Daniel Mijalski Portfolio by PDF Uploads

Academic Portfolio Daniel Mijalski

Stage 3 | Studio 6 | Building upon Building

Student No. 180395598

Daniel Mijalski Building - upon - Building Undergraduate Portfolio 2020/21 Submitted in fulfilment of an Architecture BA Honours Degree at Newcastle University

Zoological Panopticon Lubetkin Centre for Zoological Advancement

Contents 1. Illustrated Reflective Diary

2. Project Framing

3. Project Testing

4. Project Synthesis

5. Group Case Study Report

121

6. Extracurricular Work

175

7. Annotated Construction Section

185

8. Endnotes

187

9. Bibliography

188

10. List of Figures

189

Appearance of these symbols indicates that the marked work has been added after a review of its respective project stage

Illustrated Reflective

As I reach the end of the Architecture BA Honours degree, it is an important step to reflect on my experiences and self-development during my final year of the course. The insight into the process behind the project execution will allow me to detect my strengths as well as potential areas to improve in the future. Beginning the course with writing a dissertation equipped me with the awareness of how a theoretical approach can translate into design development and thinking processes. I am glad I had the chance to

e Diary

explore cultural and historical context which I believe is essential in the formulation of architectural ideas and in understanding their implications. Within my dissertation, I looked at an architect from an existential perspective what allowed me to create a personal stance towards the contemporary politics of the discipline and its issues. This proved incredibly helpful by adding another element of a personal relationship between my work, my ambitions, and my ethics. Additional motivation and passion allowed me to deepen my understanding of the ideological awareness of architecture and inspired me

to set off on the journey of setting my stance within the disciplines’ discourse. The more unwanted result of this architectural ‘growing up' is the feeling of frustration once design work does not go well alongside the theoretical one. Throughout the year this tended to result in longer working hours spent on the search for perfect theoretical and practical equilibrium which in the end proved even more inspirational becoming another source of passion. Nevertheless, during this year I have improved not only my theoretical comprehension of architecture but also my technical skills. These were especially important this year because, as a result of the Covid-19 pandemic, the workshop and studio remained closed. Lack of access to the usual workspace motivated me to transfer more into the digital space. At first sight, this might have seemed like a negative aspect, but it was a great opportunity to acquire a wide range of new skills. Although this came with a certain degree of sacrifice, I can proudly say that I have not learned more within a year in my life than during the final degree year. The modules I had this year not only allowed me to further develop my design style and the way of working by also highlighted the meaning of the architect’s role. In essence, the impact of the choice of materials, ecological strategies or used technologies on extremely important matters such as climate change and human well-being. The ethical context of architectural design stands as an inherent part of contemporary studies, therefore being sensitive and responsive to human and environmental needs is an essential ability that architect needs to acquire. In hindsight, I am able to see the importance of time management skills and the ability to organize the workload around tight deadlines. At the beginning of the project, I developed a schedule with a specific course of actions that needed to be undertaken to accomplish the year successfully. Even though some inevitable changes occurred, the plan enabled me to keep control over the process and adjust when necessary. I am particularly grateful to my tutors who provided me with an opportunity to confront my design decisions and offered constant encouragement to push my limits regarding the project development. Eventually, I want to express my incredible happiness connected with the end of the degree. Not that I did not like but more that I have been waiting for this to come for three years and I simply cannot wait to finally embrace the discipline by starting my RIBA Part 1 practice year.

Penguin inspired by the Penguin Pool

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Collage Inspired by Penguin Pool

View From My Home Studio (see the building site which accompanied me through the whole academic year by showcasing foundations piling, slab casting and demolishion noises)

Rhino Model in Wireframe Mode

CONTENTS

Dissertation Contents Page

Introduction

1. Mountain & Stone

2. Way up

3. peak & Fall

4. Way DoWn

Neoliberalism, logic of late capitalism

Engineering authenticity, Therme Vals

Sisyphus and Vals

Conclusion

Deception and naivety

Absurd irony

Neoliberal complexity

Place's essence

Paradox of Neo-liberty

Materialazing the atmosphere

Death of Architecture or Sisyphus?

Bibliogaphy

List of Figures

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Building upon Building - Experimental Preservation Building upon Building is a studio concerned with an experimental approach to the conservation and preservation of prominent architectural objects. Through research and understanding of the relationship between the past, present, and the future, the studio was encouraged to question the definition of conservation refining its cultural and political importance. This year's studio brief focused on experimentations around the restoration of Betherold Lubetkin's Penguin Pool. The modernist masterpiece inspired us to delve into all modes of architectural production discussing the perception of the building as an animal enclosure, artistic expression, and ideological manifesto.

The graduation project began with Framing stage which included a presentation of the most important themes of the final year studio. This chapter introduces the bulk of research and analysis which later became pivotal in 'framing' of my final design proposal. It will be showcased how initial considerations of crucial themes within an understanding of Penguin Pool have motivated my architectural creativity. Introduction to the architectural work focused on various dimensions of the contemporary human relationship with nature. This relationship extends from simple, yet pivotal encounters between architecture and landscape to much more complex, often unconscious human interaction with ecological discourse.

Project Framing

Analysing Berthold Lubetkin’s Background The studio began with the study of the life and ideals of Russian-born architect Berthold Lubetkin. His socialist legacy, derived from the early life spent in the USSR, combined with the modernist theory of the New Utopia made Lubetkin one of the most prominent contributors of the modern movement.1

Comprehension of these influences made me aware that somehow revolutionary and socially conscious architecture needs to be a part of my project to remain relevant within the architect's vision. His ambition of social utopia failed once his re-interpretation of the urban fabric for Peterlee, County Durham masterplan was neglected. Yet, his belief in architecture's revolutionary power to alter the society still inspired me to seek political architecture which can ‘make difference'.2

Understanding influences that formed Lubetkin made it clear that revolutionary, socially conscious architecture has to be recognized within any potential response to the existing building to remain relevant within the architect's architectural vision.

1917

1931

Socialist Utopia

1922

Plan Voisin

Modernist Utopia

1901

Lubetkin is born in Tbilisi, Georgia (Russian Empire)

Immigration to London & Tecton Architects

Utopia Achieved?

October Bolshevik Revolution, Lubetkin encounters Utopia

Lubetkin leaves for Berlin and Paris developing his ideals

Le Corbusirer

Auguste Perret

Wilhelm Worringer

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Tecton

Finsbury Health Centre (1938)

Gorilla Cage (1931)

Hightpoint I (1935)

Penguin Pool (1934)

'Architecture cried out for a new world [...] nothing is too good for ordinary people' - Lubetkin

Lubetkin's Work Crisis

Modern Society Crisis

1939

'…An achievement of the highest rank.' - Le Corbusier

Second World War

1947

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Peterlee Masterplan

'After the war Tecton became a ghost of its former self ' - Lubetkin

Lubetkin’s masterplan for Peterlee neglected

Lubetkin’s Masterpiece - Penguin Pool The significant use of steel, concrete, and glass in the modernist movement may suggest that its architects were not concerned with nature, yet the Penguin Pool proves the stereotype wrong. The animal cage located in London Zoo was one of Lubetkin’s first projects which greatly manifests architect’s revolutionary approach. Even though Lubetkin stepped outside of the typology of the animal cages resembling natural environment, it still remained his ambition to recreate perfect animal’s habitat. Here, his social utopia became an animal utopia.3

Yet the most powerful quality of the pavilion is its expression of the relationship between nature and the man-made. This is encapsulated within the relationship between the abstract, elliptical shape surrounding the interweaving cantilevered ramps and surrounding landscape, especially the tree nearly touching the canopy’s structure. By making space for the tree, this architectural modification becomes a significant poetic expression and political manifestation of how Lubetkin imagined the achievement of the animal utopia.4 Namely, as a synergy and dialogue between nature and architecture which together create the 'perfect habitat'.

Geometrical Analysis

Penguin Pool’s Lower Floor Plan

Penguin Pool’s Upper Floor Plan

Back Access to Nesting Tree

1 2

Removed Tree Swimming Pond

3 4

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Nesting Nooks Entrance Gate

5 6

Cantilevered Ramps Diving Tank

7 8

Investigating Materiality and Form Further exploration of the qualities of the structure enabled to discover that Lubetkin reinterpreted characteristics of penguin’s natural environment. 5 Materiality, Arctic ice and ever-present blue of the surrounding ocean are expressed in the cage as an abstracted reflection of their natural function. Therefore, the ocean becomes the pool and ice becomes the ramp which itself exposes the political potential of the enclosure.6 As the drama of modernists technological achievements materialized in the cantilevered concrete serpentine becomes a theatrical stage for the performance of captive actors, the ideological message is expressed. As the

drama of modernists' technological achievements materializes in the cantilevered concrete serpentine it becomes theatrical stage for the captive actors. Perfect balance of the floating ramps represents the seemingly achieved utopia so desired for the human built-environment. This causes nostalgia passing the ideological message that calls for new, respectful relationship between architecture and nature. The political power of theatrical experience is further enhanced by the elliptical shape that acts as a promenade inviting visitors to observe the spectacle.7

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Compression

Tension

Bottom ramp support feet curved to release load to a larger surface

Primary grid to transfer load

Interlocking grid to prevent displacement

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Penguin Pool’s Four Elements Lubetkin’s greatest achievement is the ability to project emotions onto spectators of the cage’s drama. The result was that the pool itself became incredibly influential within the discourse of modernist architecture. And as such, I have

identified four elements that once combined architecturally and conceptually allowed the very achievement. They consist of Theatrical Spectacle, Celebration of Nature, Human – Animal Relationship, Architectural Promenade.

Theatrical Spectacle Celebration of Nature

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Human - Animal Relationship Architectural Promenade

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5 5

6 2

8 9

9 3

Penguin Pool Section A

8 1

Penguin Pool Section B

Penguin in Pool Section C

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5 5 3 8

8 9

Penguin Pool Inhabited Detail A

Penguin Pool Inhabited Detail B

A 4

C B A B

Plan diagram

Theatrical Spectacle 1 - Cantilevered ramps acting as a stage 2 - Penguins stairs increasing animal’s activity 3 - Diving tank enriching animal’s theatrical performance 4 - Abstract, elliptical form making the pavilion more spectacular as a structure

Celebration of Nature 5 - Concrete canopy’s in-depth making space for the tree highlighting its significance 6 - Wall acting as a display for the tree’s shadow 7 - Preserved tree providing cover from excess of direct sunlight harmful for the penguins signifying the complimentary relation between nature and architecture, natural and artificial realms

Human - Animal Relationship

8 - Minimal distance increasing tension between humans and animals, yet significant enough to preserve visitor-performer relationship (for example through level difference)

Architectural Promenade 9 - Large open space wrapping the pool and allowing views framed by openings established by balustrade and canopy

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‘PERHAPS IT’S TIM

SMITHER ‘DEMOTION WIL

ACT OF VANDAL

‘For the Birds’ Hadas A. Steiner - cover

‘Habitat’ Josep-Maria Garcia-Fuentes

Penguin Pool’s Status and Current Situation Unfortunately, the animal utopia did not last long. In 2004 the cage has been closed due to negative impact of its surface on the penguin causing bumble-foot.8 In the end, the cage has been deemed unsuitable for penguins what was a result of a wrong pavilion management and inadequately chosen penguin's species.

no longer serve the preassigned purpose but only recalls bitter nostalgia over the lost legacy. 9 However, the influential character and iconic status of the structure persists triggering various political discussion which remains a representative example of the modernists genius. I think that current state of the cage ironically resembles the popular image of modernism, namely failed dreams of so greatly desired alternative utopian reality.

Fifteen years after the abandonment of the Pool, Lubetkin's daughter famously suggested demolition of the artefact as it does

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ME TO BLOW IT TO

REENS!’ LL BE AN - Lubetkin’s daughter, Sasha

LISM!’

Penguins Bubble-foot (top)

Penguin Pool’s current state (right)

Penguin’s Beach, London Zoo (bottom)

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Recuperating Nostalgia & Political Potential The poetic, political, and ideological expression of the cage makes its architecture significantly precious due to architects' widely acknowledged ambition to influence society.10 Thus, it seems morally inevitable to embrace, revisit and reinforce the existing structure. Because, once the political achievement of the pool is correctly reflected within the proposed scheme it becomes an effective argument in the long-lasting debate between those who believe that architecture is ideologically dead, such as Manfredo Tafuri or Rem Koolhaas, and those who are remain faithful to the ideological ambition.11 However, it also seems incorrect to simply adjust the cage's surface in attempt to erase the pragmatic failure of the pavilion. John Ruskin’s writing regarding sacrifice

become helpful in articulating suitable architectural response. He argues that a conscious sacrifice can separate a project from banality cultivating drama of forfeiting something profound for the sake of preserving this profoundness.12 For example, the acceptance of the loss of the Pool’s ability to create a theatrical experience and political influence in order to commemorate Lubetkin’s achievement. Therefore, the following design process will attempt to embrace, re-use, and even reinforce the existing nostalgia over the lost modernist utopia facing its failure and making it inevitable to experience over the lost modernist utopia facing its failure and making it inevitable to experience.

'Building industry is 39% of global CO2 emission'

'New terrace is 13 times more CO2 than a refurbished one'

'Liveliness' of the sensory experience

'Foyer' - Space acting as a Transition Between Experiences

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Ecological Crisis, Spatial Contrast and Enforcement of Ref lection Being a political and ideological project which Penguin Pool surely is, and my proposal aims to be, makes it crucial to reflect over the contemporary situation of the ecological crisis. As the Penguin Pool is an abandoned structure of an incredible importance it could be used as a monument that highlights the need to carefully consider any sort of demolition. Although it may seem that loss of building’s intended purpose rationalizes ‘blowing to smithereens’, it never erases its past achievements and the potential for adjustment.

realization of ideological expression I introduced the strategy of spreading this ideological message. I suggested the reuse of the Pool to create an experience of a zoo that is oriented towards triggering a human reflection over an act of abandonment, and consequently, demolition. This will be achieved by an architectural promenade unfolding various spatial theatrical spectacles informed by the four elements identified within the Penguin Pool. The promenade will be surmounted by the Pool itself which serves as the pivotal device sparking the ideological reflection. The reflection will be caused through a strategy of contrast. As the theatrical promenade is 'lively' and inhabited by its newly introduced actors the Pool will remain forever empty. This is to trigger a moment of question that tends to arise while seeing an empty cage in the Zoo expressed by confusion: ‘Where are the animals?’.

It is evident that the building industry must adapt towards the sustainable discourse and ecological demand. Therefore, it seems crucial to ensure whether a demolition is really a necessity and consider other alternatives such as refurbishment, re-using, and recycling. Basing on Lubetkin's

INTRIGUE OF CONTRAST

BEGINNING OF REFLECTION

Journey through promenade

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Framing The Promenade - Octopus (Illusionist) First of the chosen actors is Octopus. Considering the camouflage abilities of the animal it has a great potential to provide a powerful and dramatic theatrical experience which would enrich the strategy of spatial contrast. The architectural phenomena which informed the representation of the pavilion's conceptual section was a light reflection. The basic principle of the cage is based on the water movements which cause the reflected light to shimmer increasing its drama and dynamics. When the octopus moves it stirs the water, distorting the water surface intensifying the light reflections.

Octopus (illusionist)

Terme Vals, Peter Zumthor

Water reflections, Glen Canyon National Recreation Area, Utah, USA

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Theatrical Spectacle

Celebration

1 - Skylights allowing direct sunlight and water reflections on the ceiling additionally highlighting the cage as the stage in a theatre 2 - Open aquarium which increases dynamics of the water reflection as octopus moves and stirs the water intensifying the reflections

3 - Trees located excess of sun relationship with Pool

of Nature

d in the centre providing blocking nlight and establishing strong h the roof similar to the Penguin

Architectural Promenade Human - Animal Relationship 4 - Stage allowing supervised interaction with the animals

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5 - Multi-level open access interwoven within the cages providing three different perspectives of participating in the experience

Framing The Promenade - Sifaka (Dancer) Another introduced actor is Verreaux's Sifaka known as a ‘dancing lemur’. Association with dancing comes from the specific way in which the animal moves on the ground what resembles a dance. Its exceptional way of walking comes from the Sifakas’ adjustment to climbing the trees where they spend most of their time. Here is the merit of the experience of the cage based on observation and sharing space of similar height as the animals.

Verreaux's Sifaka (dancer)

California Academy of Sciences, Renzo Piano

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Theatrical Spectacle

Celebration

1 - Platforms interwoven into dynamic circulation routes cutting through cage's space 2 - Division of the experience into participation within the performance (journey through platforms) and observation of the performance 3 - Experience of the cage at the level of the tree crown

4 - Trees central conceptual organ state visitor’s exp accommodating

of Nature

l in terms of spatial and nisation of the cage as they perience and are crucial in Sifaka's

Human - Animal Relationship

Architectural Promenade

1 - Platform allowing close interactions between animals and visors

5 - Multi-level open access interwoven within the cages providing four different perspectives of participating in the experience

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Framing The Promenade - Crickets (Singers) The next chosen performer is a singer embodied by crickets. Different species including Bordeaux Cricket (which sings both day and night) are accommodated in small ecosystems located in large fibreglass insect nets. Space enclosed in a dome-like form is to provide continuous symphony of sonic experiences maximizing the animal's ability to emit noise up to 90dB. High sound intensity serves as a powerful juxtaposition to the silence of the abandoned Penguin Pool.

Tvisongur sound sculpture by Lukas Kuhne, Iceland

Oak bush cricket

Tvisongur Echo Multiplication

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Theatrical Spectacle

Celebration

1 - Dome reflecting sound waves, intensifying sensory experience 2 - Huge fibreglass insect's net enclosing the animals 3 - Circular spatial organisation inspired by nature of sound waves emitting through space

4 - Tree acting as ce visitor terms as land animal terms as cen fauna crucial for ach

of Nature

entral object of the experience,, in dmark and sound-ref lecting device, in ntre of micro habitat accommodating hieving best habitat for crickets

Human - Animal Relationship

Architectral Promenade

2 - Fibreglass net acting as easily permeable barrier in terms of visual relationship between animals and humans, breaking out of the cage's archetype of bars

5 - Multi-level open access interwoven within the cages providing four different perspectives of participating in the experience

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The Picturesque - Preliminary Context Integration After preliminary work over the architectural promenade's definition, it was necessary to analyse the surrounding context and introduce a relevant strategy for space to span the separate pavilions of the promenade. London Zoo is located in Regent's Park, one of the most prominent London Parks. Richard Sennett called it a materialization of the City's 'green lungs' what highlights the place's character as an embodiment of nature.13 However, when one considers the Picturesque influence in the landscape organisation it becomes clear that the park has a sense of artificiality. The Park is a designed composition which looks as 'natural' as possible, so its planting is organic, seemingly chaotic resulting in subliminally accidental beauty. However, as it was ordered, designed and produced it still remains

fake. Regardless, on the symbolic level it is still correct to perceive the Park as a symbolic 'natural' counterpart for the artificial, man-made City. Because its functionality is the opposite providing a retreat from noise of the metropolis. Moreover, nature accommodated within can already grant the ‘naturalistic’ connotation. At this point the similarity of symbolic meanings between Penguin Pool (artificial) and its surrounding (natural) and The City (artificial) and the Park (natural) suggests an interesting spatial relationship. This motivated my project's future focus on architectural relationship with nature and examination of this relationship within the existing building. Eventually, it was materialized as the structure of my project.

Introduction to Regent's Park The Regent’s Park is a bourgeois residential estate planned and developed at the beginning of the 19th century by architect John Nash. The Park is a coherent composition of residential estates, institutions, such as ZSL (Zoological Society of

London) and landscape. The whole connects with the rest of London by the Outer Circle, promenade placed between picturesque landscape and residential terraces showcasing the entire architectural composition.14

London Zoological Society

9 Villas and 10 Large Housing Terraces

The Broad Walk

Primrose Hill

University of London St. Pual's

Regent's Street

Hyde Park Regent's Park Plan (1834-35)

Buckingham Palace Palace of Westminster

Regent's Park Architecture - Sussex Place and Hanover Terrace (left), Hanover Terrace (middle), Cornwall Terrace (right)

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Hyde Park, Regent's Street &

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& Regent's Park Connection

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The Picturesque & Landscape Analysing the planting strategy and character of the Picturesque within the park one may point out the tendency for long vistas that concealed the existence of the city. Visual scenography enlarges the park, as if it was big enough to 'hide' the City. The use of large, relatively flat plots of low vegetation with no trees sketches the interesting character of the place. Employment of the

Picturesque techniques to order landscape and the architecture makes the Regent's Park a precious place within the urban fabric of the polluted metropolis.15 This highlights its importance and need for careful consideration of the surrounding landscape not to disenchant the utopian spirit of peaceful retreat within the City.

Charles Alston Collins, May in the Regent’s Park: view from Hanover Terrace over Regent’s Park (c.1835)

The Regent's Park landscape - planting principles; Nash's original strategy (top), further planting developments (bottom)

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After Thomas Shepherd, View to Sussex Place from the park (1827)

Thomas Doughty, Looking from the west over Regent’s Park (1837/8)

Thomas Doughty, Looking from the Northwest to Regent’s Park (1837/8)

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Regent's Park - Device of Social Segregation Circulation management strategy played important role in the planning of the park and was motivated by fears of a social revolution. Outer Circle is a culmination of the Regent’s Street serving as a large roundabout. The setting of a long linear stream of heavy traffic is to discourage the formation of a static crowd and ensure its constant flow.16 The chaotic distribution of traffic makes the street a barrier dividing the public from the city utopian lungs. This division resembles the bourgeois character

of development and its inequality evident through the access limitation for Londoners at the beginning of the Park's history. The fact that only the Outer Circle residents were allowed to enter the Park brings a cruel vision where only the chosen are allowed to have a piece of the utopia while the poor are trapped in the dystopian City.17

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Regent's Street (1884)

Thomas Hosmer Shepherd, Regent's Circus, Oxford Street, London (1820s-1850s)

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1780s

1820s

1835

1860s

East Side of the park opened to the public twice a

Most of the park opened all week

1863

1880s 1870s

Gradual increase in the park penetrability

Urban Evolution, Lon

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1910s

1950s Penguin Pool

Development of Urban Penetrability

ndon & Regnet's Park

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1980s

Penguin Pool & Context London Underground and dynamic sprawl of the metropolis has led the park to be fully open for the public in 1940. Nevertheless, fully democratised the park still stands for a completely divided realm of the rural within the urban where the Outer Circle marks the disconnection. Although it has not been mentioned by Lubetkin I like to think that his manifestation of dialogue between natural and artificial was a form of protest towards the strategy employed by John Nash. A similar relation exists between the

0 Site Plan

Site Plan

200

Zoo and the Park, just a couple of meters from the Penguin Pool where a tall fence and substantial layer of vegetation establish an ignorant relationship between the two realms. The strategy of embracing Penguin Pool suggests that the relationship should be revisited and a new dialogue between the Zoo and the Park should be established.

500m

Nature

Man-made

Regent's Park

Zoo

Regent's Park

City

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Penguin Pool & Context To remain respectful towards the utopian and naturalistic qualities of the Regent's Park Picturesque I have decided to avoid strong visual contrast between landscape and the project. Therefore I have introduced the typology of a landform building where the majority of the programme is concealed underground. Simultaneously the artificial topography and green roof establish continuity between the strategy of large plots of low vegetation and the building. As a result, the building acts as a bridge blending the Park into the Zoo and Zoo into the Park.

Framing Spatial Organisation Exploring buildings such as the Moesgaard museum and how they establish a relationship with the surroundings I have started shaping the form of the artificial topography and establishing a way of connecting my architectural promenade with both, Zoo and the Park.

At the same time, the initial experimentations of the internal arrangement have been informed by the surrounding context. To clarify the transition between various theatrical spectacles and establish connection with the outside I have aimed to employ the strategy of ordering picturesque vistas used in the park.

Moesgaard museum, Henning Larsen Architects

The Picturesque inspiration

Preliminary sketch of the park approach

Preliminary sketches of the foyer and main internal approach

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Primary sketch of spatial organisation strategy

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Project testing

After completing the bulk of collective research and specifying the initial individual design strategies the studio moved towards the Project Testing. In this chapter, we have focused solely on the individual work and moved into more project-specific developments. For my project, it meant further development of the spatial organisation which required specification of the building programme. Thus, at this stage, I have revisited the brief focusing on the required building typology which was a 'research centre for ecological change and wildlife'. After conducting individual research and crystallizing its findings into an architectural programme I have further

developed the spatial strategy. Simultaneously, I have been reiterating the architectural promenade, spatially specifying it within the project. Testing brought a substantial development of my project and significant enrichment of the design. The specified programme allowed me to fully develop the political intentions I have introduced within Framing as well as to push forward structural considerations relevant within a subterranean building. The underground character itself has been embraced allowing further development of the landscape integration strategy.

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Ecotron - Programme Development The first steps I made in the Project Testing was specifying the character of my 'research centre for ecological change and wildlife'. Considering the intentions developed in Framing, I have looked into scientific typology which in some way could strengthen the strategy of nostalgia. Additional criteria was a field which results can be somehow displayed and integrated with the architectural promenade. Ecotron facility turned out to be a perfect typology. It is a type of scientific experimental centre that examines ecological and biological outcomes of a hypothetical ecosystem change. Ecotron itself is an experimental chamber that allows to artificially adjust

desired conditions such as temperature, air and water chemical composure, and sunlight intensity.18 A sample of vegetation is placed within the chamber and through a period of time it is observed how the flora reacts to different conditions. An example of this experimentation is the examination of how native vegetation will change due to climate change within a particular ecosystem. Here, the nostalgia is based on observation of how nature surrounding one's every day is meeting the inevitable, often destructive transformation caused by the climate change.

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Ecotron around The Globe Before implementing the typology within the project spatial arrangement I have further explored how it has been materialized around the world. Ecotrons can be divided into two types, a stationary and flexible. Whereas maintenance of the stationary Ecotron is simpler as adjustment of the

conditions and supply of water can be controlled remotely it is the flexible Ecotron that offers the valuable option of adjusting a hypothetical exhibition space, such as changing size and character of the display.

Stationary Ecotron Construction Diagram

Montpelier Eoctron Centre

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Stationary Ecotron planting (top) Stationary Ecotron interior (bottom) Flexible Ecotron construction diagram (right)

Hasselt University Ecotron

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Ecotron - Interactive Ecological Station In order to keep both benefits, easy maintenance and flexibility, I have analysed necessary elements of an Ecotron and created a flexible and stationary hybrid. The stationary connection of the introduced device would be concealed under the services wall allowing limited, yet sufficient modification through the time such as substituting the device with a bigger one once the experiment finishes and another requires different parameters.

1 - Services wall: Air circulation system Ventilation network connection Ventilation outlet Drainage network connection Watering system Electric installation Analytic system Thermostat

2 - Tripple glazing: U value max. 0.9 Fibreglass sheet partition

3 - Bottom void: Drainage system Ventilation inlet

4 - Top void: Lightning system Watering sprinkles Teflon-FEP Film Fig. 58 Ecotron exploded axonometric

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Ecotron princeples diagram

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Spatial Organisation Testing The first plan iterations after the programme development have mainly allowed me to decide on the primary geometrical orientation of the building. Additionally, at this stage I have identified the main difficulty that have persisted throughout the whole Testing. The issue was clarification of the generally

applicable structural and language strategy. Therefore, it became challenging to progress with coherent development of material and tectonic decisions what caused the architectural promenade to be unclear on further drawings.

50m

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Process Section B

DEFINITION OF THE O LOST AS IT'S UNCLEA PROMENADE, CAN I D TACKLE THIS?

COULD I DEVELOP A GRE ATER SENSE OF 'BACK' AND 'FRONT' OF THE HOUSE FOR CLARITY OF PUBLIC AND PRIVATE REALM?

ER WAY OF GREAT IS THERE A CH AR OF THE RESE INTEGRATION E? AD THE PROMEN CENTRE WITH

Process Plan First Underground Floor 0

35m

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OCTOPUS CAGE SEEMS AR DIVIDED FROM THE DEVELOP A STRATEGY TO

THE POND SEEMS IGNORED, PARTIALLY BECAUSE THE PLAN BEING -1 FLOOR DOES NOT SHOW THINGS LIKE THE ENTRANCE. ANYWAYS, THE NEXT ITERATION SHOULD MAKE THE POND MORE 'CENTRAL'.

First Full Plan & Section & Learning from Their Mistakes At this stage of my design development, I have revisited my drawings and after a critical analysis, I have identified specific problems. This process was crucial in a project development and allowed me to fully clarify my programmatic and structural intentions.

WILL S HA PARAMET RPER, LINEAR ER HELP RATIONA T LE BEHI O DEFINE ND ITS SHAPE?

Process Section A

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Roof Plan & Topographic Concealment Although the internal organisation was problematic it already became visible how the artificial topography interacts with the surrounding context concealing the building and providing the Park - Zoo connection.

Process Section B

Process Section A

25m

15m

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Process Massing

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Celebrating the Iterative Process - Cages Development Similarly, iterative development of the animal cages has started showcasing the process of architectural refinement. The already substantial bulk of work showed an interesting process of cage's transition from conceptual into a more concrete, spatial dimension. Yet the most important result of the iterative process was that I have shifted my perception of the cages from

Theatrical Experience

simple architectural pavilions into poetic representations of animal's natural habitat similarly as Lubetkin has done regarding the Penguin Pool which, from now on, will be called more appropriately, the Penguin Pond.

Sing

Dance

Jungle

Forest

Spatial Definition

Framing Testing

Form

Tectonics

Experience of a Habitat

Illusion

Nostalgia

Cave

Pond

Thinking Through Making Inspired by the organic form of artificial topography I have experimented with the behaviour of light penetrating narrow glazed gaps. It was initially intended to inspire detail of the roof above the architectural promenade. However as the

structural and language strategy was changing, I have utilised it as a device marking different functionality and occupation of space what will be evident in the Project Synthesis.

Preliminary Detail Development The Thinking Through Making piece itself was made by experimentation with clay which once set in organic form and dried became an abstract imitation of the organic roof. Broken with a hammer and glued together with clear epoxy

resin was used as the materialization of horizontal cut within a potential roof. Next, the light was introduced through the gap to test the effect.

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To celebrate my Thinking Through Making piece I have complied a short video showing process of the creation. If you are unable to scan the QR code, click here

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Penguin Pool, Zoos & Capitalism Thinking about greater integration of the research facility within the promenade has motivated me to revisit my preliminary political intention towards reusing the Penguin Pond's nostalgic potential. This brought my attention towards the ethical consideration of contemporary zoos within the entire rationale behind their existence, thus the goal of preserving the global population of animals.

complication of already rich building programme it appears that any developed political awareness within the building's architecture makes it only more 'tested' towards the goal of providing a political device. Thus, I decided to revisit relevancy of my proposed strategy within the contemporary context. I have analysed the Penguin Pond in line with the phenomena which triggered the largest evolution of zoos as public places since the Penguin Pond's completion in 1934, namely, capitalism.

Although this development may seem an over-

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Examining & Reversing Analogy of Zoo A sole analysis of the London Zoo's financial reports pointed out problematic relationships and questions. It quickly became evident how the capitalist system confuses the ethical and scientific motivation of zoos forcing them into the economic convention of enterprises.

Consequently, this prompts the creation of zoos forming a vicious cycle. The commercial zoo does not resolve the very fundamental cause of the animal's suffering and concealing the reality behind a naively utopian consumer-focused scenography only spreads disinformation further deepening human unawareness.

For example, the relationships between political correctness, marketing, and economic turnover shows how the reality of zoos is inconvenient for the zoos themselves. Namely, the reality of animals suffering caused by captivity what contradicts the ethical rationale behind the contemporary zoos.19 However, in line with utilitarian philosophy, one may perceive an animal's captivity as a sacrifice for the 'greater good'.20 In essence, the collection of funds allows furthering zoological operations that, in turn, contribute towards the ecological goal of saving endangered species.

At the same time, it would be acutely ignorant to force a zoo to disenchant its image because it may simply jeopardize the existence of the animals already enclosed within a zoo. This perspective seems to prevent any possible reactions. Yet one cannot ignore the issue but must at least explore the possibility of modifying the existing zoo's expression by careful experimentation over its modes of spreading their ecological discourse. Here the merit of the second and final materialization of the proposed building's programme is included. It took form of a sociological research facility interwoven within the architectural promenade which investigates its influence on the visitors.

Regardless, entanglement in the capitalist system seems to corrupt zoos on the principles’ dimension.21 The problem of animal endangerment is caused by the human mismanagement of the planet's resources and ignorance towards problems of global biodiversity. However, as the zoos' turnover depends on the place's positive image it employs methods of advertisement that conceal the reality of animals’ suffering.22 For example, these efforts are evident in the utopian representation of the London Zoo display.

The facility is meant to work besides the Ecotron researchers and engineers helping to define and influence the political and ideological message of the architectural promenade and the entire zoo. The aim is to deepen understanding of the ethical problem and potentially make zoos more ethically correct, distancing them from the corrupting influence of the capitalist exchange.

The issues of the climate crisis can be tackled by educating future generations, making them aware of the problem, and spreading a correctly oriented ethical morality.23 Nevertheless, the educational message present in the zoo experience is far from pointing to the seriousness of the situation and problematic character of the reality in which the current economic system causes animals to suffer by destroying their native habitats.

Simultaneously, the irony becomes apparent that the experience of the zoo is now reversed. It is not only people watching animals anymore but also people themselves are being observed as they look at animals. This and the further spatial developments regarding visitor-researcher relationship have inspired the project name: Zoological Panopticon

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London Zoo's display leaflet

A zoo

A zoological Ecotron facility

A Zoological ' Panopticon'

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Embracing the Penguin Pond The process of clarifying the employed spatial strategy has been initiated by the diagrammatic decision regarding the basic relationship between the Old & New. Here it is presented how I have fully embraced the verticality of the subterranean building implementing it with the architectural promenade.

The aim was to clarify the distinction between animal cages by placing them at different levels connected by ramps acting as thresholds. Simultaneously, cage’s relationship with the Penguin Pond is preserved by its presence as the background of the cages’ experience.

Tectonic Exploration

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Pubic Circulation

Staff Circulation

Cages Organisation

Other Programme Mass

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California Academy of Science - Architectural 'Cloister' Renzo Piano's California Academy of Science became an important reference inspiring three crucial elements that informed the spatial clarification of design strategy.

element is a clear structural grid that orders experience of the building in clear directionality.Another important element that further becomes a central expression of the architectural language is the relationship between the building and surrounding trees. The tree-column connotation surmounted by a continuous line of skyscape appeared relevant within my proposal due to the symbolic importance of the tree both in Regent's Park Picturesque and the Penguin Pond's manifesto.

First of them is the 'cloister' which surrounds the displays of the academy. Its open, uniform exhibition space which divides the enclosures from the two other volumes of the programme highlights their importance and special character.The second

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California Academy of Science, Renzo Piano - 'Cloister' as expression of spatial significance and hierarchy (right)

California Academy of Science, Renzo Piano - Principle Plan (left)

California Academy of Science, Renzo Piano - Forest of Columns, Elevation (left) California Academy of Science, Renzo Piano - Forest of Columns? (right)

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Rethinking the Principles of the Promenade While transforming the new diagrammatic spatial organisation into more geometrically specified representation I have recognized two possible ways of ordering the architectural promenade.

space is unregulated. The second possibility is a restricted and directed experience dictated and forced upon the visitor by the architect. Considering the nostalgic goal of curated experience and experimental social character of the research facilities I have decided on the restricted option.

The first one, based on flexible, unrestricted access which is focused on the visitor's privilege to discover the value of the promenade as the order in which one progresses through

Open Circulation - Experience 'Invented' by Visitor

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Open Circulation - Experience Constructed by Architect

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Interior Organisation, Structure & Massing Developments I have continued testing the structural expression of the building's spatial organisation. In the presented form it is still chaotic as the columns (symbolical trees) were differently articulated for each of the building’s functions. Every cage, public cloisters, the central visitor centre, and private research facilities had a distinct type

of columns what, in retrospect, was certainly an unnecessary complication. Simultaneously, I have diagrammatically specified main massing decisions, defining how the organic artificial topography is formed.

Auxiliary Programme Structure Research Facilities Structure

Promenade & Foyer Structure

Cages Structure

Stability Structure

Visitor Centre Structure

Interior

Exterior

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Site Preparation

Vistas consideration and programme 'sinking'

Shaping Artificial Topography - Sunlight Access

Shaping Artificial Topography - Access and Public Outlooks

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Project Synthesis

Completing the Project Testing was a big threshold in my work which helped me to solidify the project's architecture. It showed how the complex programme benefits from clearer, potentially simpler, spatial articulation. Synthesis allowed to eventually crystallise a coherent spatial strategy and further develop elements like materiality, detail, atmosphere, and poetics of the main spaces.

Focus on celebration pieces presents how all the elements come together creating intriguing inhabitation of space. Finally, it becomes evident how I developed my architectural attitude towards the Penguin Pond which so far has been simply left untouched.

Context Response & Massing Synthesis Considering the final design development, I have moved towards the ultimate design’s form and landscape integration. It was achieved by questioning issues like control of the visitor's stream throughout the artificial topography into

the Zoo or coherency in articulating forms of the theatrical cages so that they are all read as 'cubes' emerging from the continuous artificial landscape.

Clarification of Cage's Common Volumetric Strategy

Programmatic Integration of the Lion's Observatory

Zoo Logistics Consideration

Shaping Artificial Topography - Fire Escapes and Light

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Casson Pavilon Relationship - Use of Bush Hammered Concrete

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Context & Form Form Cele

mebration Celebration

Architectural Promenade Synthesis

Panoptical Research Supervision

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Architectural Promenade Celebration Celebrating the overall spatial arrangement of the building programme and language I prepared two diagrams that represent the two most characteristic elements of the design. The first one includes an architectural promenade and the second presents the spatial supervision of the research facilities expressing the general materialization of the 'zoological panopticon'

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Celebration of Context in Plan Interesting relationship between the artificial topography and surrounding topography became evident as I have moved to drawing ground floor and roof plans. This is celebrated by the strong cut of the roof ’s volume on the ground floor plan and the delicate blending of the roof ’s topographic lines into the surroundings.

differentiation of various spaces, focusing mainly on the type of columns and roof structure used in different spaces. Being aware of the project's complex programme I have limited the unnecessary spatial expressions and articulated the importance of the animal habitats by usage of tree columns and change of the columns’ rhythm what is evident within plans and following sections.

At this point I have managed to clarify the architectural 0

35m

Section A

Section B

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35m

Section A

Section B

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Celebration of Context in Section Similarly in the sections, the building-context relationship becomes evident. Other important elements are the Penguin Pond's presence within the cage's experience as background

framed by curtain wall and the relationship between the building's roofscape and the park's vegetation skyscape.

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35m

Structural Grid & Underground Floor Plans While claryfying the structural strategy I have decided to stick to a uniform geometrical relationship within the columns grid which now clearly became fragmented into 3 separate areas divided by the building's main entrances. There, the 0

grids were aligned to a similar distance from the centre of the corridor enforcing its linearity. In general, I have been thinking about this grid as a tool for directing views towards the Penguin Pond, enforcing its presence within the building.

35m

Section A

Section B

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35m

Section A

Section B

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Programme Arrangement The specific planning of the building programme and consideration of all necessary facilities has been informed by the expression of the public-private relationship. Here, the panopticon analogy is reflected within the organisation

of the research spaces into two blocks that are wrapped with the promenade. This aims to provide the best observation opportunities for the researchers.

Private

Animal Care

Ecotron Workshop

Staff Circulation

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Research Space

Services

Public

Ecotron Display

Animal Enclosures

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Commercial

Architectural Language in Detail To specify the relationship between researchers and visitors I have utilized the detail exploration started alongside my Thinking Through Making piece. Additionally, I have informed this process by my earlier work for Group Case Study Report focused on Carlo Scarpa's Castelvecchio where

architectural disconnection was an important element highlighting different elements of building. I used the idea of the gap and light penetration to highlight the functional difference between the promenade and research facilities.

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1500

3500 mm

Visitor & Researcher Relationship - Zoological Panopticon Further specifying the visitor and researcher relationship I have clarified the type of observation that is to take place between public promenade and the private facilities. From the point of view of a visitor both the promenade and the research facilities are the ‘display’ creating the Zoo experience. Yet from the researcher’s perspective the promenade is a set-up which allows to observe the Zoo experience and collect data about its educational effectiveness. Although the disconnection developed in detail already articulates the functional difference there is still lack of degree of control over the Zoo experience which would make it a functional setup for the researchers. And here technological advancement appear crucial. Introduced electrochromic glass that enables

to control the transparency of a window from fully transparent to opaque presents an element of eventually superiority of the researcher over the visitor. Although the researchers are also watched as they observe the visitors its them who have the definitive control over the character of the observation. Summarising, there is a degree of deception between the two realms which I have attempted to articulate by rationales driving the design of the two spaces. When promenade is more poetic, dramatic and naturalistic the research space is more rationalised and pragmatic what I have tried to convey through their graphic representations.

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Spatial Inhabitation Exploration of the research facility on a smaller scale allowed me to articulate the materiality of the specific spaces accordingly to their uses. This was mostly inspired by the Pond’s materiality treatment, so for example change in surface treatment around the tree and usage of light material to highlight importance of a space. The facilities themselves are inspired by the so-called postFordist workplace so space deprived of a clear hierarchy, distinguished by flexibility and chaos. This is to encourage

individual responsibilities within the research placing them as cogs within a system of reciprocal relationships. While a common ethical goal of making zoos better places and research towards global ecosystems change is inspiring the research, the spatial flexibility is to expose them to the stream of information flowing through the workplace encouraging spontaneous cooperation. This work organisation can maximize researchers' performance introducing the most efficient spatial arrangement.

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Octopus Ce

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elebration

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Octopus Synthesis - Cave As the promenade's atmosphere was becoming more and more defined, I have revisited the animal cages projecting the final iterations and compiling together the language, detail, and structural strategy. Beginning with the Octopus's Cave the most characteristic qualities were the expression of its claustrophobic and mysterious qualities. Therefore the cage’s roof has been lowered and juxtaposed with its large cloister. The interior was to embrace the mysteriousness of the animal through careful consideration of the light access, which in excess can also prove dangerous for the animals. In comparison to the first iterations the most prominent element which

remain central is the celebration of the water reflections. The most important element of an octopus's aquarium is a den, so a slightly elevated space that allows the animal to hide and observe the surroundings while it is resting. Accordingly, I have planned the aquarium's topography and vegetation to be centralised around both or one of the ends which itself would be partially enclosed with one-way glass limiting light access even more and providing the animals with a sense of security.

Den

Aquarium Design Principle

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Sifaka Cele

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ebration

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Sifaka Synthesis - Forest Celebration of the Sifaka's Forest is based on the vertical journey through the cage and experience of the tree’s crown from the animal’s perspective. At the same time, the massing decision of extruding the cage's cubic form through the roof 's structure resulted in a dramatic accentuation of space by strong contrast of lightning

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Crickets Synthesis - Jungle The characteristic element of Cricket's Jungle is the way in which space is experienced. Whereas the Forest is based on dynamic progression through space the Jungle is a space to stop and appreciate sing of the performers. Here it was

important to highlight the architectural density of the cage which was articulated by both natural (vegetation) and artificial (acoustic panels and building services) elements.

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Forest of Columns - Integration of the Picturesque Landscape Relationship between artificial and natural embodied throughout the project in relationship between tree and column has found its materialization within the final integration of the picturesque landscape. Inspired by the Renzo Piano’s California Science Centre I have explored the design’s south approach where the gradual change from natural to artificial trees is visible. The Penguin Pond took

an important place as its tree remained central within the composition as the end of the long Park – Zoo connection. General, continuity of the naturalistic connotations through the Zoo-Park edge appear to materialize the main ambition of this project so establishment of a dialogue between the architecture, symbol of the man-made, and the Picturesque, symbol of the natural.

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Old & New - Relationship with Penguin Pond The final design consideration have been mainly focused on the articulation of materiality around the building's parameter. Here looking at the neighbouring brutalist Casson Pavilion of which bush hammered concrete finish has been borrowed to establish a dialogue between the buildings and fit well within the subterranean character of the artificial topography. The material was also applied to columns imitating the powerful texture of bark.

Yet the most important of the introduced elements is replanting of a missing tree considered by Lubetkin but cut later by the Zoo. To add even more nostalgic quality the building parameter has been extended to allow the symbolic gesture for the canopy to make space for the tree. Additionally, the balustrade material is changed to white concrete to display the shadow of the replanted tree as it happens in the Penguin Pond.

Photography of Penguin Pool Model - positioning of the cut tree

Old & New

Project C The juxtaposition of trees and columns, dialogue between natural and artificial, shown above is the perfect encapsulation of how I imagined architecture surrounding the Penguin Pond. Considering the extend to which nature and its relationship with architecture are central to this design it appears fair to say the Lubetkin’s ideological manifestation is fully embraced, meeting my initial ambitions. Yet the element I have enjoyed about the project the most is the relationship between architecture and politics. The fact that the politics are concealed behind poetic and sensory

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Celebration

Conclusion experience, materialized as the building’s set-up used for researchers panoptic observation. The greatest lesson of my journey through BA Architecture Degree is that I value and want to create architecture which not only moves by its beauty and seductiveness but also takes a firm stand towards the problem of architectural fetishization and the contemporary ideological crisis of human civilization which in this case is animal captivity and endangerment.

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Extracurricular Work - 175 -

k - 176 -

Non-Architecture - Floor Plan 24H Battle Plan subitted as an entry to a Non-Architecture 24 H Competition. Brief asked for experimental appriach towards a plan as adrawing and was focoused around a typology of a parliment. Together with Dominic Saliendra, Julian Djopo and Afnan Iman (course friends) we have experimented with idea of a hyrid between a parliment and an open theatre. The entry has qualified to the competition finals.

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Non-Architecture - Reviving Mines - Quarry for Tomorrow Projecy subitted as an entry to a Non-Architecture Reviving Mines Competition focoused on re-using abandoned open quarry pits in Chinese Zinchuan. Description submited with the entry: ' To revive the damaged hills of the Zinchuan mining district our main priority is to repurpose the systems of pollution created by the mines, for an ecosystem of sustainable tourism. Our first and main intervention is the development of local water reservoirs as the scheme reaction to rising unpredictability of the climate often rapidly switching between the danger of flood and drought. As a climate control tool, local lakes store the excess of rainwater and release it for the area when needed. An additional

advantage of the reservoir is the creation of micro-climate which initiates retrieval of the industrial pits by fauna and flora. To revitalise the abandoned mine, we keep the unique topography of mining terraces and turn it into an unprecedented eco-tourism destination. Introduced selfsustainable villages ecologically utilize the terrain over the whole year through seasonal and systematic farming, skiing, mountain climbing and lake-side recreation. Being run by the locals, the development ensures growth of the indigenous culture of Zinchuan as well as the local economy handing land back to nature once already taken from it. The project creates a unique system of mutual respect and dialogue between the human economy, tradition, and nature.'

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Non-Architecture -Future Public Space - Democratising Suburbia Projecy subitted as an entry to a Non-Architecture Future Public Space Competition focoused experimentation with innovative public spaces.

typically allocated for car parks into communal and market spaces, walkability from the station to suburbs is improved whilst providing secondary activities.

Description submited with the entry: 'City borders are universally defined by suburbia. In the future, as cities expand, the urban will inevitably spill over into the suburban. Our project envisions how this conflict can be mediated through public space, creating dialogue between the urban, suburban, and rural.

In order to create meaningful dialogue, the rural should also be allowed to spill over into the suburban. The market spaces allow farmers to sell their produce to both urban and suburban-ites directly, stimulating the local economy, while serving as a cultural exchange. Furthermore, the borders between urban and rural are blurred in the threshold of suburbia, turning the abstract idea, into a concrete, physical relationship between inhabitants of both.'

Our proposal for suburban redevelopment centres around transit stations in order to better link the urban and suburban. By converting excess space around stations

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Annotated Construction Sectio

1 - GFRC panel - Thermally broken cladding fixing - Thermal Insulation (60mm on vertical surfaces and 40mm on horizontal surfaces) - Waterproofing layer (first part of Sika Waterproofing Dual System) - Vapour Barrier punctually sub-melted to the substrate mat 4mm - In-situ concrete BubbleDeck parapet 200mm (Second part of Sika Waterproofing Dual System 2 - Dark grey coated aluminium wire balustrade - Rooftrak Integrated Fixing Point 3 - Anti-slip system, compounded grid to ensure greenroof substrate’s stability 4 - Pre-cultivated mat of mixture of grasses 50mm - Lightweight extensive green roof substrate 185mm (at least 3% slope for drainage continuity) - Drainage membrane - Anti-root board - Thermal Insulation 120mm - Waterproofing layer (first part of Sika Waterproofing Dual System) - Vapour Barrier punctually sub-melted to the substrate mat 4mm - In-situ concrete BubbleDeck slab 300m (Second part of Sika Waterproofing Dual System) 5 - SageGlass electromatic triple glazing - Thermally broken Aluminium frame (mullion 125mm x 50mm) 6 - Exposed suspended ceiling containing: - HVAC unit and ducts system - Integrated lightning and electricity distribution - Fire alarms - Fire sprinkles and water pipes 7 - Aluminium clamping plate Ø 60 mm 8 - Concrete panels pavement 50 mm sloping towards drainage channel (at least 3% slope) - Screed Base 50mm - Thermal Insulation 120mm 9 - Dark grey coated (to match curtain wall frame) steel drainage - Pre-cast concrete block base 100mm x 300mm 10 - Gravel infill of trench-box excavation - Base concrete 150mm - Thermal Insulation 150mm- Waterproofing layer (first part of Sika Waterproofing Dual System) - Vapour Barrier punctually sub-melted to the substrate mat 4mm - In-situ concrete retaining wall with interior hammered finish 800mm (Second part of Sika Waterproofing Dual System) 11 - Pre-cast concrete blockwork 500mm x 1500mm - Thermal Insulation 150mm - Waterproofing layer (first part of Sika Waterproofing Dual System) -Vapour Barrier punctually sub-melted to the substrate mat 4mm - In-situ Concrete foundation footing 12 - Drainage channel 13 - Acoustic insulation 20mm - Thermally broken Aluminium frame (mullion 125mm x 50mm) - Double glazing - Structural sylicone glass connection 14 - Base concrete 150mm - Thermal Insulation 200mm- Waterproofing layer (first part of Sika Waterproofing Dual System) -Vapour Barrier punctually sub-melted to the substrate mat 4mm - In-situ concrete BubbleDeck slab 300mm - Screed 75mm - Floor heating 15 - 2x Gypsum Fireboard - Non-structural double Lightweight steel frame studwork separated by thermal insulation 90mm - Acoustic Sealant at steel-bubledeck connection - Steel cladding fixing system - Internal GFRC panels cladding 16 - In-situ concrete BubbleDeck slab 260mm - Thermal Insulation 125mm - Screed 75mm - Floor heating 17 - Curtain wall steel bracket - Timber spacer 18 - Acoustic Insulation - Aluminium edge fixed to BubbleDeck Slab 19 -Dark grey coated aluminium glass balustrade - Rooftrak Integrated Fixing Point 20 - Double glazing - Dark grey coated aluminium frame fixed to BubbleDeck slab and curtain wall frame 21 - Single glazed frameless window embedded in the BubbleDeck slab 22 - Concrete panels pavement 50 mm sloping towards drainage channel (at least 3% slope) - Screed Base 50mm - Stabilizing mesh - Thermally broken Aluminium frame (mullion 125mm x 50mm) 23 - Glass facade point fixing as part of stability truss in places where concrete stocute does not provide sufficient stability

5 6

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500

1500

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1 Shaiza Imtiaz, "Berthold Lubetkin: The Life Of An Enigma Against Stigma", Researchgate, 2020 <https://www.researchgate. net/publication/338487533_Berthold_Lubetkin_The_Life_of_An_Enigma_Against_Stigma> [Accessed 7 June 2021]. 2 ibid. 3 Josep-Maria Garcia-Fuentes, "Habitat", Vesper | Wildness | Fall-Winter 2020, No. 3 (2020). 4 ibid. 5 Hadas Steiner, "For The Birds", Grey Room, 2003, 5-31. 6 ibid. 7 ibid. 8 ibid. 9 ibid. 10 Daniel Mijalski, The Mith Of Architecture (Unpublished Undergraduate Dissertation, Newcastle University, 2021). 11 ibid. 12 Nathaniel Coleman, Materials and Meaning in Architecture. Essays on The Bodily Experience of Buildings (London: Bloomsbury Publishing, 2020). 13 Richard Sennett, Flesh And Stone (New York & London: W. W. Norton & Company, 1994), pp. 252-276. 14 ibid. 15 ibid. 16 ibid. 17 ibid. 18 Lawton, J. H. and others, The Ecotron: A Controlled Environmental Facility For The Investigation Of Population And Ecosystem Processes in Philosophical Transactions Of The Royal Society Of London. Series B: Biological Sciences, 341 (1993), 181-194 <https://doi.org/10.1098/rstb.1993.0102> 19 David Hancocks, A Different Nature: The Paradoxical World of Zoos and Their Uncertain Future (Berkeley: University of California Press, 2001) 20 Sayedeh Parastoo Saeidi and others, "The Utilitarian Aspect of The Philosophy of Ecology: The Case of Corporate Social Responsibility", Filosofija. Sociologija, 29.1 (2018) <https://doi.org/10.6001/fil-soc.v29i1.3630>. 21 : B. A. Minteer and J. P. Collins, "Ecological Ethics in Captivity: Balancing Values And Responsibilities In Zoo And Aquarium Research Under Rapid Global Change", ILAR Journal, 54.1 (2013), 41-51 <https://doi.org/10.1093/ilar/ilt009>. 22 Neil Carr and Scott Cohen, "The Public Face Of Zoos: Images Of Entertainment, Education And Conservation", Anthrozoös, 24.2 (2011), 175-189 <https://doi.org/10.2752/175303711x12998632257620>. 23 Iveta Silova, Jeremy Rappleye and Hikaru Komatsu, "Measuring What Really Matters: Education And Large- Scale Assessments In The Time Of Climate Crisis", ECNU Review Of Education, 2.3 (2019), 342-346 <https://doi. org/10.1177/2096531119878897>.

Endnotes - 185 -

Adorno, Theodor W. Negative Dialectics (1966) trans. Ashton, E.B, (Routledge, 1973) Adorno, Theodor W, The Jargon Of Authenticity (1964) trans. Tarnowski, Knut, and Will, Fredric, (London and New York: Routledge & Kegan Paul, 1973) Augé, Marc, Non-Places (1995) trans. Howe, John, (London: Verso, 2008) Block, India, "Berthold Lubetkin's Empty Penguin Pool Should Be Blown "To Smithereens" Says Daughter", Dezeen.Com, 2019 <https://www.dezeen.com/2019/01/08/penguin-pool-london-zoo-berthold-lubetkin-debate-uk-architecture-news/> [Accessed 7 June 2021] Camus, Albert, The Myth Of Sisyphus (1942) trans. O'Brien, Justin, (New York: Vintage Books, 1991) <https://www2.hawaii. edu/~freeman/courses/phil360/16.%20Myth%20of%20Sisyphus.pdf > [Accessed 26 January 2021] Carr, Neil, and Scott Cohen, "The Public Face Of Zoos: Images Of Entertainment, Education And Conservation", Anthrozoös, 24 (2011), 175-189 https://doi.org/10.2752/175303711x12998632257620 Coleman, Nathaniel, Lefebvre For Architects (Milton, UK: Routledge, Taylor & Francis Group, 2015) Coleman, Nathaniel, Materials And Meaning In Architecture. Essays On The Bodily Experience Of Buildings (London: Bloomsbury Publishing, 2020) Coleman, Nathaniel, Utopias And Architecture (Milton, UK: Routledge, Taylor & Francis Group, 2005) Fisher, Mark, Capitalist Realism (Winchester, UK: Zero Books, 2009) Fisher, Ole W., ‘From Liquid Space To Solid Bodies’, in Is There (Anti- )Neoliberal Architecture?, eds. Ana Jeinic and Anselm Wagner (Berlin: Jovis, 2013) Garcia-Fuentes, Josep-Maria, "Habitat", Vesper | Wildness | Fall-Winter 2020, No. 3 (2020) Hancocks, David, A Different Nature: The Paradoxical World Of Zoos And Their Uncertain Future (Berkeley: University of California Press, 2001)]. Imtiaz, Shaiza, "Berthold Lubetkin: The Life Of An Enigma Against Stigma", Researchgate, 2020 <https://www.researchgate.net/ publication/338487533_Berthold_Lubetkin_The_Life_of_An_Enigma_Against_Stigma> [Accessed 7 June 2021] Harvey, David, Spaces Of Hope (Edinburgh: Edinburgh University Press, 2000) Hauser, Sigrid, and Peter Zumthor, Peter Zumthor Therme Vals (Zürich: Verlag Scheidegger & Spiess AG, 2011) Jokilehto, Jukka, A History Of Architectural Conservation (Oxford: Butterworld-Heinemann, 1999) Koolhaas, Rem, and Jorge Otero-Pailos, Preservation Is Overtaking Us (New York: GSAPP Books, Colombia University, 2014) Koolhaas, Rem, Delirious New York: A Retroactive Manifesto for Manhattan (New York: Monacelli Press, 1995), p. 294 Lambert, David, and Todd Longstaffe-Gowan, Planting Principles And Design (London: CROWN ESTATE PAVING COMMISSION, 2019) Todd Longstaffe-Gowan and David Lambert, ‘A Total Work Of Architectural And Landscape Art’ A Vision For Regent’S Park (London: CROWN ESTATE PAVING COMMISSION, 2017). Longstaffe-Gowan, Todd, and David Lambert, ‘A Total Work Of Architectural And Landscape Art’ A Vision For Regent’S Park (London: CROWN ESTATE PAVING COMMISSION, 2017) Mijalski, Daniel, The Myth Of Architecture (Unpublished Undergraduate Dissertation, Newcastle University, 2021) Minteer, B. A., and J. P. Collins, "Ecological Ethics In Captivity: Balancing Values And Responsibilities In Zoo And Aquarium Research Under Rapid Global Change", ILAR Journal, 54 (2013), 41-51 https://doi.org/10.1093/ilar/ilt009 Moneo, Jóse Rafael, Theoretical Anxiety And Design Strategies In The Work Of Eight Contemporary Architects (Cambridge, Mass.: The MIT Press, 2004) Mocholy-Nagy, Laszlo, The New Architecture And The London Zoo, 1937 Powers, Alan, Modern: The Modern Movement In Britain (London: Merrell Publishers, 2005) Rumpfhuber, Andreas, ‘Framing The Possible’, in Is There (Anti- )Neoliberal Architecture?, eds. Ana Jeinic and Anselm Wagner (Berlin: Jovis, 2013) Saeidi, Sayedeh Parastoo, Mohd Shahwahid Haji Othman, Dalia Štreimikienė, Sayyedeh Parisa Saeidi, Abbas Mardani, and Nerijus Stasiulis, "The Utilitarian Aspect Of The Philosophy Of Ecology: The Case Of Corporate Social Responsibility", Filosofija. Sociologija, 29 (2018) https://doi.org/10.6001/fil-soc.v29i1.3630]. Sennett, Richard, Flesh And Stone (New York & London: W. W. Norton & Company, 1994), pp. 252-276 Silova, Iveta, Jeremy Rappleye, and Hikaru Komatsu, "Measuring What Really Matters: Education And Large-Scale Assessments In The Time Of Climate Crisis", ECNU Review Of Education, 2 (2019), 342-346 <https://doi.org/10.1177/2096531119878897>] Steiner, Hadas, "For The Birds", Grey Room, 2003, 5-31 Thompson, Ian H., Landscape Architecture: A Very Short Introduction (New York: Oxfrod University Press, 2014)

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Framing Cover: Penguin Pool, image source: https://garage.vice.com/en_us/article/pamygm/bauhaus-penguin-pool-nature Page 7-8: • Wilhelm Worringer, source image: https://www.babelio.com/auteur/Wilhem-Worringer/125013 • Auguste Perret, source image: https://desplans.com/auguste-perret-2/ • Le Corbusirer , source image: https://www.theschooloflife.com/thebookoflife/le-corbusier/ • Plan Voisin, image source: https://www.google.com/search?q=plan+voisin&safe=strict&rlz=1C1ONGR_en-GBGB931GB931&sxsrf =ALeKk029FkJyrSta-zUcPuEPk-6ncX1qFw:1623065387043&tbm=isch&source=iu&ictx=1&fir=xmClFJcuODXNbM%252CNDS zCmqPPfbRRM%252C_&vet=1&usg=AI4_-kTVsFNPwWWgcLlD6FiLb9h6fnGtkw&sa=X&ved=2ahUKEwj71t3etYXxAhXHb sAKHWuZBpAQ_h16BAgfEAE#imgrc=xmClFJcuODXNbM • Lenin, Bolshevik revolution, image source: https://www.theguardian.com/books/2017/may/06/russian-revolution-matter-chinamieville • Penguin Pool, image source: https://archeyes.com/penguin-pool-london-berthold-lubetkin/ • Highpoint I, image source: https://procrete.tumblr.com/post/38407212182/highpoint-i-highgate-london-circa-1966 • Gorilla Cage, image source: https://manchesterhistory.net/architecture/1930/gorillahouse.html • Finsbury Health Centre (1938), image source https://c20society.org.uk/100-buildings/1938-finsbury-health-centre-london • Tecton Architects, image source: http://architectuul.com/architect/tecton • Secon World War, Auschwitz Death Camp, image source: https://www.backstoryradio.org/shows/reflecting-on-darkness/ Page 9: • Photography of Penguin Pool, courtesy of Josep Maria Garia Fuentes, edited by author Page 11-12: • Penguin Pool Materiality, image source: https://www.dezeen.com/2019/01/08/penguin-pool-london-zoo-berthold-lubetkin-debateuk-architecture-news/ • Penguins Natural Habitat, image source: https://www.penguinplungeny.com/post/dive-into-some-fun-facts-about-penguins • Penguin Pool Structural Analysis, image source: https://avantiarchitects.co.uk/project/penguin-pool-london-zoo/ • Penguin Pool Reinforcment Analysis, image source: https://www.vam.ac.uk/articles/engineering-the-penguin-pool-at-london-zoo Page 13-14: • Theatrical Spectacle, image source: https://www.frieze.com/tags/penguin-pool • Celebration of Nature, courtesy of Josep Maria Garia Fuentes, edited by author • Human-Animal Interaction, image source: https://www.pinterest.co.uk/pin/420664421446757064/ • Architecutral Promenade, image source: https://worldarchitecture.org/article-links/epvhc/berthold_lubetkins_poetic_penguin_ pool_may_be_demolished_at_london_zoo.html Page 17-18: • ‘For the Birds’ Hadas A. Steiner - cover, source image: • ‘Habitat’ Josep-Maria Garcia-Fuentes • Penguins Bubble-foot (top): https://www.penguinsinternational.org/2019/08/06/bumblefoot-in-penguins/ • Penguin Beach, London Zoo image source: https://www.zsl.org/zsl-london-zoo/exhibits/penguin-beach • Penguin Pool’s current state, courtesy of Josep Maria Garia Fuentes, edited by author Page 19-20 • Penguin Pool, image source: http://www.bauhaus-imaginista.org/articles/6215/penguin-s-eye-view Page 23-24 • Ocopus (illusionist), edited by author, source image: https://www.worldatlas.com/articles/the-art-of-hiding-10-animals-that-aremasters-of-camouflage.html • Precedent Study - Terme Vals, Peter Zumthor image source: https://www.slowspace.org/architecture-as-experience-peterzumthors-thermal-baths/ • Water reflections, Glen Canyon National Recreation Area, Utah, USA, image source https://franslanting.photoshelter. com/image?&_bqG=9&_bqH=eJxNjkELgzAMhf.NZ.d2mdBDbSt0bq2k7cFTGKLokClOYT9_rci2Q5LvBfJeuI5XHEU. qGKau769Z3kLk3DsOKbJOUkPcRzKd4ncMAJNOzT10o_PaFsgVZwsnpm0FfHTWGpFAKadslChNDpIaRDEVVAj. C7Lf61BCuVPpVabiwZLgKrCszMCUHLiwhvl.7TaqXpckjpClqH0Nj5_R_dFyH94C0iZJa_mPtddxILbB4.vSvs-&GI_ID= Page 25-26 • Sifaka (dancer), source image: https://naturerules1.fandom.com/wiki/Verreaux%27s_Sifaka • Case Study - California Academy of Sciences, Renzo Piano, edited by author, source image: https://www.archdaily.com/6810/ california-academy-of-sciences-renzo-piano?ad_medium=gallery Page 27-28 • Oak bush cricket, edited by author, image source: https://www.mirror.co.uk/news/uk-news/man-who-kept-1000-crickets-2256978 • Precedent Study - Tvisongur sound sculpture by Lukas Kuhne, Iceland, source image: http://www.lukaskuehne.com/ • Echo Multiplication , edited by author, image source: http://www.lukaskuehne.com/ Page 29-30 • Regent's Park Aerial image source: https://www.architecturaldigest.com/gallery/aerial-photographs-of-gardens Page 31-32 • Regent's Park Plan from 1834-35, image source: '‘A Total Work of Architectural and Landscape Art’ A Vision for Regent’s Park' by Todd Longstaffe-Gowan & David Lambert • Aerial - Regent's Park and London, image source: '‘A Total Work of Architectural and Landscape Art’ A Vision for Regent’s Park' by Todd Longstaffe-Gowan & David Lambert

List of Figures - 187 -

• Regent's Park Architecture - Sussex Place and Hanover Terrace (left), Hanover Terrace (middle), Cornwall Terrace (right), image source: '‘A Total Work of Architectural and Landscape Art’ A Vision for Regent’s Park' by Todd Longstaffe-Gowan & David Lambert Page 35-36 • Vistas throughout Regent's Street leading to Regent's Park, image source: '‘A Total Work of Architectural and Landscape Art’ A Vision for Regent’s Park' by Todd Longstaffe-Gowan & David Lamber • Nash's original strategy (top), further planting developments (bottom), image source: '‘A Total Work of Architectural and Landscape Art’ A Vision for Regent’s Park' by Todd Longstaffe-Gowan & David Lambert • After Thomas Shepherd, View to Sussex Place from the park (1827), image source: '‘A Total Work of Architectural and Landscape Art’ A Vision for Regent’s Park' by Todd Longstaffe-Gowan & David Lambert • After Thomas Shepherd, Looking across the park to the Coliseum (1828), image source: '‘A Total Work of Architectural and Landscape Art’ A Vision for Regent’s Park' by Todd Longstaffe-Gowan & David Lambert • Thomas Doughty, Looking from the northwest to Regent’s Park (1837/8), image source: '‘A Total Work of Architectural and Landscape Art’ A Vision for Regent’s Park' by Todd Longstaffe-Gowan & David Lambert • Thomas Doughty, Looking from the west over Regent’s Park (1837/8), image source: '‘A Total Work of Architectural and Landscape Art’ A Vision for Regent’s Park' by Todd Longstaffe-Gowan & David Lambert • Charles Alston Collins, May in the Regent’s Park: view from Hanover Terrace over Regent’s Park (c.1835), image source: '‘A Total Work of Architectural and Landscape Art’ A Vision for Regent’s Park' by Todd Longstaffe-Gowan & David Lambert Page 37-38 • Regent's Street (1884) https://www.art-prints-on-demand.com/a/englishphotographer/viewofregentstreetc1884bw.html • Thomas Hosmer Shepherd, Regent's Circus, Oxford Street, London (1820s-1850s), image source: https://www.watercolourworld. org/painting/regents-circus-oxford-street-london-tww01cdcf Page 39-40 • Spatial Evolution Timeline, based on maps available at: https://digimap.edina.ac.uk/ Page 45-46 • The Picturesque inspiration • Precedent Study - Moesgaard museum, Henning Larsen Architects • Precedent Study - Moesgaard museum, Henning Larsen Architects Page 50 • Stationary Ecotron construction diagram, Image source: https://www.researchgate.net/figure/Figure-S1-Simplified-schematic-ofone-macrocosm-experimental-unit-of-the-Montpellier_fig1_303276252 • Montpellier Eoctron Centre, source image: https://www.ecotron.cnrs.fr/en/ Page 51: • Stationary Ecotron planting (top), image source: https://www.expeeronline.eu/43-expeer-ta-sites/115-montpellier-ecotron-france. html • Stationary Ecotron interor (bottom), image source: https://divisare.com/projects/384201-noaarchitecten-071-ecotron-hasseltuniversity • Flexible Ecotron construction diagram (right), image source: https://www.authorea.com/doi/full/10.22541/au.161614989.97388658/v1 • Hasselt University Ecotron, image sourcehttps://sciglow.com/international-recognition-for-ecotron-research-at-hasselt-university/ Page 53: • Ecotron princeples diagram, source image: 'The Ecotron: A Controlled Environmental facility for the investigation of population and ecosystem processes' by J. H. LAWTON, S. NAEEM, R. M. WOODFIN*, V. K. BROWN, A. GANGE1, H. J. C. GODFRAY, P. A. HEADS, S. LAWLER, Page 59-60 • Collage based on: https://www.pinterest.co.uk/pin/420664421446757064/ Page 72: • London zoo leaflet: https://www.zsl.org/zsl-london-zoo/visitor-information/map-of-zsl-london-zoo Page 75: • California Academy of Science, Renzo Piano - 'Cloister' as expression of spatial significance and hierarchy (right) source image: https://www.archdaily.com/6810/california-academy-of-sciences-renzo-piano/5721cbbae58ece2dec000001-california-academy-ofsciences-renzo-piano-site-plan?next_project=no • California Academy of Science, Renzo Piano - Principle Plan (left) source image: https://www.archdaily.com/6810/californiaacademy-of-sciences-renzo-piano/5721cbbae58ece2dec000001-california-academy-of-sciences-renzo-piano-site-plan?next_project=no • California Academy of Science, Renzo Piano - Forest of Columns, Elevation source image: https://www.archdaily.com/6810/ california-academy-of-sciences-renzo-piano/5721cbbae58ece2dec000001-california-academy-of-sciences-renzo-piano-site-plan?next_ project=no (left) Page 85: • Casson Pavilon Section https://www.google.com/search?q=casson+pavilion&safe=strict&rlz=1C1ONGR_en-GBGB931GB931&sxsrf =ALeKk01q8ezNHpKlVo4M-d73EAuo6sdhCg:1623062635032&tbm=isch&source=iu&ictx=1&fir=23TL2Ti6AhYrAM%252Ch1M ak9wpTT0N1M%252C_&vet=1&usg=AI4_-kRwbzMd0KER3EytpxQGpO6793qGhw&sa=X&ved=2ahUKEwj5lby-q4XxAhULD sAKHfNEDosQ9QF6BAgREAE&biw=1920&bih=912#imgrc=23TL2Ti6AhYrAM Page: 99: • Castellvechio photographs all available: https://www.youtube.com/watch?v=-UmJi0Ws-Yo Page 117 • Photography of Penguin Pool‘s Model - positioning of the cut tree, image source: https://www.architecture.com/image-library/ ribapix/image-information/poster/penguin-pool-london-zoo-regents-park-london-model-of-the-pool-with-penguins/posterid/ RIBA2844-23.html Page 120: Group Case Study Report Cover, source image: https://www.o2landscapes.com/essays/museo-dicastelvecchio/ Page 175-178 • Illustrated Cultural Bibliography https://www.theskinny.co.uk/clubs/interviews/skinned-13-richard-searling-wigan-casino

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Daniel Mijalski Building - upon - Building Undergraduate Portfolio 2020/21 Submitted in fulfilment of an Architecture BA Honours Degree at Newcastle University