 - Initial massing plaster cast test 1:1000

City Grain

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Figure 35 - Massing development studying circulation (plaster blocks) between floor plates (balsa wood) 1:500

To investigate floor plates and circulation I used a balsa wood model at a larger scale. The layering and stepping of the design was influenced by Leslie Martin. I also used his idea of connecting the building to the landscape through a stair in the link between my courtyard and the new park.

Figure 37 - Massing development studying circulation (plaster blocks) between floor plates (balsa wood) 1:500

Figure 36 - St Cross Library (Left), Oxford, 1964 and Harvey Court (right), Cambridge, 1962 by Sir Leslie Martin

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Framing

City Grain

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Testing

City Building

Figure 39 - Proposed clients: ceramic and woodworking artists, residents, members of the public

My proposal is called ‘Uptin Creative Studios’. It is a development which provides work and living opportunities for young ceramic and woodworking artists, as well as facilities for the local community. A public gallery is located in the existing building at the front of the site for ease of access and the residential areas at the rear of the site for privacy. The design has a series of workspaces at the lower levels which create an interface between the public gallery and private residential units.

Figure 38 - Bubble diagram showing spaces required and exploded axonometric showing their distribution around the proposal

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Testing

City Building

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Figure 40 - Level 0 floor plan process work

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Figure 41 - Level 2 floor plan process work

Testing

City Building

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Figure 42 - Urban proposal site plan 1:1000 0

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30 m

1 - Uptin Creative Studios 2 - Stepney Road 3 - Green Corridor park 4 - City Stadium park 5 - Student accomodation 6 - Independant businesses 7 - Ouseburn Valley bridges

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Figure 43 - Axonometric of proposal 1:500

City Building

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Figure 44 - Level 0 floor plan 1:500 0

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1 - Courtyard 2 - Gallery 3 - Café 4 - Gallery shop 5 - Store 6 - WC 7 - Making studios

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15 - Kiln room 16 - Glazing room 17 - Casting room 18 - Work unit 19 - Conference room

level 0 has a public gallery in the existing building at the street front, designed with a route through from the entrance to the café and courtyard. The gallery allows the artists to display their work which would be available for purchase in the adjoining shop.

The shop, gallery and café are intended to draw the public into the courtyard where there is space to sit.

The courtyard provides access to several studios and the two workshops, one designed for wood working and one for casting and ceramics. The double-height making studios allow for larger scale fabrications.

The workshops are arranged to have spaces for both studio working and classes, an idea inspired by ‘Studio Pottery London’. All the workspaces are designed around collaborative open spaces in response to the building’s community feel.

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8 - Photography room 9 - Wood workshop 10 - Changing 11 - Service lift 12 - Finishing room 13 - Plant room 14 - Ceramics workshop

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Figure 45 - Studio Pottery London, 2019 by Flint

Figure 46 (overleaf) - Perspective from gallery through to café and courtyard

City Building

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City Building

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Figure 47 - Level 1 floor plan 1:500 0

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15 m

1 - Ceramics showroom 2 - Store 3 - Materials shop 4 - Studio balcony 5 - Surveyors’ room 6 - Digital workshop 7 - Residential unit 8 - Live unit 9 - Shared terrace

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Figure 48 - Perspective from live unit looking out into the courtyard

Level 1 provides workspaces such such as the digital workshop with laser cutters and 3D printers, as well as a studio balcony for viewing work from above.

The residential units begin at this level, permanent residential apartments to the north of the site and temporary live/work units to the east. The permanent units are divided into the living space and bedrooms.

For privacy the bedrooms are located along the outer facade of the building rather than the couryard facade.

The temporary live units are studio apartments which have a shared terrace.

City Building

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Figure 49 - Perspective from making studio balcony level looking down at makers

City Building

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Figure 50 - Level 2 floor plan 1:500 0

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15 m

1 - Lecture theatre 2 - Theatre lobby 3 - Drawing classroom 4 - Drawing studio 5 - Public park 6 - Large-scale sculpture

7 - Studio roof lights with seating 8 - Service lift 9 - Library 10 - Archive 11 - Store 12 - Residential unit

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Figure 51 - Perspective from key approach to site

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Level 2 introduces the public park and its stairs leading down to the front entrance and courtyard. There is a lift by the stair for disabled access to the couryard and a service lift down to the workshops for deliveries.

Public seating is provided around the rooflights for the making studio in an area that can be closed off at night to prevent unwanted visitors. The permanent residential units continue at this level together with other facilities: a drawing studio for the artists alongside a library, lecture theatre and drawing classroom for the community.

City Building

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Figure 52 - Level 3 floor plan 1:500 0

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1 - Library balcony 2 - Store 3 - Residential unit

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Figure 53 - Perspective from library floor out to courtyard

The library balcony is on level 3, designed to be a reading space. The residential units continue on this level, the number of apartments reducing from three to two.

City Building

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Figure 54 - Level 4 floor plan 1:500 0

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15 m

1 - Gallery viewing tower 2 - Studio viewing tower 3 - Shared residential roof garden 4 - Library rooflights 5 - Loggia

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Figure 55 - Roofscape of proposal in context from City Stadium park

Level 4 introduces the open air rooftop spaces. There is a shared roof garden for the residential units organised around the roof light for the library. The two towers also provide viewing opportunities for the surrounding roofscape, one accessible for the artists, the other for the public.

City Building

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Figure 57 - Ceramic workshop plan showing textures 1:200 0

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5m

Figure 58 - Residential apartment plan showing textures 1:200

Figure 56 - Level 0 public areas plan (gallery, shop and café) showing floor textures 1:200 0

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5m

Testing

City Building

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Figure 59 - Section A-A 1:200 0

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5m

1 - Courtyard 2 - Stepney Road

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City Building

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Figure 60 - Section B-B 1:200 0

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1 - Courtyard 2 - New park 3 - External stair with seating 4 - Adjacent student accomodation

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City Building

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Figure 61 - Elevation C-C 1:200 0

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1 - Gallery entrance 2 - External stair to park 3 - Adjacent student accomodation

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Elevation C shows the restored front facade of the existing building on site. The windows at the ground level have been reinstalled apart from at the centre, where an entrance has been inset inspired by Caruso St John’s entrance at the V & A Museum of Childhood.

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Figure 62 - V & A Museum of Childhood entrance by Caruso St John

City Building

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Figure 63 - Elevation D-D 1:200 0

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1 - City Stadium Park entrance to courtyard 2 - Adjacent student accomodation

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City Building

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Synthesis City Threshold

Figure 64 - Courtyard texture and elevations 1:200

Figure 65 - Place des Vosges in the ‘Plan de Turgot’ map of Paris, 1936

Figure 66 - Final print

The courtyard’s design is inspired by my final print as well as the colonnaded Place des Vosges in Paris. The courtyard texture figure is inspired by Caruso St John’s Kalmar Stortorget, including the way the space is graphically depicted with foldout elevations. My courtyard is paved with stone to define the routes around the space and its geometric forms. The shapes are textured with smashed pots inset into concrete, a reference to the ceramic practice inside the building.

Figure 67 - Kalmar Stortorget (Grand Cathedral Square) by Caruso St John

City Threshold

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Figure 68 - Perspective from south corner of the courtyard

City Threshold

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To decorate the facades of my design I experimented with different brick patterns at a 1:1 scale during the Thinking Through Making task. Firstly I tested four different brick patterns without mortar to see which I preferred. Then I tested three types of pointing techniques on a stack of bricks.

To finish off the experiment, I combined my favourite brick pattern and pointing technique, sawtooth with recessed pointing.

Figure 70 - Bricks and mortar testing (top left: recessed, bucket handle and flush pointing; other images show sawtooth pattern with recessed pointing) Figure 69 - Brick pattern testing (from top to bottom: projecting headers, sawtooth, rectangular perforations and square perforations)

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Synthesis

City Threshold

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Figure 71 - Detail elevation and section of courtyard facade 1:50 (originally 1:20)

1 - Roof garden with timber decking and rooflight embedded in planter

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2 - Library with balcony level 3 - Digital workshop with on show glulam structure and CLT floor plates 4 - Wood working workshop with non-slip floor finish 5 - Courtyard with stone paving

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Figure 72 - Line drawing of couryard facade threshold next to main staircase

Figure 73 - Casa Tabique, 2009 by Alejandro D’ Acosta

To articulate the gridded facades of the courtyard I used simple stretcher bond brickwork to express the piers and beams with perforated brickwork for the panels.

In some instances the perforated brickwork acts as a brise soleil to the glazing behind; in other instances it provides a balustrade.

The horizontal beams of the grid would be continued using sawtooth brick around the other facades of the design. Originally I chose to use a perforated brick pattern at an angle inpired by Casa Tabique.

However, I developed this into a more natural way of using brick horizontally whilst still creating the desired perforated shape inspired by Landmark Nieuw Bergen.

Figure 74 - Landmark Nieuw Bergen, 2015 by Monadnock Architects

Figure 75 - Becket House, 1939 in Canterbury

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Synthesis

City Threshold

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Figure 76 - Axonometric section drawing of couryard facade threshold next to main staircase 1:100

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Figure 77 - Axonometric section drawing of couryard facade threshold next to main staircase 1:100

Synthesis

City Threshold

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Figure 78 - Plywood and concrete model of courtyard facade threshold next to main staircase 1:20

The 1:20 facade model takes a section of the facade around the large staircase which captures both the perforated brick panels and the horizontal sawtooth brick pattern. The brick is represented by stacked birch plywood, the CLT panels and glulam beams are represented by poplar plywood and the stair and the courtyard and stair by concrete.

Figure 79 - Plywood and concrete model of courtyard facade threshold next to main staircase 1:20

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Synthesis

City Threshold

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Figure 80 - Plywood and concrete model of courtyard facade threshold next to main staircase 1:20

Figure 81 - Plywood and concrete model of courtyard facade threshold next to main staircase 1:20

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Synthesis

City Threshold

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11 Hebelstrasse Apartment Along A Party Wall Herzog & de Meuron Thematic Housing Typology Isobel Prosser, Benoit Rawlings, Jiwoo Kim Philip Russell, Hana Baraka

Thematic Case Study Group Work

Courtyards

Existing Buildings

How does Apartment Building Along a Party Wall contribute to an ongoing dialogue with the surrounding city?

Most of the city block consist of medieval stone buildings, particularly the row of houses that Apartment Building Along a Party Wall is adjacent to (Figure 5). Basel in general has a lot of historical architecture, with many buildings pre-dating the 20th century, so a new intervention should be sensitive to the age of the architecture surrounding it.

Isobel Prosser

Herzog & de Meuron took inspiration from the wooden sheds on the site and designed a primarily wooden structure that emulates a traditional medieval stable (Figure 4).

In this way, the building connects with the existing structures surrounding it, but is also clearly a newer intervention.

Figure 4

Isobel Prosser

As the name suggests, Apartment Building Along a Party Wall sits against one of these dividing walls, which is shared by an adjoining building in the neighbouring courtyard. This maintains the organisation of the courtyards, with a similar footprint to the low-level building it replaced (Figures 2 and 3). .

“Herzog & de Meuron’s buildings do not simply reflect and absorb their surroundings in a naturalistic way… but rather differ from them, comment on them, remember them, even transform them in such a way that they will never be the same.” 1

Figure 1

Studio Specific Criteria

Studio Specific Criteria

The city block on which Apartment Building Along a Party Wall sits is structured around a series of courtyards divided by walls (Figure 1).

1 [1] Philip Ursprung, Centre canadien d’architecture, and Herzog & de Meuron, Herzog & de Meuron: Natural History (Montréal; [Baden, Switzerland: Canadian Centre for Architecture ; Lars Müller, 2005), pp. 12–13.

Figure 2

Figure 3 Figure 5

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Thematic Case Study

Group Work

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Furniture

Two Layers

This further emphasises the suggestion that Apartment Building Along a Party Wall is a stable-like structure that has been added to the adjacent buildings. Additionally, this maintains the impression that the building is simply an object placed against the party wall, when it is in fact deeply rooted into the ground (Figure 6). Moreover, the furniture impression makes it clear that Apartment Building Along a Party Wall is a new intervention against the surrounding medieval buildings.

The depth of the façade creates two layers to the building: the building proper, which follows the same footprint as the structure it replaced; and the façade, which protrudes beyond the face of the adjacent stone building. This creates the impression of there being two structures that have been built before the party wall, not just one. Figure 11 demonstrates this where the party wall and two layers of building have been separated to distinguish them from each other.

Figure 6

Figure 9

Figure 10

Layering the façade softens the physical and visual transition between the external courtyard and internal apartment building.

This contrasts with the flat, opaque façades of the buildings surrounding the courtyard, emphasising the medieval structures.

Isobel Prosser

Isobel Prosser

The façade consists of slender wooden and steel poles. These give depth and an element of permeability to the front of the building, as one can physically walk through and stand in the façade before entering the building proper (Figures 9 and 10). This spatial element of the façade was a key principle in Herzog & de Meuron’s design and as such is relevant to other aspects of the building, such as its structure and relation to the environment.

Studio Specific Criteria

Studio Specific Criteria

The existing party wall that the building has been inserted in front of is the backbone of the design (Figure 6). Yet the structure has the appearance of being simply placed on the site like a piece of furniture against a wall (Figure 8). This appearance is aided by the base of the building being raised off of the ground and completely separated from the small steps that lead to its entrance (Figure 7).

As such, Apartment Building Along a Party Wall respectfully reflects its surroundings without imitating them or trying to appear as though it’s the same age.

Figure 11 Figure 7

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Figure 8

Thematic Case Study

Group Work

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The detail on the facade which enables this expression of depth is the column which repeats and extends throughout the facade transferring the load down to the foundation. Oak columns, which decorate the first two levels of the facade, required considerable craftsmanship as they were wood turned to produce their elegant, cigar-like shape. The form of the columns was not only necessary for the building’s expression, but also provided more tension than a straight column, therefore, giving more resistance to the facade layer.

Benoit Rawlings

The facade of the apartment building extends from the existing wing with a platform jutting out from it on each level.

These platforms, supported by columns, provide depth to the facade. Therefore, the facade becomes a spatial dimension of varying depth across multiple layers and levels between the internal apartments and the external garden.

Party wall Timber columns Extended wing direction

Spatial dimension Figure 2

Ground Floor Plan 1:200

Party wall

New walls

Existing walls

Platform

Benoit Rawlings

Studio Specific Criteria

Wood Turned Column Detail

Studio Specific Criteria

Spatial Facade Concept

Depth of platform Section 1:100 Force of load down columns Figure 4 Figure 1

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Figure 3

Thematic Case Study

Inividual Work

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The structure of this building is formed of a combination of steel and timber. The first two levels consist of a timber structure, a material choice inspired by the old timber sheds which share the same courtyard. The timber structure and cladding were used so that the building could express itself like a wooden box, or piece of furniture such as a cupboard in front of an existing wall.

The attic storey of the building has a steel structure and a continuous layer of glazing, an independent configurational element which allows for increased natural light into this more private floor.

Another detail that allows the building to express itself as a piece of furniture was the solid oak shutters which cover the doors along the facade and can be opened and closed like the draws of a cupboard. Each room inside the apartment has doors which open onto the facade, providing a view of the garden when the oak shutters are open.

Benoit Rawlings

Steel frame structure supporting roof

Timber frame structure on first two levels

Facade elevation 1:200 with shutters open

Perspective section showing structural frame

Facade elevation 1:200 with shutters closed

Figure 6

Figure 8

Figure 5

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Benoit Rawlings

Studio Specific Criteria

Oak Shutter Detail

Studio Specific Criteria

Material Selection and Structure

Figure 7

Thematic Case Study

Inividual Work

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Roof

Facade

The wooden skeleton (figure 2) makes way for a steel skeleton (figure 3) on the third floor of the building. Since only the roof is supported by this skeleton, it does not have to be fire-proofed and can therefore be left showing.

Steel is the perfect material for making dialectical roof if the Basel’s climate is normally rain falls year-round. Steel is stronger preventative to rain than the oak panels, so it helps the oak panels not to get wet from the top.

Timber cladding is effective for both heat and sound insulation, trapping in heat and ensuring that the sound does not escape.

Better for heat retention than for concrete, steel and aluminium, wood cladding is both functional and aesthetically ideal for making structure looks like a piece of furniture.

Jiwoo Kim

Jiwoo Kim

Firstly, two floors of the building are made of wood and facade is entirely clad with solid oak panels (figure 1) that form a “surface” with varying width, a kind of timber spatial layer between inside and outside, along with the turned oak columns.

In Basel, the summers are warm, the winters are very cold, and it is partly cloudy year round, so oak panels cladding is the better choice than using other materials because it can withstand cold, wind and rain, especially when properly positioned and maintained.

Efficient insulation from wood cladding and shingles also reduces dependence on building heating and cooling systems and promotes environmentally friendly energy use.

Enviromental Design

Enviromental Design

Extension building, HEBELSTRASSE 11 HOUSING (BASEL, 1988) Herzog & De Meuron is wood structure which is inspired by the old timber sheds in the courtyard of this housing block, so it is constructed like a piece of furniture, like a cupboard set in front of the existing wall.

Figure 2

Figure 1

Figure 3

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Thematic Case Study

Group Work

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Column and Beam

Foundation Support

A series of support columns (figure 4), some of which are partly visible as the beautiful, slender cigar - shaped wooden columns facing the courtyard while the others are concealed within the wall, transfer the load down to the foundation.

A third floor was placed at the top of this wooden box called permanent wood foundation (PWF) or support, reaching above the partition wall (figure 7). It retains the rhythm of the panels and the columns, and the architects want the plan and height alignment with the existing wall to produce unity in the facade.

A permanent wood foundation (PWF) is an integrated building device that utilizes loadbearing external light-frame walls in a low-grade application. The PWF consists of a stud wall and a base substructure, constructed of approved preservative-treated plywood and lumber, which supports an oversized superstructure.

Jiwoo Kim

Jiwoo Kim

In addition to providing vertical and lateral structural support, the PWF system provides resistance to heat and moisture flow and resistance to freeze/thaw cracking.

Figure 8

Figure 4

Enviromental Design

Enviromental Design

Secondary beams reinforce the floor slabs, giving this timber skeleton a three-dimensional skeleton, as they do in a typical house with stone walls and timber floor skeleton.

Figure 9

Figure 7 Figure 5

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Figure 6

Thematic Case Study

Group Work

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‘A building is a building. It cannot be read like a book; it doesn’t have any credits, subtitles or labels like picture in a gallery. In that sense, we are absolutely anti-representational. The strength of our buildings is the immediate, visceral impact they have on a visitor.’

There is a common theme in many of Herzog & de Meurons buildings; that the facade is not simply one layer, like a coating or cover, but has a spatial dimension. This allows not only a physical passing through space, but a chance to allow for a mental adaptation to the change in environment.

Herzog & de Meuron drew much of their theoretical inspiration from their former tutor Aldo Rossi. In contradiction to a lot of mainstream architecture, the studio believe in developing on the meaning and memories which people form with spaces. Progressing from the traditional architecture of a place, yet not something that is fashionable or iconic. By combining Rossi’s ideas with contemporary perspectives on architecture, Herzog & de Meuron create environments which feel modern, but yet personal, as if we have known them for years.

Figure 1

This is comparable to sociologist Henri Lefebvre’s concepts of ‘abstract space,’ whereby the representations of space have dominated over spatial practice, a common occurrence in the capitalist modern-day society. The facade became a forgotten entity and disappeared in this ‘abstract space.’

Figure 2

However, Herzog & de Meuron give the facade a new meaning, as seen in the Apartment Along a Party Wall. Through a carefully selected material palette, and a form which allows those materials to speak, they transform the ‘abstract space’ into something which has value for people. At the boundary of the home and the city, there is now a chance to prepare for whatever lies ahead. A space which is both social and spiritual.

To best understand the spatial characteristics of their designs the studio combine a range of scales, as far as a 1:1, even creating exhibitions for parts of the buildings to gain a better understanding of the human experience. They also work with artists to think of different ways of representing and imagining space, similarly based around the experience. This technique can be seen in the Apartment Along a Party Wall, where they create a range of models and sculptures, but also in thinking of their design as a piece of furniture, as something which will be used in the ordinary routine. This process of representation and imagination produces spaces for people.

Figure 4

Figure 3

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Philip Russell

Philip Russell

The Spatial Dimension

Theoretical Positions

Theoretical Positions

Representing Space

Thematic Case Study

Figure 5

Group Work

Figure 6

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Philip Russell

Theoretical Positions

Instead of using straight, static columns, typical in a modernist design, a hand-twisted column is used. This provides not only a visual purpose, but enhances the idea of the spatial dimension.

“We think, and of course we hope that our work at least tries to appeal to life, and to liveliness, it appeals to the five senses. There are critics who look at our work and only see tasteful facades and Cartesian form and call it conservative. That is something we cannot understand! These are stale judgments. They think in conservative categories, such as: square is boring, or solidity is old fashioned. With such a way of thinking you cannot have access to our architecture, which avoids entertainment and spectacular gestures. At the limit, we believe that architecture should merge more with life, to merge the artificial and natural, the mechanical and biological.”1

This craftmanship, seen extensively throughout the Apartment Along a Party Wall, was required to specifically express the building. The care and attention in the details of the building create a sense of work, and its form is honest, not hiding away its structure, corresponding with this.

This enhances the meaningfulness developed with these spaces. The relationship with the space becomes more personal and intimate.

Figure 7

Figure 8

Figure 9

Figure 11

Figure 12

As a result from this different way of representing and imagining space, Herzog & de Meuron have been able to create an environment which ultimately creates pleasure in everyday life.

Figure 13

Figure 14

Philip Russell

Everyday Life

Theoretical Positions

Craftmanship

Figure 15

1

Figure 10

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Group Work

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Apartment Building Along Party Wall. Basel. 1988

Time and Materiality

Party Wall Respecting the Context

‘Apartment Building along a Party Wall’ could be said to be timeless, mistaking it for a building constructed today. The choice of oak, and steel and very minimal concrete, could be taken as a sign of a better architectural future, one which consistently hopes to maintain the use of sustainable materials. (Figure 2)

As aforementioned, ‘Apartment Building along a Party Wall’, continues the grain of the existing courtyard. The medieval stone structures are celebrated and used as the vital backbone of the linear apartment complex. (Figure 7-10)

On the other hand of the spectrum, the Kreuzberg Tower and Wings designed by the American architect John Hejduk is a sign of its time. (Figure 3+4) Located close to Checkpoint Charlie, the tower proposes a clear representation of the postmodern buildings of its time-1988.

Using concrete as the main material with green geometric shapes attached to the facade, conveying an aura of melancholy. (Figure 5) The tower’s functioned as low to middle income housing units, with the main tower comprising of a living area on the lower level and a loft-type artist’s studio on the upper level.

In 2010 renovation plans were set for the building, where they would alter the building’s facade.

(Figure 6) This however, raised a lot of negative attention, encouraging the reconsideration of the importance of the building. Consequently, this saved the building from the controversial change, and instead the only renovation which will occur is to the surrounding gardens, which were designed by Hejduk, but never realized.

Existing Courtyard

“It is exciting for us to deal with existing structures because the attendant constraints demand a very different kind of creative energy. In the future, this will be an increasingly important issue in European cities. You cannot always start from scratch.” - Herzog & de Meuron

Figure 1

Materiality:

Materiality:

Figure 3

Steel

Concrete

Figure 4

Figure 5

Copper

Party Wall

Medieval Monastery

This statement goes hand in hand with the following precedent, designed by Spanish architect Josep Ferrando.

Concealed behind a historic facade is the ‘176 House E+M’. Wedged between two party walls, the house measures to be less than 6 meters wide.

This non-obstructive approach taken by the architects was in keeping of the house’s historic surrounding which is home to the medieval monastery. (Figure 11)

Figure 2

Wood-Oak

176 House E+M. Barcelona. 2014

Party Wall Building Axonometric Site Plan

With the street facade unchanged, the new concrete block lies behind resolving the complex conditions of the context and site (Figure 12). The interior of the concrete house, is an assemblage of laminated wood panels which provide a warm atmosphere, adapt to the openings of the preexisting facade and the topography of the site, one which raised another obstacle since the street levels on either end of the house are different.

Concrete

Figure 11

Figure 12 Figure 7

Figure 8

Figure 9

Front: Exterior Historical Facade

Back: New-Build Facade

Hana Baraka

Hana Baraka

Kreuzberg Tower . Berlin . 1988

Related Case Studies

Related Case Stuides

Apartment Building Along Party Wall . Basel . 1988

In-between Two Party Walls

Party Wall

Figure 10 Figure 13

Figure 14

Figure 15

Figure 6: BerlinHaus GmbH (Buildings New Owners) Renovation Plans

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Thematic Case Study

Group Work

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Apartment Building Along Party Wall. Basel. 1988

XS House . Philadelphia . 2019

Circulation

XS house placed seven apartments, rejuvenating the plot and adding urban density. To make up for the 152m thin space, the architects got creative with the strategic use of bays, mezzanines and bilevel upper units. These units ultimately required spacious circulation to allow all residents use.

This was achieved through allowing access to the upper units from the common stair, while the lower ones access directly through the street. (positively increasing foot traffic on vine street). The expanded tree like approach to the circulation emphasized vertical living, whilst maintaining a sense of community. ( Figure 22)

Circulation

Inhabitation

Figure 21

Site Map

Hana Baraka

Hana Baraka

ISA’s use of circulation is also an interesting approach. Philadelphia’s urban renewal era left behind a cut through the city’s urban fabric.

Chinatown was one of the neighbourhoods disconnected by the expressway significantly. ISA were challenged by the task of deigning for the oddly shaped leftover strip of land which would have been otherwise left to become a parking lot.

(Figure 21)

Inhabitation

Figure 16

Building Circulation Plan

Figure 17

Building Circulation Section

Related Case Studies

Related Case Stuides

Herzog & de Meuron, strive to allow the structure to become the driving force of the design. One key element of their apartment building in Basel is the exposed circulation connecting all the resident together. (Figure 16+20)

Figure 21

Circulation Building Circulation Section

Therefore, even though the circulation was not celebrated on the facade of the building like the Basel apartments, it was still very much a central piece of the residential building.

Figure 18

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Figure 19

Figure 20

Figure 22

Figure 23

Figure 24

Thematic Case Study

Group Work

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Studio Specific Criteria

“04.07.20 Remote Lecture Discussion | Josep Ferrando”. 2020. <https://www.youtube.com/ watch?v=VF9rSVCQNUA>

Figures 1, 4-8, 11: By Author - Isobel Prosser Figures 2-3: ‘Sobrecegueira’, Sobrecegueira <https://sobrecegueira.tumblr.com/post/183052333572/ apartment-building-along-a-party-wall-basel> Figures 9–10: "Apartment Building along a Party Wall by Herzog & de Meuron (677AR) — Atlas of Places". Atlasofplaces.com <https://www.atlasofplaces.com/architecture/apartment-building-along-aparty-wall/>

“AD Classics: AD Classics: The Kreuzberg Tower / John Hejduk”. 2019. ArchDaily <https://www. archdaily.com/164259/ad-classics-the-kreuzberg-tower-john-hejduk?ad_source=search&ad_medium=search_result_projects> “Apartment Building along a Party Wall by Herzog & de Meuron (677AR) — Atlas of Places”.

2019. Atlasofplaces.com <https://www.atlasofplaces.com/architecture/apartment-building-alonga-party-wall/>

Studio Specific Criteria

“Campaign to save Kreuzberg Tower gets results!”. 2010. Archinect <https://archinect.com/news/ article/97551/campaign-to-save-kreuzberg-tower-gets-results>

Figures 1, 3, 5, 7: “Apartment Building along a Party Wall by Herzog & de Meuron (677AR) — Atlas of Places”. Atlasofplaces.com <https://www.atlasofplaces.com/architecture/apartment-building-alonga-party-wall/> Figures 2, 4, 6, 8: By Author - Benoit Rawlings

“House Between Party Walls / Josep Ferrando”. 2014. ArchDaily <https://www.archdaily. com/798157/house-between-party-walls-josep-ferrando?ad_source=search&ad_medium=search_ result_all> “House Between Party Walls | Josep Ferrando”. 2017. Urbannext.net <https://urbannext.net/josepferrando/house-between-party-walls/>

Figures 1, 3, 5, 7-8:“Apartment Building along a Party Wall by Herzog & de Meuron (677AR) — Atlas of Places”. Atlasofplaces.com <https://www.atlasofplaces.com/architecture/apartment-building-alonga-party-wall/> Figure 2, 6, 9: By Author - Jiwoo Kim Figure 4: ‘Sobrecegueira’, Sobrecegueira <https://sobrecegueira.tumblr.com/post/183052333572/apartment-building-along-a-party-wall-basel>

“Remote Lecture | Josep Ferrando: Inhabited Infrastructures”. 2020. https://www.youtube.com/ watch?v=duhV8ZAExF8 “Too Radical to Implement Yet Too Relevant to Ignore”: John Hejduk’s Kreuzberg Tower”.

2014. ArchDaily <https://www.archdaily.com/479701/too-radical-to-implement-and-too-relevantto-ignore-john-hejduk-s-kreuzberg-tower> “XS HOUSE — ISA”. 2019. ISA <http://www.is-architects.com/xs-house/hy1rfonx0q00i4bk59zjbgtbjybcgh> [accessed 29 November 2020]

Theoritical Positions Figure 1: ‘Archiweb - Apartment Building along a Party Wall’ <https://www.archiweb.cz/en/b/bytovy-dum-podel-pozarni-zdi-wohnhaus-entlang-einer-brandmauer> Figure 2, 4, 10: By Author - Philip Russell Figure 3, 15: Mack, Gehard, Herzog & de Meuron 1978-1988, The Complete Works (Birkhauser, 1997) Figure 5-8: ‘Apartment Building along a Party Wall by Herzog & de Meuron (677AR) — Atlas of Places’ <https://www.atlasofplaces.com/architecture/apartment-building-along-a-party-wall/> Figure 9: ‘Apartment Building along Party Wall’, Larry Speck <https://larryspeck.com/photography/ apartment-building-along-party-wall/> Figure 11-14: Yoshida, Nobuyuki, Herzog & de Meuron 1978-2002

“XS House - U.S. Building of the Week”. 2020. World-Architects <https://www.world-architects. com/en/architecture-news/reviews/xs-house> [accessed 29 November 2020]

Related Case Studies

Lecture held by Jacques Herzog at the Columbia University’s Wood Auditorium, 8 November 1993.

Herzog & de Meuron: Recent Work of Herzog & de Meuron. In: Columbia University Graduate School of Architecture, Planning and Preservation (Ed.). Columbia Documents of Architecture and Theory. Vol. No. 4, New York, Columbia University Graduate School of Architecture, Planning and Preservation, 1995. pp5-25. <https://www.herzogdemeuron.com/index/projects/lectures.html>

“XS House / ISA”. 2019. ArchDaily <https://www.archdaily.com/931740/xs-house-isa> [accessed 29 November 2020] ‘Jacques Herzog and Pierre de Meuron | The Pritzker Architecture Prize’ <https://www.pritzkerprize. com/laureates/2001> Bernard Leupen and Harald Mooij, Housing Design: A Manual, (Rotterdam, NAi Publishers, 2011), pp. 280/281

Figures 1-2, 8-9, 17-20: "Apartment Building along a Party Wall by Herzog & de Meuron (677AR) — Atlas of Places". Atlasofplaces.com <https://www.atlasofplaces.com/architecture/apartment-buildingalong-a-party-wall/> Figures 3-5: "AD Classics: AD Classics: The Kreuzberg Tower / John Hejduk". 2019. ArchDaily <https:// www.archdaily.com/164259/ad-classics-the-kreuzberg-tower-john-hejduk> Figure 6: profile, View. 2010. "Disturbance At The Hejduk House", Fantasticjournal.blogspot.com <http://fantasticjournal.blogspot.com/2010/03/disturbance-at-hejduk-house.html> Figure 7, 10, 16: By Author - Hana Baraka Figures 11-15: “House Between Party Walls / Josep Ferrando”. 2014. ArchDaily <https://www.archdaily.com/798157/house-between-party-walls-josep-ferrando?ad_source=search&ad_medium=search_ result_all> Figures 21-25: “XS House - U.S. Building of the Week”. 2020. World-Architects <https://www.world-architects.com/en/architecture-news/reviews/xs-house>

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Bibliography

List of Figures

Enviromental

Lefebvre, Henri. The Production of Space (Blackwell Publishing, 1991) Mack, Gehard, Herzog & de Meuron 1978-1988, The Complete Works (Birkhauser, 1997), Vol.1 Ursprung, Philip, Herzog & de Meuron Natural History (Lars Muller Publishers, 2005) Wall, Apartment. “Archiweb - Apartment Building along a Party Wall”, Archiweb.cz <https://www. archiweb.cz/en/b/bytovy-dum-podel-pozarni-zdi-wohnhaus-entlang-einer-brandmauer> Yoshida, Nobuyuki, Herzog & de Meuron 1978-2002 (Tokyo : a+u Pubishing, 2002)

Thematic Case Study

Group Work

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Work Typology Studies Studio 2 City Ruins

ARC 3001 2020-21

Glasgow School of Art Charles Rennie Mackintosh Glasgow 1899-1909

Typology Case Study Group Work

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Typology Case Study

Group Work

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Typology Case Study

Group Work

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Typology Case Study

Group Work

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Typology Case Study

Appendix

Figure 84 - Roofscape sketch Figure 82 - Ruinous texture sketch

Figure 83 - Roofscape sketch Figure 85 - Geometric roofscape process

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Figure 87 - Courtyard and facade development line drawing

Figure 86 - Sculpture process sketches

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List of Figures 1 to 3 - Author 4 - https://www.ribabooks.com/riba-journal-march-2021_9786000003517# and https://www.ribabooks. com/RIBA-Journal-April-2021_9786000003579# 5 to 8 - Author 9 - https://www.tate.org.uk/art/artworks/matisse-the-snail-t00540 and http://www.matissepaintings.org/ sheaf/ 10 - Author 11 - https://www.wassily-kandinsky.org/Mit-und-Gegen.jsp and http://www.artnet.com/artists/lyubovpopova/dynamic-composition-xNS-q3gzm1nlQRcct7a29A2

27 - Group Work 28 to 35 - Author 36 - https://matthewsmithphoto.wordpress.com/2013/07/04/harvey-court-cambridge/ and https://www. architecture.com/image-library/RIBApix/image-information/poster/bodleian-law-library-st-cross-building-university-of-oxford-the-main-approach/posterid/RIBA50833.html 37 to 44 - Author 45 - https://enkimagazine.com/flint-design-studio-studio-pottery-london/?v=79cba1185463 46 to 61 - Author 62 - https://carusostjohn.com/projects/victoria-and-albert-museum-childhood/

12 to 14 - Author

63 to 64 - Author

15 - https://saatchigallery.com/artist/rachel_whiteread and https://www.artsy.net/article/artsy-editorialrachel-whitereads-house-unlivable-controversial- unforgettable

65 - https://commons.wikimedia.org/wiki/File:Place_des_Vosges,_Plan_de_Turgot_-_David_Rumsey.jpg

16 - https://www.tate.org.uk/art/artists/mary-martin-1586 17 to 19 - Author 20 - tate.org.uk/art/artists/ben-nicholson-om-1702 21 to 23 - Author 24 - https://earth.google.com/ web/@54.97669674,-1.59591603,27.50705196a,180.39072273d,35y,10 4.78945731h,48.99992681t,0r 25 - https://www.ouseburntrust.org.uk/Handlers/Download. ashx?IDMF=2a8c0992-fcfa-4df7-bf23-6da4 427a4543

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26 - https://www.chroniclelive.co.uk/news/north-east-news/campaigners-devastated-after-controversialuptin-12113546

66 - Author 67 - https://miesarch.com/work/2733 68 to 72 - Author 73 - https://www.archdaily.com/787595/casa-tabique-tac-taller-de-arquitectura-contextual 74 - https://www.archdaily.com/780745/landmark-nieuw-bergen-monadnock 75 - http://www.canterbury-archaeology.org.uk/cogging/4592397535 and https://www.kentonline.co.uk/ canterbury/news/green-light-for-53-flat-conversion-of-bt-building-230837/ 76 to 87 - Author

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