Ehan H. Halimun Portfolio

A R C 3 0 0 1 : A C A D E M I C

2020 - 2021

P O R T F O L I O

T i m b e r R e s e a rc h a n d C r a f t i n g I n s t i t u t i o n , O u s e b u r n , N e w c a s t l e U p o n Ty n e , U K Ehan Harshal Halimun S t u d i o 7 C re a t i v e S y n e r g i e s : C r a i g G r a y a n d S t e l l a M y g d a l i 180369474

1

c o n t e n t s

Illustrated Reflection Framing

Studio

3 - 4 6 - 32

P ro g r a m m e D e v e l o p m e n t Pavilion Study Te s t i n g

Design Development

33 - 71

T h i n k i n g T h ro u g h M a k i n g ( M a t e r i a l S t u d y ) Synthesis

Developed (Final) Design

72 - 119

Illustrated Cultural Bibliography

122 - 128

Appendix

129 - 154

i l l u s t r a t e d

r e f l e c t i o n

T h i s y e a r o f e d u c a t i o n h a s p ro v e d t o b e a ‘ d i ff e re n t ’ a n d a c h a l l e n g i n g n e w y e a r i n t e r m s o f t h e b re a d t h o f t h e p ro j e c t a n d c i rc u m s t a n c e s . I t w a s a y e a r w h e re I w a s a b l e t o l e a r n a b o u t m y s e l f ; i n t e r m s o f m y i n t e re s t s a n d d e s i g n p ro c e s s , a n d a t i m e f o r m e t o d e v e l o p n e w s k i l l s a n d o v e rc o m e c h a l l e n g e s . R e f l e c t i n g o n m y a p p ro a c h t o d e s i g n , i t h a s s e e m i n g l y re m a i n e d s t r a i g h t f o r w a rd a n d p a r a l l e l t o t h e p re s c r i b e d d e s i g n s t a g e s o f f r a m i n g , t e s t i n g , a n d s y n t h e s i s . W h e re I b e g a n w i t h re s e a rc h , e x p l o r i n g a n d t e s t i n g , a n d t h e n c o n c l u d i n g w i t h t h e f i n a l w o r k . H o w e v e r, m y a p p ro a c h h a s a p p a re n t l y re l i e d m o s t l y o n d i g i t a l a n d g r a p h i c d e s i g n , a n d i t i s m o re ro o t e d i n re s e a rc h . I f e e l t h a t m y d i g i t a l s k i l l s h a s g ro w n c o m p a re d t o l a s t y e a r a s I d e v e l o p e d a m e t i c u l o u s t a s t e t o g r a p h i c v i s u a l i z a t i o n w h e n i t c o m e s t o re p re s e n t i n g m y i d e a s . M y a p p ro a c h t o re s e a rc h h a s a l s o s h i f t e d t o w a rd s m o re c a s e s t u d i e s a n d p re c e d e n t s , a s I h a v e a t t a i n e d a n i n t e re s t i n l e a r n i n g a l l t h i n g s t h a t re l a t e t o t h e p ro j e c t a n d a rc h i t e c t u re . T h e n a g a i n , I l a c k e d i n p ro d u c i n g a n y p h y s i c a l e x p l o r a t i o n s a n d m o d e l s o t h e r t h a n t h e w o r k p ro d u c e d f o r T h i n k i n g T h ro u g h M a k i n g .

T h i s y e a r I h a v e b e e n f o r t u n a t e t o b e p a r t o f a s t u d i o t h a t i s i n t e re s t e d i n t h e i d e a o f a C re a t i v e S y n e r g y b e t w e e n t h e a c a d e m y a n d c o m m u n i t y o f O u s e b u r n . T h ro u g h m y re s e a rc h a n d e x p l o r a t i o n , I h a d d e v i s e d a ‘ T i m b e r R e s e a rc h a n d C r a f t i n g I n s t i t u t i o n ’ a s a re s p o n s e t o t h e g i v e n b r i e f . T h i s p ro j e c t a t t e m p t s t o d e f i n e i t s e l f w i t h i n t h e w i d e r c o n t e x t o f t h e a rc h i t e c t u r a l p ro f e s s i o n p r i m a r i l y t h ro u g h i t s l e a r n i n g / re s e a rc h p ro g r a m m e . C o n s i d e r i n g t h e c u r re n t c o n d i t i o n s o f e d u c a t i o n , t h i s b u i l d i n g s e t s i t s e l f a s a n a l t e r n a t i v e s p a c e / h u b f o r w h e re t h e a c a d e m y a n d c o m m u n i t y c o u l d i n t e r a c t a n d c o l l a b o r a t e t h ro u g h t h e a c t i v i t y o f c r a f t . A s o b s e r v e d i n O u s e b u r n a n d o t h e r p l a c e s , t h e re s e e m s t o b e s e p a r a t i o n o r b o u n d a r y b e t w e e n t h e s e t w o e n t i t i e s . B y b r i d g i n g t h e t w o t o g e t h e r, i t c re a t e s o p p o r t u n i t i e s f o r n e w i d e a s a n d f u r t h e r re s e a rc h t o f o r m f ro m t h e e x i s t i n g f a b r i c . T h i s i n s t i t u t i o n a l s o s e r v e d a s a n a l t e r n a t i v e a p p ro a c h t o l e a r n i n g t h a t i s d r i v e n b y a p r a c t i c a l a p p ro a c h t o re s e a rc h . T h i s i d e a w a s i n s p i re d b y E n z o M a r i ’s ‘ A u t o p ro g e t t a z i o n e ? ’ ( 2 0 0 2 ) , w h e re h e p ro p o s e s t h e c o n c e p t o f ‘ re s e a rc h t h ro u g h p r a c t i c e ’ t h ro u g h i n d u s t r i a l p ro d u c t i o n ; f u r n i t u re m a k i n g . T h i s i d e a o f a n a l t e r n a t i v e a p p ro a c h t o l e a r n i n g w a s a l s o i n s p i re d b y J a n e A n d e r s o n ’s c o n f e re n c e i n O x f o rd B ro o k e s U n i v e r s i t y e n t i t l e d ‘ W h a t D o We L e a r n W h e n We G o O u t s i d e ’ ( 2 0 1 7 ) , w h e re s h e d i s c u s s e d t h e n o t i o n o f a n a l t e r n a t i v e a p p ro a c h t o l e a r n i n g a s s t a ff a n d s t u d e n t s d r i v e t o l e a r n a re e s s e n t i a l l y d r i v e n b y c u r i o s i t y.

T h i s p ro j e c t w a s a l s o d e v i s e d i n p a r a l l e l t o t h e o t h e r m o d u l e s . I n re l a t i o n s t o m y t e c h n o l o g y re p o r t ( A R C 3 0 1 3 ) , I w a s a b l e t o d e v e l o p a n u n d e r s t a n d i n g o f h o w b u i l d i n g s a re c o n s t r u c t e d a n d w h a t e n v i ro n m e n t a l c o n s i d e r a t i o n s a re n e e d e d t o c re a t e a f u n c t i o n a l b u i l d i n g . W i t h t h e s e a d d i t i o n a l c o n s i d e r a t i o n s , t h e b u i l d i n g s t a r t s t o b e c o m e m o re ‘ re a l i s t i c ’ d u e t o t h e t h o u g h t p u t i n t o t h e e n v i ro n m e n t a l s t r a t e g i e s . I n re l a t i o n t o t h e o r y ( A R C 3 0 1 5 ) , I b e g a n t o q u e s t i o n m y m e t h o d s o f d e s i g n i n g t h ro u g h o u t t h e re s e a rc h a n d t e s t i n g p ro c e s s o f t h e p ro j e c t . T h ro u g h a r t , I b e g a n t o re f l e c t o n h o w m y a p p ro a c h t o d e s i g n i n g w a s g re a t l y i n f l u e n c e d b y d i g i t a l re p re s e n t a t i o n a n d g r a p h i c d e s i g n ; p a r t i c u l a r l y d i a g r a m m i n g . T h i s p ro v e d t o b e a f e a s i b l e a p p ro a c h i n t h e e a r l y s t a g e s o f m y e x p l o r a t i o n , w h e re I b e g i n b y u n d e r s t a n d i n g t h e f o r m o v e r t h e a rc h i t e c t u r a l d e t a i l i n g a s e x e m p l i f i e d b y M i c h e l e M a rc h e t t i ’s d r a w i n g s f o r S a n R o c c o M a g a z i n e . H o w e v e r, t h i s p ro v e d t o b e a n u n s u i t a b l e a p p ro a c h w h e n d e t a i l i s n e c e s s a r y ; t h e l a t e r s t a g e s o f t h e d e s i g n ( s y n t h e s i s ) . T h i s a p p ro a c h a l s o l i m i t e d m y s e l f t o c re a t i n g ‘ p r i s t i n e ’ re p re s e n t a t i o n s o v e r t h e ‘ f re e f o r m ’ n a t u re o f s k e t c h i n g . F u r t h e r m o re , I w a s a l s o a b l e t o d e v e l o p a c r i t i c i s m t o h o w t h i n g s a re d e v e l o p e d a n d j u s t i f i e d t h ro u g h l i t e r a t u re ; s u c h a s h o w P e t e r Z u m t h o r re c o n c i l e d t h e n o t i o n o f p l a c e a n d f o r m a s t w o i n t e r- re l a t i n g s u b j e c t s i n h i s b o o k ‘ A t m o s p h e re s ’ ( 2 0 0 6 ) , w h i c h s e r v e d a s a m a j o r p i e c e o f c o n s i d e r a t i o n w i t h i n m y re s e a rc h . I n re f e re n c e t o t h e p ro f e s s i o n a l p r a c t i c e ( A R C 3 0 1 4 ) , t h e re p o r t a c t e d a s a f r a m e w o r k o f e t h i c a l c o n s i d e r a t i o n s f o r m y p ro j e c t .

B y u n d e r s t a n d i n g w h a t g o e s w i t h i n t h e a rc h i t e c t u r a l p r a c t i c e , I s t a r t t o c o n s i d e r h o w t h i n g s a re c o n d u c t e d o n s i t e . M o re o v e r, t h i s e t h i c a l f r a m e w o r k a l l o w s m e t o re f l e c t a n d c o n s i d e r h o w t h e e x i s t e n c e o f m y p ro j e c t i m p o s e s i t s e l f o n t h e w i d e r s o c i e t y o f O u s e b u r n .

Framing

3

Te s t i n g

Synthesis

R e l a t i n g t o o t h e r a c t i v i t i e s , t h e T h i n k i n g T h ro u g h M a k i n g p ro j e c t c o n d u c t e d d u r i n g t h e t e s t i n g p h a s e p ro v e d t o b e a s u c c e s s f u l e x p l o r a t i o n i n u n d e r s t a n d i n g t h e p ro c e s s o f c o n s t r u c t i o n . B y d e s i g n i n g a n d a s s e m b l i n g t h e s i m p l e j o i n e r y s t o o l , I w a s a b l e t o d e v e l o p a n u n d e r s t a n d i n g o f t h e c o m p l e x i t i e s o f f u r n i t u re m a k i n g ; a n i d e a t h a t re m a i n e d a s a c o re t o m y b u i l d i n g p ro g r a m m e .

4

f r a m i n g W h e n b e g i n n i n g t h e p ro j e c t , m y a p p ro a c h w a s t o u n d e r s t a n d t h e b r i e f a n d i d e n t i f y p o t e n t i a l o p p o r t u n i t i e s t h a t a re p re s e n t o n s i t e . T h i s w a s c r u c i a l a s i t w a s i m p o r t a n t t o d e r i v e a p ro g r a m m e a n d c o n c e p t t h a t w a s a l re a d y p re s e n t o n s i t e . T h i s p h a s e a c t e d a s t h e ‘ re s e a rc h p h a s e ’ , w h e re I b e g i n t o b u i l d a f r a m e w o r k a n d n a r r a t i v e f o r m y d e s i g n . M y m e t h o d o l o g y f o r t h i s p h a s e i s d e e p l y ro o t e d i n re a d i n g c a s e s t u d i e s a n d l i t e r a t u re / a r t i c l e s , a s t h i s w a s w h e re I s t a r t e d t o d r a w c o n n e c t i o n s a n d i n s p i r a t i o n f o r m y i n t e n d e d l i n e o f i n q u i r y. I s a w t h i s as an opportunity to deepen my understanding in the wider context of a rc h i t e c t u re w h i c h re l a t e s w i t h m y b r i e f ; t h e n o t i o n o f t h e c o m m u n i t y a n d a c a d e m y.

A s i n t ro d u c e d b y J a n e A n d e r s o n i n h e r a r t i c l e ‘ W h a t D o We L e a r n W h e n We G o o u t s i d e ’ ( 2 0 1 7 ) , I s t a r t e d t o q u e s t i o n t h e v e r y n a t u re o f a rc h i t e c t u r a l e d u c a t i o n a n d s o u g h t t o f i n d a n ‘ a l t e r n a t i v e ’ m e t h o d t o teaching that is driven by curiosity (Anderson, 2017). This led me to f u r t h e r e x p l o re E n z o M a r i ’s w o r k ‘ A u t o p ro g e t t a z i o n e ? ’ ( 2 0 0 2 ) w h e re h e p ro m p t e d t h e n o t i o n o f “ re s e a rc h t h ro u g h p r a c t i c e ” ( M a r i , 2 0 0 2 ) .

A n a r r a t i v e i s t h e n d e r i v e d b a s e d o n t h e re s e a rc h a n d a c t s a s a f r a m e w o r k f o r t h e p ro j e c t . T h i s a p p ro a c h w o r k e d w e l l f o r m e a s t h e n a r r a t i v e s e r v e d a s a c o n c e p t t o re f e r b a c k t o a l l t h ro u g h o u t t h e p ro j ect.

Studio | Brief

Abstract

C re a t i v e S y n e r g y

The central focus of our studio is to understand what ro l e t h e i n s t i t u t i o n o f e d u c a t i o n p l a y i n c re a t i n g a m e d i a t i o n b e t w e e n e s t a b l i s h e d c o m m u n i t i e s ? H e n c e c re a t i n g a form of ‘bridge’ between the academy (A) and the comm u n i t y ( C ) - a c re a t i v e s y n e r g y.

T h i s c re a t i v e s y n e r g y q u e s t i o n s t h e re l a tionship between the two isolated subjects - t h e a c a d e m y a n d c o m m u n i t y. A s a re s u l t , potential interactions can be formulated a rc h i t e c t u r a l l y b a s e d o n a c o n t e x t u a l re sponse.

Themes

Community engagement

A rc h i t e c t u r a l a n d c u l t u r a l c o n t e x t

P ro c e s s

C r a f t / re s e a rc h

A

C

Our studio focuses on the existing communities in Ouseburn, located on the lower S o u t h - E a s t p a r t o f N e w c a s t l e U p o n Ty n e ( m a p p e d i n t h e p re c e d i n g p a g e ) . T h i s e x t e r n a l p a r t i c i p a n t w i l l b e t h e c o re o f o u r f i n a l p ro j e c t , a n d w i l l b e t h e m a i n d r i v e r s o f t h e p ro g r a m m e .

T h ro u g h t e s t i n g a n d a n a l y s i s , I c a n s t a r t to uncover the activities within the commun i t y a n d t h e i r ro l e i n t h e f u t u re o f a rc h i t e c t u r a l re s e a rc h .

Sustainability

7

8

Studio | Location

Mapped Location

9

1

2

3

4

1

Country - England, United Kingdom

2

Region - Northeast

3

County - Northumberland

4

C i t y - N e w c a s t l e U p o n Ty n e

5

A re a - O u s e b u r n

5

10

Studio | Ouseburn

F o r m e r i n d u s t r i a l a re a s

Wo r k s h o p s a n d c r a f t i n g m a t e r i a l s

Community and activity centers

Wo r k s p a c e s / o ff i c e s / s e r v i c e s

Residential and planned developments

P u b s / re s t a u r a n t s

Site Declaration Ouseburn was originally an agricultural center prior to t h e I n d u s t r i a l R e v o l u t i o n o f t h e 1 9 t h c e n t u r y. T h e c h a racter of the site is primarily shaped by the industriali z a t i o n t h a t t o o k p l a c e o n s i t e , w i t h re m n a n t b u i l d i n g s s t i l l s t a n d i n g . I n d u s t r i a l a c t i v i t i e s r a n g e d f ro m p o t t e r y m a k i n g , g l a s s w o r k s , a n d l e a d w o r k . U n f o r t u n a t e l y, t h e s e a c t i v i t i e s g re a t l y a ff e c t e d t h e e n v i ro n m e n t , p a r t i c u l a r l y t h e r i v e r.

O u s e b u r n i s n o w k n o w n f o r i t s v i b r a n t a t m o s p h e re a n d d e v e l o p i n g c re a t i v e c o m m u n i t i e s t h a t a re s p re a d o n s i t e ; f u e l l e d b y i t s i n d u s t r i a l p a s t . U n f o r t u n a t e l y, i t s o b s e r v e d t h a t f u t u re p l a n n i n g d e v e l o p m e n t s j e o p a rd i z e t h e v i b r a n t character on site, causing a massive surge of gentrification.

11

12

Studio | Ouseburn

P h o t o s o f O u s e b u r n ’s u n i q u e c h a r a c t e r i s t i c s a n d t e x t u re s A m i x o f re s i d e n t i a l , c o m m u n i t y, c o m m e rc i a l b u i l d i n g s w i t h n a t u re a t i t s h e a r t

13

14

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Studio | Ouseburn

People of Ouseburn - the community

Resident since 1970s

N e w re s i d e n t o f O u s e b u r n

Student at Newcastle University

F re q u e n t v i s i t o r o f O u s e b u r n

6 t h f o r m s t u d e n t s f ro m Ty n e m o u t h

University students

Wo r k s a ro u n d O u s e b u r n

L i v e s i n t h e a re a s i n c e t h e 1 9 7 0 s

“ I t ’s m a g i c ! I h a v e b e e n c o m i n g h e re s i n c e t h e 1 9 7 0 s . E v e r y o n e comes to socialise and enjoy the b e a u t i f u l n a t u re ”

“ I l i v e i n a s t u d i o a ro u n d h e re , I chose it firstly for the studio but t h e a re a i s a m a j o r b o n u s ! L o a d s o f young people and students come t o s o c i a l i s e . T h e re i s a l w a y s s o m e thing going on.”

“ I h a v e n ’t b e e n h e re m u c h . . . B u t m y f i r s t i m p re s s i o n i s i t ’s s u p e r u rb a n . A re a l l y q u i r k y p l a c e t o b e . ”

“ T h e re w a s n o t h i n g re a l l y h e re b e f o re . T h e re w a s n o re a l u s e . S o i t h a s d e f i n i t e l y i m p ro v e d t h e a re a . ”

“ I t i s s o t u c k e d a w a y, l i k e a l i t t l e h i d e o u t . Ve r y c a l m i n g a n d s o m e l l o w. ”

“ I t re m i n d s m e a b i t o f L o n d o n . . . ”

“ I t ’s a s t ro n g c o m m u n i t y h e re . E v eryone helps each other! It was laid out to be that way! I just came to quickly escape work and grab a c o ff e e . T h i s i s w e re I g o t o c l e a r my head.”

“ Ye a h 4 0 o d d y e a r s I ’ v e b e e n h e re .

E v e r y t h i n g i s a l w a y s i n f l u x . Ye a h re v i v e d a n d b o h e m i a n , t h a t ’s w h a t you say nowadays”

I n re f e re n c e t o t h e n e w s i t e d e v e l opments

P o r t r a i t s c o u r t e s y o f G ro u p 2 C o m m u n i t y re s e a rc h

15

16

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Studio | Ouseburn

History

Industrial past - 1900

P re s e n t

1

C

D

A

2 3

B A

4

E

C o l l a g e h i g h l i g h t i n g t h e i n d u s t r i a l p a s t a n d h i s t o r i c a l p ro g re s s i o n o f O u s e b u r n ; c o u r t e s y o f G ro u p 1 H i s t o r y re s e a rc h

17

M a p p e d l o c a t i o n o f p a s t i n d u s t r i a l a c t i v i t i e s p re s e n t i n O u s e b u r n . A p a r t i c u l a r ‘agenda’ for craft

I d e n t i f y i n g t h e p re s e n t e x i s t i n g c re a t i v e c o m m u n i t i e s o n s i t e a s a p o t e n t i a l l i n e o f i n q u i r y f o r m y p ro j e c t . A p a r t i c u l a r f o c u s o n t h e o n e s m a r k e d re d :

A P o t t e r y E Glass works B Canvas work C Lead works D Flour Mills

1 2 3 4

Ouseburn Farm - community center that also hosts woodworking workshops R a s k l . A r t + A rc h i t e c t u r a l - m u l t i d i s c i p l i n a r y d e s i g n a n d f a b r i c a t i o n p r a c t i c e C re s c e n t F i f t y O n e - i n d e p e n d e n t f u r n i t u re w o r k s h o p Q u a y T i m b e r - s o u rc e f o r re c l a i m e d w o o d s u i t a b l e f o r c o n s t r u c t i o n

18

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Studio | Academy

The academy

Questioning methods of learning

A

?

C

1

T h e a c a d e m y re f e r s t o t h e ‘ e d u c a t i o n a l i n s t i t u t i o n ’ F o r t h i s p ro j e c t , a f o c u s i s p l a c e d o n t h e a rc h i t e c tural department of Newcastle University (A) Start to consider what forms of synergies could occur between the two entities (A) and (C) How would the synergy benefit both entities?

19

W h a t i s t h e p o i n t o f a rc h i t e c t u r a l e d u c a t i o n ?

‘ W h a t D o We L e a r n W h e n We G o O u t s i d e ? ’ b y Jane Anderson

‘Haus am Horn’ by George Muche and Adolf Meyer (1923)

A l t e r n a t i v e a p p ro a c h t o e d u c a t i o n

A f o r m a l w a y t o l e a r n m e t h o d s i n a p p ro a c h i n g a rc h i t e c t u re

A p re s e n t a t i o n f o r ‘ A rc h i t e c t u re C o n n e c t s ’ c o n f e re n c e

A p ro t o t y p e d w e l l i n g b u i l t b y t h e B a u h a u s s t a ff a n d s t u d e n t s

T h e a r t i c l e b y J a n e A n d e r s o n p ro m p t e d m y i n t e re s t i n ‘ a l t e r n a t i v e m e t h o d s o f l e a r n i n g ’

Tr a i n i n g p r i o r t o a rc h i t e c t u r a l p r a c t i c e

E x p l o re d t h e n o t i o n o f e d u c a t i o n g o i n g beyond the confines of the university (1)

A n a t t e m p t b y B a u h a u s t o re c o n c i l e t h e separation between artist and craftsmen

Q u e s t i o n i n g w h e t h e r o r n o t t h e re a re a l t e r n a t i v e a p p ro a c h e s t o a rc h i t e c t u r a l e d u c a t i o n

To o b t a i n a c e r t i f i c a t i o n ( i . e . R I B A )

m o t i v a t e d b y c u r i o s i t y, e d u c a t o r s a n d students seek the ‘outside’ to learn

A n o p p o r t u n i t y f o r t h e s t u d e n t s t o e x p e ri m e n t t h e i r v i s i o n o f a rc h i t e c t u re

R e s e a rc h b a s e d o r a n a p p l i e d a p p ro a c h ?

I s t h e c u r re n t a p p ro a c h t o a rc h i t e c t u r a l e d u c a t i o n e ff e c t i v e ?

C o n t e m p o r a r y a rc h i t e c t u r a l e d u c a t i o n operates within a system - discipline

An alternative focus on functionalism and pot e n t i a l s i n p ro d u c t i o n

Theory being applied to the practical

20

Programme Development | Developed Scheme

Line of inquiry - initial ideas

C re a t i v e c o m m u n i t y

‘ R e s e a rc h t h ro u g h p r a c t i c e ’

Community engagement

Identifying Ouseburn as a ‘community of int e re s t s ’

I n s p i re d b y E n z o M a r i ’s ‘ A u t o p ro g e t t a z i o n e ’ (2002)

An institution that attempts to bridge the academy with the community

I n t e re s t e d i n a p ro g r a m m e d e r i v e d f ro m t h e p re - e x i s t i n g a c t i v i t i e s o f t h e c o m m u n i t y

T h e i d e a o f l e a r n i n g t h ro u g h p a r t i c i p a t i o n i n i n d u s t r i a l p ro d u c t i o n

A c o l l a b o r a t i v e a p p ro a c h t o re s e a rc h , w i t h the idea of community engagement within its c o re

i . e . Wo o d w o r k i n g / c r a f t i n g , w o r k s h o p D i a g r a m o f i d e n t i f i e d s i t e i n t e re s t s a n d d i re c t i o n o f e x p l o r a t i o n

21

i.e. Crsecent Fifty One, Quay Timber

A method of learning by applying theory into c r a f t i n g , a t a n g i b l e a p p ro a c h t o d e s i g n R e s e a rc h t h ro u g h d o i n g / e x p e r i m e n t i n g

22

Programme Development | Pavilion Study

Pavilion Study C o n t i n u i n g f ro m m y l i n e o f i n q u i r y, t h e p a v i l i o n s t u d y w a s a w a y f o r m e t o e x p l o re w o o d c r a f t i n g a n d j o i n e r y t e c h n i q u e s p r i o r t o t h e f i n a l p ro j e c t d e s i g n . T h i s e x p l o r a t i o n i s m a t e r i a l i z e d t h ro u g h t h e p a v i l i o n ’s s t r u c t u re t h a t m a k e s u s e o f v a r y i n g j o i n i n g s .

T h e s i t e w a s c h o s e n d u e t o i t s p ro x i m i t y t o o t h e r p r a c t i c e s , a n d i n h e re n t o p p o r t u n i t i e s w i t h i t s s u r ro u n d i n g s a n d p e o p l e . T h e f o r m i t s e l f re f e re n c e s t h e s i t e ’s o r t h o g o n a l l a y o u t . T h e p a v i l i o n i s m o re o f a t r a n q u i l s p a c e w h e re o n e c o u l d e x p l o re a n d a p p re c i a t e , r a t h er than an activity space.

T h i s e x p l o r a t i o n w i l l f u e l t h e p ro g r a m m e o f t h e f i n a l design, in terms of activity and construction.

23

Simple axonometric of the pavilion on site

24

*

Programme Development | Pavilion Study

B

A

A-A

A

B

B-B

Pavilion section

25

C

C

C-C

Additional section drawings - showcasing the varying use of rhythmic density of the wooden frames

26

Programme Development | Pavilion Study

Pavilion materiality and form - modest materials

27

Exploded pavilion axonometric - a focus on construction

28

Programme Development | Developed Scheme

L i n e o f i n q u i r y - p ro g r a m m e

P l a n s f o r a ‘ T i m b e r R e s e a rc h C e n t e r ’ b y G r a f t o n A rc h i t e c t s

Bauhaus - the design and craft curriculum

‘Katsura Detached Palace’ by Kobori Enshu (17th century)

D e v e l o p e d t h e i d e a o f a t i m b e r re s e a rc h / c r a f t i n s t i t u t i o n , m y p ro g r a m m e w i l l f o c u s o n t h e u n d e r s t a n d i n g o f a rc h i t e c t u re t h ro u g h t h e v a r y i n g s c a l e s o f t h e b u i l t e n v i ro n m e n t

Wa l t e r G ro p i u s a s s e r t e d B a u h a u s ’ m a n i f e s t o w i t h a n e x p l i c i t d e s i re t o “ re - e s t a b l i s h t h e a rt i t s ’ l o s t c o n t a c t w i t h t h e w o r l d o f p ro d u c t i o n ” ( B l a n d e r, 2 0 1 9 )

I n s p i re d b y Ta n g e ’s b o o k o n ‘ K a t s u r a ’ , G ro pius acknowledged the importance of design a n d c o n s t r u c t i o n i n a rc h i t e c t u re

M i c ro / m a c ro - f u r n i t u re / s t r u c t u re

A n a p p ro a c h t o t e a c h i n g t h a t e n c o m p a s s e d t h e re l a t i o n s h i p b e t w e e n t h e a r t s , c r a f t s , s o c i e t y, a n d t e c h n o l o g y

“ T h e t e a m w o r k o f t h e K a t s u r a Vi l l a . . . shows sound integrationof designer and b u i l d e r w h e n c o m p a re d t o t h e f a t a l s e p a r a t i o n o f d e s i g n a n d e x e c u t i o n f ro m w h i c h o u r p re s e n t a rc h i t e c t u r a l p ro f e s s i o n s u ff e r s ” ( G ro p i u s , 1 9 6 7 )

The notion of involving the community and academy in an activity and learning based p ro g r a m m e

29

A n i d e a w o r t h e x p l o r i n g t h ro u g h m y p ro gramme

A rc h i t e c t u re m o d e l

F u r n i t u re

Person

Structural component

B u i l d i n g / a rc h i t e c t u re

A n a l t e r n a t i v e a p p ro a c h t o l e a r n i n g t h ro u g h c r a f t - a n a p p re c i a t i o n a n d u n d e r s t a n d i n g o f s c a l e

30

*

Programme Development | Developed Scheme

I n t e re s t i n t i m b e r j o i n e r y

A

I n s t a g r a m p o s t b y To m o a k i U n o

Sustainable design

Sustainable cycle

U s e o f t i m b e r c o n s t r u c t i o n i s a s t y l i s t i c re s p o n s e b a s e d o n re s e a rc h

T i m b e r a s a m a t e r i a l c a n b e re u s e d a n d re p u r p o s e d a f t e r t h e b u i l d i n g ’s l i f e s p a n

R e c l a i m e d s t r u c t u r a l t i m b e r c o m p o n e n t s a re l o c a l l y a v a i l a b l e f ro m Q u a y T i m b e r ( A )

Clean and minimal yet embodies craftmanship A n i d e a t h a t re l a t e s b a c k t o i n d u s t r i a l p ro d u c t i o n a n d l e a r n i n g T i m b e r f r a m e w o r k - a s u s t a i n a b l e a p p ro a c h t o c o n s t r u c t i o n

31

No use of chemical adhesives

T h e c l o s e p ro x i m i t y e n s u re s e a s y t r a n s p o r t and a sustainable cycle

The adoption of Japanese joinery acts as an i n t e re s t t o t h e s u s t a i n a b l e c o n s t r u c t i o n E a s y a s s e m b l a g e a n d p ro d u c t i o n

32

t e s t i n g With the defined brief and developed framework, this phase focused m o re o n t e s t i n g v a r i o u s f o r m s a n d c o n f i g u r a t i o n s t h a t w o u l d b e s t s u i t t h e s i t e a n d p ro g r a m m a t i c n e e d s . A s e x p l o re d i n m y ‘ T h e o r y I n t o P r a c t i c e ’ e s s a y, m y a p p ro a c h i n t e s t i n g h a s m o s t l y re l i e d o n d i a g r a m m a t i c re p re s e n t a t i o n s . T h i s i s d e r i v e d f ro m m y i n t e re s t i n u n d e r s t a n d i n g h o w t h e s t r u c t u re i s f o r m e d p r i o r t o p l a c i n g a s u p e r f i c i a l p ro g r a m m e o n s i t e ; s i m i l a r t o M i c h e l e M a rc h e t t i ’s a p p ro a c h i n d r a w i n g S a n R o c c o M a g a z i n e f ro n t c o v e r s , w h e re t h e re i s a p a r t i c u l a r f o c u s o n f o r m o v e r a rc h i t e c t u r a l e l e m e n t s ( T h o m a s , 2 0 1 7 ) .

T h ro u g h o u t t h i s p ro c e s s , I t e s t e d o u t v a r i o u s i d e a s t h a t re l a t e d t o s p a t i a l c o n f i g u r a t i o n s a n d c i rc u l a t i o n . C o n s i d e r i n g t h e c o m p l e x i t y o f my site in Ouseburn, I had to conduct several site visits which aided my deep understanding of the site constraints; topography and size o f t h e s i t e . T h i s p ro v e d t o b e q u i t e s u c c e s s f u l a s I w a s a b l e t o d e v e l o p a d e s i g n t h a t d o e s n o t a s s e r t i t s e l f n e g a t i v e l y o n s i t e a n d p ro v i d e d a s o l u t i o n t o s o m e o f t h e s i t e ’s e n v i ro n m e n t a l c o n c e r n s . T h i s a l i g n e d i t s e l f w i t h i d e a s t h a t c o n c e r n e d i t s e l f w i t h P ro j e c t M a n a g e m e n t , w h e re I s t a r t t o d e v e l o p e t h i c a l c o n s i d e r a t i o n s t h a t m y b u i l d i n g m i g h t i m p o s e . F u r t h e r m o re , t h ro u g h m y ‘ T h i n k i n g T h ro u g h M a k i n g ’ p ro j e c t , I c o n d u c t e d a m a t e r i a l s t u d y t h ro u g h t h e c o n s t r u c t i o n o f a t i m b e r j o i n e d s t o o l . T h i s p i e c e s e r v e d a s a ‘ m a n i f e s t o ’ a s i t e x p l o re s t h e i d e a o f a rc h i t e c t u re t h ro u g h t h e v a r y i n g s c a l e s ; f u r n i t u re a n d structural components.

Design Development | Site

2

3

1

P ro x i m i t y t o o t h e r c re a t i v e p r a c t i c e s a n d re s o u rc e s ( Q u a y T i m b e r m a r k e d b l a c k )

A n i n h e re n t c o n n e c t i o n b e t w e e n t h e s t re e t (1), site (2), and river (3)

Vi e w s o n t o s i t e

Chosen Site The site is at the center of Ouseburn a n d i s s i t u a t e d p a r a l l e l t o t h e r i v e r.

D u e t o t h e s i t e ’s i n h e re n t e n v i ro n m e n t a l q u a l i t i e s a n d c o n n e c t i o n s w i t h i t s s u rro u n d i n g s , I v i e w e d t h i s t o b e t h e m o s t a p p ro p r i a t e s i t e f o r t h e p ro g r a m m e a s i t i s d e e p l y ro o t e d w i t h O u s e b u r n ’s unique characteristics.

34

I n t e re s t i n g s i t e t o p o g r a p h y

Site - Google view

35

*

Design Development | Site

E n v i ro n m e n t a l a n a l y s i s

Physical analysis

1

Sun diagram

Wind path diagram

N a t u re o n s i t e

S i t e re s t r i c t i o n s / b o u n d a r i e s

Tr a ff i c a n d c i rc u l a t i o n

P ro m i n e n t b u i l d i n g s o n s i t e

T h e We s t e r n s i d e o f t h e s i t e ( b l a c k ) i s b a c k e d u p a g a i n s t L i m e S t re e t

T h e s i t e i s e x p o s e d t o t h e m a j o r i t y o f t h e p re vailing wind

P ro m i n e n t v e g e t a t i o n o n s i t e a n d O u s e b u r n River

E x i s t i n g s l i p w a y ( re d ) w i l l b e p re s e r v e d a s i t is a ‘unique characteristic’ to the site

T h e s i t e i s p a r a l l e l t o a m a i n t r a ff i c ro u t e o n L i m e S t re e t ( 1 )

Observation of building forms, heights, and language

The South-Eastern side of the site is exposed and open - lots of access to light

W i n d ro s e d a t a c o l l e c t e d f ro m m e t e o b l u e

Q u a l i t i e s w i t h i n t h e s i t e t h a t s h o u l d b e p re served

To p o g a p h y ( g re e n ) w i l l b e c o n s i d e re d a s a n other ‘unique characteristic’ to consider

A q u i e t s t re e t t h a t i s m o s t l y p o p u l a t e d by pedestrians passing by

The riverbank (blue) is a major point of consideration in terms of flooding

36

F a c t o r s t o b e c o n s i d e re d

T h e s i t e i s o n l y a c c e s s i b l e f ro m L i m e S t re e t

37

Design Development | Site

Site photos and conditions

A n a b a n d o n e d g re e n s i t e

Site section

P ro m i n e n t s l i p w a y w i t h i n t h e s i t e P ro x i m i t y t o t h e O u s e b u r n R i v e r

38

39

*

Design Development | Programme

P ro g r a m m e c o n s i d e r a t i o n s - c o n c e p t d i a g r a m s

40

1

2

3

T h e d e v e l o p m e n t o f t h e i n s t i t u t i o n re v o l v e s a ro u n d t h e f o rm a t i o n o f t h e s e k e y s p a c e s . T h e s e d i a g r a m s re p re s e n t s i n i tial considerations of formal spatial qualities for each of the spaces.

1

Crafting space - public open working space

2

S t u d i o a n d m e e t i n g s p a c e - p a r a l l e l a n d i n t e rc o n n e c t e d

3

M a t e r i a l re s e a rc h s p a c e - l a r g e o p e n s p a c e

4

C i rc u l a t i o n - l i n e a r a n d i n t e r w e a v e t h e s p a c e s

4

41

Design Development | Iterations

42

E a r l y t e s t i n g o f f o r m s - a n a t t e m p t t o p l a c e t h e p ro g r a m m e ‘ u n d e r o n ro o f ’

Started to consider integrating the slope and conducted an elevation study

T h e i n i t i a l f o r m s e e m s ‘ f o re i g n ’ a n d d o e s n o t n e c e s s a r i l y re f e re n c e t h e c o n t e x t

T h e i d e a o f s e p a r a t e b u i l d i n g s b e i n g i n t e rc o n n e c t e d

43

Design Development | Iterations

E x p l o re d a l t e r n a t i v e f o r m s o f o r g a n i z a t i o n s o n s i t e

R e v i s i t e d t h e i d e a o f f i t t i n g t h e p ro g r a m m e ‘ u n d e r o n e ro o f ’

C o n s i d e re d a c i rc u l a t i o n t h a t g r a d u a l l y d e s c e n d s

Unfortunately this limits my exploration to a small portion of the site

Felt that the form did not fit well on site - too massive

44

45

*

Design Development | Iterations

Te s t i n g f o r m s o n s i t e

1

2

S t a r t e d t o e x p l o re s p e c u l a t i v e m a s s i n g s o n s i t e

1

Applied framework on a portion of site

E v o c a t i v e o f S a n R o c c o M a g a z i n e c o v e r s b y M i c h e l e M a rc h e t t i - a n e m p h a s i s o n f o r m o v e r a rc h i t e c t u r a l e l e m e n t s

2

N e g a t i v e s p a c e o f t h e f r a m e w o r k - c re a t e s p a c e s ( ? )

3

I t e r a t i v e m a s s i n g - ‘ L’ c o u r t y a rd o n s t i l t s

4

Iterative massing - too blocky

H o w e v e r, t h i s e x p l o r a t i o n l i m i t e d m y s c o p e t o o n l y a s m a l l portion of the site

46

3

4

( R e s u b m i t t e d i m a g e s f ro m m y T h e o r y I n t o P r a c t i c e re p o r t )

47

Design Development | Iterations

Attempting to expand on site

Concept plan drawing exploring the idea of a ‘journey’

S t a r t e d t o e x p l o re h o w t h e b u i l d i n g c a n ‘ m e r g e ’ w i t h i t s e n v i ro n m e n t

T h e n o t i o n o f a l i n e a r c i rc u l a t i o n - a re f e re n c e t o t h e s l i p w a y

R e s e m b l i n g a ‘ f o r m t h a t e m e r g e s ’ f ro m t h e s i t e

48

49

*

Design Development | Iterations

I n i t i a l ro u g h m a s s i n g o n s i t e - a n a t t e m p t t o w o r k w i t h t h e t o p o g r a p h y b u t i t d o e s n o t f i t t h e e n t i re p ro g r a m m e

50

I n i t i a l l o n g s e c t i o n d r a w i n g h i g h l i g h t i n g m y a t t e m p t i n re f e re n c i n g t h e s i t e ’s s l o p e t h ro u g h t h e i n t e r p l a y o f l e v e l s w i t h i n t h e b u i l d i n g

51

*

Design Development | Iterations

Connection between levels

L i m e s t re e t

An attempt to visually connect the varying levels of the building and the context

52

53

*

Design Development | Iterations

U r b a n f ro n t a g e - s t re e t l e v e l

54

1

2

3

Questions of light access and density

1

Initial idea

A s i m p l e c o n n e c t i o n o f ‘ a n u r b a n p re s e n c e ’

2

Larger Openings

M o s t l y i m p r a c t i c a l a s i t d i s r u p t s t h e f o o t t r a ff i c

3

Roof acces

4

Extend on site

4

55

*

Design Development | Iterations

U r b a n f ro n t a g e - r i v e r l e v e l

56

1

2

3

A n a t t e m p t t o c re a t e a p u b l i c c o n n e c t i o n w i t h t h e r i v e r

1

C u r re n t c o u r t y a rd c o n d i t i o n s

P ro v e d t o b e ‘ u n re a l i s t i c ’ c o n s i d e r i n g t h e e n v i ro n m e n t a l c o n d i t i o n s ( i . e . r i v e r l e v e l s a n d f l o o d i n g ) a n d n a r ro w / small site

2

Extend the court onto the slipway

3

E x t e n d t h e c o u r t + ro o f i n g

4

S t a i rc a s e p ro p o s a l - i m p r a c t i c a l

4

57

Thinking Through Making | Concept

1

M a t e r i a l re s e a rc h

2

T h ro u g h t h i s s t a g e , I a t t e m p t e d t o e x p l o re t h e p r a c t i c e a n d p ro c e s s of constructing joinery components t h ro u g h f u r n i t u re m a k i n g .

This in turn helped develop my understanding of construction.

58

3

1

‘Sedia 1’ by Enzo Mari (1974)

2

Donald Judd stools

3

Ishinomaki stool kit

4

5

Image of possible elements

4

Construction detail - the ‘bones’ of the building

5

F u r n i t u re d e t a i l - t h e o b j e c t

59

*

Thinking Through Making | Design and Process

320 top

10

30

300

30 30

15

A

B

side

30

200

20

45

30

47

bottom (1)

(1) - 4x(

2) - 2x

(2)

320 30

30

20

10

260

180

30

20

(3)

400

400

(3) - 2x

80

(4)

(4) - 2x

(5)

A

B

Designed cut out components - understanding and learning by designing

60

(5) - 4x

P ro c e s s o f c u t t i n g o u t t h e c o m p o n e n t s i n m y f l a t u s i n g c h i s e l s a n d a J a p a n e s e tenon saw

61

Thinking Through Making | Output

Assembling the joinery components

Final assembled stool + user test

Understanding if the parts would connect easily

62

63

Design Development | Further Site Considerations

Observing the site further - second site visit

A collage of the site as a single-whole image

64

We n t o n a n o t h e r s i t e v i s i t t o o b s e r v e t h e s i t e i t i n a c l o s e r l e n s , f u r t h e r t h o u g h t s :

S l o p i n g n a t u re o f s i t e - s t e e p

S i z e o f t h e s i t e - s m a l l e r / n a r ro w e r t h a n o r i g i n a l l y o b s e r v e d

C o n n e c t i o n b e t w e e n u p p e r s t re e t w i t h l o w e r l e v e l - a v o i d d i s r u p t i n g t o o m u c h 65

Design Development | Further Site Considerations

Observing the site further - site slope

Geology

A

T h e t e r r a i n i s s o m e w h a t s l o p i n g i n t w o d i re c t i o n s Could cause challenges on multi-level buildings (A) Considering playing with levels - elevate, or excavate

66

“ F l a t ” Te r r a i n S l o p e d Te r r a i n

D i a g r a m o f t h e p re d o m i n a n t s l o p e s o n s i t e

Site made up of till / boulder clay

I d e n t i f i e d t h e v a r y i n g d i re c t i o n s o f t h e s l o p i n g t e r r a i n

C o n s i d e re d a s t i ff c l a y

S h o u l d b e c o n s i d e re d f o r e x c a v a t i o n

Till - diamicton

Alluvium - gravel/sand

67

Design Development | Iterations

68

C o n t i n u e d t e s t i n g p o s s i b l e m a s s i n g s a n d c i rc u l a t i o n s

S k e t c h o f i n i t i a l i d e a s o n s i t e - ‘ t r a d i t i o n a l ’ / c o n t ro l l e d

N e e d t o w o r k w i t h t h e s m a l l a n d n a r ro w s i t e

An attempt in playing with split levels and ramps

69

Design Development | Precedent Studies

Wo r k i n g w i t h t h e s i t e

Materiality / construction

Organization / levels

‘ R u r a l H o u s e ’ b y R C R A rq u i t e c t e s ( 2 0 0 7 )

‘ T h e S e t o u c h i A o n a g i H o t e l ’ b y Ta d a o A n d o (2016)

‘ Yo m o g i d a i H o u s e ’ b y To m o a k i U n o ( 2 0 1 8 )

‘Market Hall in Aarau’ by Miller and Maranta (2012)

‘ N e s t We G ro w ’ b y K e n g o K u m a ( 2 0 1 4 )

‘Gerrit Rietveld Academy and Sandberg Institute’ (2019)

A house built into the sloping landscape

Large hotel complex on a mountain side

S i m p l e s t r u c t u re b u i l t o n a s l i g h t l y s l a n t e d site

A large market hall placed within the city

Design build competition in collaboration with design department in UC Berkeley

A p ro j e c t b y S t u d i o P a u l i e n B re m m e r + H o o t s m a n s A rc h i t e c t s

S e p a r a t e re c t a n g u l a r v o l u m e s o f v a r y i n g u s e s a re c o n n e c t e d b y a l i n e a r c i rc u l a t i o n

I n t e re s t i n g a r r a n g e m e n t a n d c o n n e c t i o n s b e t w e e n s p a c e s - c re a t e m o m e n t s

I n s p i re d b y t h e m a t e r i a l i t y a n d u s e o f J a p a nese joinery techniques

I n t e re s t e d i n t h e i r u s e o f t i m b e r a n d re p e t i t i o n t o c re a t e a m a s s i v e y e t ‘ h u m b l e ’ s p a c e

I n t e re s t e d i n t h e j o i n e r y c o n s t r u c t i o n a n d material design

A n a c a d e m y t h a t m e r g e s w i t h i t s e n v i ro n m e n t

W h e n v i e w e d i n s e c t i o n , h o u s e re s p o n d s t o s i t e t h ro u g h t h e i n t e r p l a y o f l e v e l s

I n t e re s t e d i n h o w i t u s e s t h e s i t e t o c o m p l e ment the arrangement of forms

Structural elements permeate outside of its intended bounderies - a showcase

A s l e n d e r f o r m t h a t c o m p l i m e n t s i t ’s s u r ro u n d ing

I n s p i re d b y t h e i r w a y o f e x p re s s i n g t h e c o n struction subtly

I n t e re s t e d i n t h e i r w a y o f d i v i d i n g s p a c e s t h ro u g h t h e u s e o f s p l i t l e v e l s a n d c i rc u l a t i o n S i m i l a r i n s t i t u t i o n a l p ro g r a m m e

70

71

s y n t h e s i s A f t e r g o i n g t h ro u g h t h e d e s i g n a n d re s e a rc h p ro c e s s , t h i s i s t h e p h a s e of finalization in terms of concept and design. This stage act as a p o i n t o f re f i n e m e n t f o r t h e p ro j e c t , w h e re I s t a r t t o d e v e l o p v i s u a l s t h a t a p p ro p r i a t e l y c o n v e y m y i d e a s . A s a l e a r n e r, t h i s s t a g e a l l o w e d m e t o f o r m a c o n c l u s i o n t o t h e re s e a rc h / p ro j e c t . H e re I b e g a n t o re f l e c t h o w t h e p re v i o u s s t a g e s c u l m i n a t e d i n t o t h e f i n a l d e s i g n , o b serving how certain strategies might have worked better than others.

R e l a t i n g t o t h e Te c h n o l o g y re p o r t , t h i s a l l o w e d m e c o n s i d e r t h e c o n s t r u c t i o n a n d e n v i ro n m e n t a l s t r a t e g i e s a s p i l l a r s t o a c o h e re n t d e s i g n .

T h ro u g h t h e re p o r t , I w a s c a p a b l e o f f o r m u l a t i n g s t r a t e g i e s i n t e r m s of the timber construction and its connections, and develop an und e r s t a n d i n g o f i t s d e t a i l . F u r t h e r m o re , b y l o o k i n g a t t h e s i t e i n t e r m s o f t h e e n v i ro n m e n t a l q u a l i t i e s , I s t a r t e d t o c o n s i d e r t h e i m p l i c a t i o n s o f t h e w e a t h e r, s o l i d c o n d i t i o n s , a n d p ro x i m i t y t o t h e r i v e r. H e n c e , I p ro v i d e d e n v i ro n m e n t a l s o l u t i o n s s u c h a s t h e u n d e rc ro f t s y s t e m i n t h e b a s e m e n t a s a w a y t o re s p o n d t o t h e ‘ h u n d re d - y e a r f l o o d r i s k ’ o n t h e O u s e b u r n R i v e r.

I n c o n c l u s i o n , t h ro u g h t h e d e s i g n o f t h e i n s t i t u t i o n , I s t a r t t o re a l i z e t h e ro l e o f a rc h i t e c t u re w i t h i n t h e w i d e r c o n t e x t o f t h e c o m m u n i t y. I b e g i n t o u n d e r s t a n d h o w s p e c i f i c d e c i s i o n s i n d e s i g n a n d p ro g r a m m e c o u l d p ro m o t e / e n c o u r a g e i n t e r a c t i o n s b e t w e e n t w o u n re l a t i n g c o m m u n i t i e s . H o w e v e r, t h i s a l s o g e n e r a t e s t h e n o t i o n o f w h e t h e r o r n o t t h e p ro j e c t w i l l a ff e c t t h e c o m m u n i t y i n a p o s i t i v e o r n e g a t i v e m a n n e r ; re l a t i n g t h e p ro j e c t t o t h e p ro f e s s i o n a l p r a c t i c e , I s t a r t t o q u e s t i o n t h e e t h i c a l a n d e n v i ro n m e n t a l c o n s i d e r a t i o n s o f t h e p ro j e c t .

Developed Design | Scheme

Concept diagrams - design manifestation

The site

S o l i d m a s s t h a t f i l l s t h e d e s i re d a re a

Lower the height of the building mass A d j u s t t h e l e v e l s a c c o rd i n g t o n e e d s

S u b t r a c t t o re s p e c t s i t e q u a l i t i e s The existing path and slipway

Av o i d d i s r u p t i n g t h e s i t e

73

74

Developed Design | Scheme

*

W i d e r s i t e a x o n o m e t r i c o f t h e T i m b e r R e s e a rc h a n d C r a f t i n g I n s t i t u t i o n o n S i t e

75

*

Developed Design | Scheme

P ro j e c t D e c l a r a t i o n T h ro u g h t h e e x t e n s i v e re s e a rc h a n d e x p l o r a t i o n s , t h e f i n a l i z e d p ro g r a m m e f o c u s e s a ro u n d t h e n o t i o n o f c re a t i n g a s y n e r g y b e t w e e n c r a f t i n g a n d e d u c a t i o n , m a n i f e s t e d t h ro u g h t h e ‘ T i m b e r R e s e a rc h a n d C r a f t i n g I n s t i t u t i o n ’ . T h i s b u i l d i n g a c t s a s a c o m m u n i t y h u b w h e re t h e a c a d e m y a n d c o m m u n i t y a re e n c o u r a g e d t o i n t e r a c t t h ro u g h c o l l a b o r a t i v e a c t i v i t y a n d re s e a rc h ; a n i n t e r m e d i a r y o f w h e re b o t h e n t i t i e s c a n e n g a g e t h ro u g h c r a f t . E x i s t i n g i n a s i t e t h a t i s a t t h e h e a r t o f O u s e b u r n , t h i s w a s a g re a t o p p o r t u n i t y t o c o n n e c t t h e e x i s t i n g craft communities into the institution. The building is designed in contrast to the scale of t h e s u r ro u n d i n g i n d u s t r i a l s t r u c t u re s , y e t s t i l l re m a i n s ‘ l o c a l ’ a n d m o d e s t i n t e r m s o f f o r m / language.

U p o n e n t e r i n g t h ro u g h L i m e S t re e t , t h e p u b l i c a re g u i d e d t h ro u g h t h e re c e p t i o n / l o b b y i n t o a p u b l i c v i e w i n g a n d e x h i b i t i o n s p a c e t h a t i n t ro d u c e s t h e a c t i v i t i e s w i t h i n t h e b u i l d i n g .

T h e y a re t h e n l e d d o w n t h ro u g h t h e s t a i rc a s e i n t o a n a t r i u m . T h e p u b l i c a re s o m e w h a t s e p a r a t e d f ro m t h e p r i v a t e a s t h e y t r a v e r s e d o w n t h e r a m p i n t o t h e m a t e r i a l s l i b r a r y. P ro fessionals can access the studio space at this level and meeting space if they go up the r a m p . A s t h e p u b l i c w a l k s t h ro u g h t h e h a l l , t h e y c a n g e t i n v o l v e d i n t h e p ro c e s s o f c r a f t i n g f u r n i t u re a n d s t r u c t u r a l c o m p o n e n t s w h e n t h e y e n t e r t h e p u b l i c c r a f t i n g s p a c e , w h i l e t h e p ro f e s s i o n a l s c a n c o n d u c t t h e i r re s e a rc h p a r a l l e l t o t h a t o n t h e s a m e l e v e l .

2F

C o n s i d e r i n g t h e n a r ro w s i t e a n d s l o p i n g t o p o g r a p h y, t h e d e s i g n c o n s i d e r s t h e s e a s d e f i n i n g f e a t u re s w i t h i n t h e d e s i g n . T h i s w a s d o n e t h ro u g h t h e i n t e r p l a y o f l e v e l s a n d l i n e a r c i rc u l a t i o n ; a s a re f e re n c e t o t h e s l o p e , a n d a t t e m p t i n e m b e d d i n g t h e b u i l d i n g w i t h i n t h e t o p o g r a p h y a s a w a y t o n a t u r a l l y p l a c e t h e f o r m w i t h i n t h e s i t e . T h e p ro x i m i t y t o t h e r i v e r i s a l s o a m a j o r e n v i ro n m e n t a l c o n s i d e r a t i o n i n t e r m s o f t h e h u n d re d y e a r s f l o o d w a r n i n g , a n d i t w a s re s p o n d e d t h ro u g h t h e u s e o f t h e u n d e rc ro f t s y s t e m i n t h e b a s e m e n t l e v e l ( e x p l o re d f u r t h e r i n t h e p re c e d i n g p a g e s ) . ( F l o o r p l a n s a n d s e c t i o n s a re f u r t h e r re p re s e n t e d i n t h e p re c e d i n g p a g e s )

1F

GF

B

E x p l o d e d a x o n o m e t r i c o f t h e b u i l d i n g p ro g r a m m e o n s i t e

76

Developed Design | Scheme

Concept diagrams - key themes

N o t i o n o f c o n n e c t i n g l e v e l s - s t re e t , b u i l d i n g , a n d r i v e r

Understanding scale M i c ro v s . m a c ro

I n t e r p l a y i n l e v e l s - a re f e re n c e t o t h e s l o p i n g s i t e

Embedded within the topography - adhering with the site An attempt to minimize the height of the building

F u r n i t u re v s . s t r u c t u r a l c o m p o n e n t

77

78

Developed Design | Scheme

W i d e r s i t e p l a n - t h e f o r m / l a n g u a g e o f t h e b u i l d i n g s t i l l re m a i n s ‘ l o c a l ’

79

Whole site section with building

80

*

Developed Design | Scheme

Small scale components

Vi e w f ro m L i m e S t re e t - t h e ‘ m o d e s t s c a l e ’ w i t h a n u r b a n p re s e n c e , a n o n - a s s e r t i v e b u i l d i n g o n s t re e t l e v e l

81

Handrail detail

Ta b l e / s e a t d e t a i l

Door handle detail

82

Developed Design | Scheme

A d e s c e n d i n g v i e w f ro m L i m e S t re e t - a t r a n s i t i o n o f s c a l e f ro m l a r g e i n d u s t r i a l b u i l d i n g s t o a m o d e s t i n s t i t u t i o n

83

*

Developed Design | Scheme

Larger scale components

Vi e w f ro m t h e o t h e r s i d e o f t h e r i v e r - a c o n t r a s t i n g s c e n e o f t h e l a r g e r s c a l e , a ‘ p re s e n c e ’ o n s i t e

C ro s s l a p t i m b e r j o i n t f o r m s t h e t i m b e r f r a m e w o r k s t r u c t u re ( R e s u b m i t t e d d r a w i n g s f ro m m y Te c h n o l o g y re p o r t )

84

Timber joint construction fixed with bolts used in the crafting space 85

*

Developed Design | Scheme

Detailed 1:20 section of the main crafting space that shows the timber structural components within the space and idea of embedd i n g t h e s i t e w i t h i n t h e t o p o g r a p h y. I t a l s o demonstrates the idea of interplay between l e v e l s , a s t h e re i s s e e m i n g l y a c o n n e c t i o n b e t w e e n L i m e S t re e t a n d t h e l o w e r l e v e l . T h e d e s i g n o f t h e s l a n t e d ro o f i s f u r t h e r e x p l o re d i n t h e p re c e d i n g p a g e s . ( U p d a t e d d e t a i l s e c t i o n f ro m m y t e c h n o l o g y re p o r t )

0

20 40 60 80 100

150

200 cm

0

20 40 60 80 100

150

200 cm

86

*

Developed Design | Scheme

E n v i ro n m e n t a l s t r a t e g y d i a g r a m s

Sunlight

Ve n t i l a t i o n - n a t u r a l c ro s s v e n t i l a t i o n

Ve n t i l a t i o n - s t a c k i n g e ff e c t

Heating

F i re p ro o f i n g

Wa t e r c o l l e c t i o n s y s t e m

S i t e i s b a c k e d u p a g a i n s t L i m e S t re e t

T h e n a r ro w a n d l o n g s i t e a l l o w s f o r n a t u r a l c ro s s v e n t i l a t i o n t o o c c u r

Ve n t i l a t i o n i s f u r t h e r p ro m o t e d w i t h t h e o p e n i n g s a t t h e h i g h e r l e v e l s / ro o f

The building primarily makes use of an und e r f l o o r s c re e d h e a t i n g s y s t e m

R o o m s a re i n t e r n a l l y l i n e w i t h g y p s u m f i b re b o a rd

S l a n t e d ro o f a n d w a t e r c o l l e c t i o n s y s t e m - a c i rc u l a r c y c l e

B e i n g a p re d o m i n e n t l y ‘ o n e - f a c e d ’ b u i l d i n g , access to light is essential

T h i s c o u l d o c c u r w i t h t h e n u m e ro u s o p e n i n g s on both faces of the building

T h e c e n t r a l c o re a n d s c re e d f l o o r re t a i n s t h e heat absorbed as thermal mass

H e l p p re v e n t o v e r s p re a d o f f i re a c ro s s the building

Collected water can be used for heating syst e m a n d g re y w a t e r a p p l i a n c e s

A l l o w s s t a c k i n g e ff e c t t o o c c u r

E s s e n t i a l l y a f i re s t o p

( R e s u b m i t t e d a n d u p d a t e d d r a w i n g s f ro m m y Te c h n o l o g y re p o r t )

87

88

Developed Design | Scheme

C

C 4

1

5

B

B 6

7 2 3

S e c o n d f l o o r p l a n - L i m e S t re e t l e v e l

89

1 Entrance 2 L o b b y / re c e p t i o n 3 S t a ff ro o m 4 Public exhibition and viewing space

5

Meeting space

First floor plan

6 Studio space 7 Balcony

90

Developed Design | Scheme

14 8

A

13

A

11 10 8

15 9

16

12

G ro u n d f l o o r p l a n - O u s e b u r n R i v e r l e v e l

91

8 9 10 11

Crafting space Loading bay Materials library M a t e r i a l s t r u c t u r a l re s e a rc h s p a c e

12

A c c e s s t o t h e B a s e m e n t / u n d e rc ro f t

Basement floor plan

13 14 15 16

M a t e r i a l a rc h i v e P l a n t ro o m U n d e rc ro f t s y s t e m A c c e s s f ro m G ro u n d F l o o r 92

Developed Design | Scheme

A p p l i e d a s t r u c t u r a l g r i d t o k e e p t h e b u i l d i n g ‘ m o re o r g a n i z e d ’ - G ro u n d f l o o r p l a n T h e re d m a r k s t h e n o n - c o m f o r m i n g a re a s , w h i c h i s d u e t o t h e c o n s t r a i n t s o f t h e s i t e

93

*

Developed Design | Scheme A A

3

Section A - A

94

1

2

1

Material library

2

Loading bay

3 Balcony

95

Developed Design | Scheme

*

C o l l a g e v i e w o n t o t h e l o a d i n g b a y e n t r a n c e f ro m t h e s l i p w a y - v i s i t o r s c a n s e e t h e c r a f t m a n s h i p o f t h e t i m b e r j o i n i n g c o n s t r u c t i o n

96

*

Developed Design | Scheme B

3

Section B - B

97

1

B

2

1

Public exhibition and viewing space

2

Main crafting space

3

Studio space

98

Developed Design | Scheme

*

Vi e w i n t o t h e m a i n c r a f t i n g s p a c e w h e re m o s t o f t h e p u b l i c a c t i v i t i e s a re h e l d - s t r u c t u r a l t i m b e r j o i n e d c o m p o n e n t s m a k e u p t h e s p a c e

99

Developed Design | Scheme

*

Vi e w i n t o t h e m a t e r i a l re s e a rc h s p a c e - t h e w a l l s a re i n t e r n a l l y l i n e d w i t h g y p s u m f i b re b o a rd p a n e l s

100

*

Developed Design | Scheme C

3

Section C - C

101

2

C

1

1

S t a i rc a s e a b o v e t h e c r a f t i n g s p a c e

2

R a m p C i rc u l a t i o n

3

S e a t i n g a re a

102

Developed Design | Scheme

C o n s t r u c t i n g t h e c i rc u l a t i o n

I t e r a t i v e s k e t c h e s o f c i rc u l a t i o n s t r a t e g i e s f o r t h e b u i l d i n g L i n e a r c i rc u l a t i o n re f e re n c e s t h e s l o p e a n d s u r ro u n d i n g s A n i n t e re s t i n c re a t i n g a n i n t e r p l a y b e t w e e n l e v e l s - u s e o f i n t e r m e d i a r y l e v e l s

103

*

Developed Design | Scheme

C i rc u l a t i o n d i a g r a m

2F

A

A

2

A

A

A

A A

2

A

1

A

A

A

B

3

1F

5 6

B

3

8

9

5 6

9

5 6 7

GF

104

10

10

10

11

11

P r i v a t e ro u t e

A

A

A

P u b l i c ro u t e

11

A

Entrances / exits

B

S l i p w a y l e a d t o L i m e S t re e t

1

Reception / lobby

2

Public viewing and exhibition space

3

Studio space

4

Meeting space

B

3

8

7

7

B

1

4

4

4

2

A

1

8

9

5 Balcony 6

Material library

7

M a t e r i a l re s e a rc h s p a c e

8

Main crafting space

9

Loading bay

10

M a t e r i a l a rc h i v e

11

U n d e rc ro f t s y s t e m

S h a re d ro u t e

105

*

Developed Design | Scheme

A c r a f t s m a n ’s j o u r n e y - p u b l i c ro u t e

2

1

4 3

1

106

Entrance corridor

2 S t a i rc a s e

3

T h ro u g h t h e l i b r a r y t o w a rd s t h e w o r k s h o p

4

Crafting space workbench

Location of the spaces in section

107

*

Developed Design | Scheme

A re s e a rc h e r ’s j o u r n e y - p r i v a t e ro u t e

1 2 4

1

108

Entrance corridor

2

Ramp intersection - go downstairs

3

E n t r a n c e t o t h e re s e a rc h s p a c e

4

R e s e a rc h e r ’s w o r k s p a c e

3

Location of the spaces in section

109

*

Developed Design | Scheme

Roofing study

Understanding the townscape

‘ S a w t o o t h ’ ro o f s e e m s t h e m o s t a p p ro p r i a t e

R o o f d e s i g n s a re ‘ s t a n d a rd ’

I n d u s t r i a l d e s i g n t h a t c a n b e re - a p p ro p r i a t e d

O p p o r t u n i t i e s t o e x p l o re m o re i n t r i c a t e ro o f f o r m s t h a t ‘ a s s e r t s ’ i t s e l f

110

111

*

Developed Design | Scheme

P re c e d e n t s t u d y

112

Roof design

‘Under One Roof’ by Kengo Kuma (2016)

‘Chäserrugg’ by Herzog & de Meuro n ( 2 0 1 5 )

Timber portal frame construction

Timber frame construction

Slender form - varying dimensions

Complex post arrangement

Acts as a ‘sculptural’ form

S e t s i t s e l f a p a r t f ro m t h e c o n t e x t

Roof iterative sketches

113

Developed Design | Scheme

*

Roof exploded construction axonometric with scale 114

*

Developed Design | Scheme

Flooding strategy

O u s e b u r n a t B y k e r f l o o d i n g d e t a i l s - ‘ t h e h u n d re d y e a r f l o o d r i s k ’ M i n i m a l f l o o d r i s k c u r re n t l y - F l u v i a l f l o o d r i s k C u r re n t r i v e r l e v e l - n o t m o n i t o re d

P o ro u s u n d e rc ro f t s y s t e m

I n s p i re d b y t h e ‘ S u l t a n N a z r i n S h a h C e n t re ’ b y N i a l l M c L a u g h l i n A rc h i t e c t s ( 2 0 1 7 )

Axonometric of flood system entry points ( R e s u b m i t t e d d r a w i n g f ro m m y t e c h n o l o g y re p o r t )

P o ro u s u n d e rc ro f t b a s e m e n t l e v e l s y s t e m R e d i re c t s t h e w a t e r a w a y f ro m t h e b u i l d i n g ( R e s u b m i t t e d a n d u p d a t e d d r a w i n g f ro m m y t e c h n o l o g y re p o r t )

C o n s i d e re d n o r m a l - b e l o w 1 m

115

116

Developed Design | Scheme

E x t e r n a l a c c e s s t o u n d e rc ro f t A parallel continutation of the slipway

117

Developed Design | Scheme

U n d e rc ro f t s y s t e m - f u n c t i o n s

U n d e rc ro f t w h e n u n u s e d . . .

... during a flood

... as an exhibition space

... as a storage space

an opportunity to make use of a ‘dead’ space for other purposes ( re d m a r k s t h e e x h i b i t i o n )

118

119

120

121

Illustrated Cultural Bibliography | List of Referenced Images

1

7

13

122

2

8

14

3

9

4

10

5

11

6

12

1

F re u n d e s k re i s d e r B a u h a u s - U n i v e r s i t a t We i m a r e . V. , H a u s a m H o r n b y G e o r g e M u c h e , i m a g e < h t t p s : / / w w w. a rc h d a i l y. c o m / 8 7 3 0 8 2 / a d - c l a s s i c s - h a u s - a m horn-germany-georg-muche>

2

G r a f t o n A rc h i t e c t s u n v e i l s t i m b e r re s e a rc h c e n t re f o r U n i v e r s i t y o f A r k a n s a s , i m a g e < h t t p s : / / w w w. d e z e e n . c o m / 2 0 2 0 / 0 3 / 2 5 / a n t h o n y - t i m b e r l a n d s - c e n t e r- f o r- d e s i g n - a n d - m a t e r i a l s - g r a f t o n - a rc h i t e c t s - u n i v e r s i t y - o f - a r k a n s a s / >

3

O t t o U m b e h r, A s s e s s m e n t o f w o r k f ro m A l b e r s ’s P re l i m i n a r y C o u r s e , 1 9 2 8 – 9 , i m a g e < h t t p s : / / w w w. t a t e . o r g . u k / re s e a rc h / p u b l i c a t i o n s / t a t e - p a p e r s / 0 7 / j o sef-albers-eva-hesse-and-the-imperative-of-teaching>

4

B e rc y C h e n S t u d i o , K a t s u r a Vi l l a , i m a g e < h t t p s : / / w w w. f l i c k r. c o m / p h o t o s / b e rc y c h e n s t u d i o / 6 1 5 8 0 9 7 4 7 6 >

5

I n t a g r a m p o s t b y To m o a k i U n o

6

S o p h y e M a y e r, R u r a l H o u s e b y R C R A rq u i t e c t e s , i m a g e < h t t p s : / / w w w. a rc h d a i l y. c o m / 6 3 5 7 1 0 / r u r a l - h o u s e - rc r- a rq u i t e c t e s >

7

S e t o u c h i A o n a g i , S e t o u c h i A o n a g i H o t e l b y Ta d a o A n d o , i m a g e < h t t p s : / / w w w. d e s i g n h o t e l s . c o m / h o t e l s / j a p a n / m a t s u y a m a / s e t o u c h i - a o n a g i / >

8

B e n H o s k i n g , Yo m o g i d a i H o u s e b y To m o a k i U n o , i m a g e < h t t p s : / / w w w. a rc h d a i l y. c o m / 9 3 7 2 4 3 / y o m o g i d a i - h o u s e - t o m o a k i - u n o - a rc h i t e c t s >

9

R u e d i Wa l t i , M a r k e t H a l l i n A a r a u b y M i l l e r & M a r a n t a , i m a g e < h t t p s : / / w w w. a t l a s o f p l a c e s . c o m / a rc h i t e c t u re / m a r k t h a l l e / >

10

S h i n k e n c h i k u S h a , N e s t We G ro w b y K e n g o K u m a , i m a g e < h t t p s : / / w w w. a rc h d a i l y. c o m / 5 9 2 6 6 0 / n e s t - w e - g ro w - c o l l e g e - o f - e n v i ro n m e n t a l - d e s i g n - u c - b e r k e ley-kengo-kuma-and-associates>

11

J o h a n n e s S c h w a r t z a n d J e ro e n Ve r re c h t , G e r r i t R i e t v e l d A c a d e m y a n d S a n d b e r g I n s t i t u t e b y S t u d i o P a u l i e n B re m m e r + H o o t s m a n s A rc h i t e c t s , i m a g e < h t t p s : / / w w w. a rc h d a i l y. c o m / 9 2 4 6 7 7 / g e r r i t - r i e t v e l d - a c a d e m y - a n d - s a n d b e r g - i n s t i t u t e - s t u d i o - p a u l i e n - b re m m e r- p l u s - h o o t s m a n s - a rc h i t e c t s >

12

F U M I a n d M a x L a m b , U r u s h i L a c q u e r C h a i r b y M a x L a m b , i m a g e < h t t p s : / / w w w. d e s i g n b o o m . c o m / d e s i g n / m a x - l a m b - u r u s h i - w a j i m a - g a l l e r y - f u m i - l o n don-design-festival-09-16-2019/>

13

J o e l Te t t a m a n t i a n d M i c h a e l D e n a n c e , U n d e r O n e R o o f b y K e n g o K u m a , i m a g e < h t t p s : / / w w w. a rc h d a i l y. c o m / 8 0 1 5 0 3 / u n d e r- o n e - ro o f - k e n g o - k u m a - a n d - a s sociates>

14

P h i l i p H e c k h a u s e n , J u e r g e n P o l l a k , a n d K a t a l i n D e e r, C h a s e r u g g b y H e r z o g & d e M e u ro n , i m a g e < h t t p s : / / w w w. a t l a s o f p l a c e s . c o m / a rc h i t e c t u re / c h a e s e rrugg/>

15

N i c k K a n e , S u l t a n N a z r i n S h a h C e n t re b y N i a l l M c L a u g h l i n A rc h i t e c t s , i m a g e < h t t p s : / / w w w. a rc h d a i l y. c o m / 8 8 8 1 0 5 / s u l t a n - n a z r i n - s h a h - c e n t re - n i a l l - m c l a u g h l i n - a rc h i t e c t s >

15

123

Illustrated Cultural Bibliography

L i t e r a t u re / b o o k s

124

by

Peter

Wo r k s h o p

Competition

Other

‘ A u t o p ro g e t t a z i o n e ? ’ b y E n z o m a r i (2002)

‘ A t m o s p h e re s ’ (2006)

Zumthor

‘ S i n c e re b y D e s i g n ’ b y S o u F u j i m o to (2018)

‘ Wa b i S a b i . . . ’ b y L e o n a rd K o re n (1994)

DOMA Non-School with Dua Studio

‘Reimagining Museum for Climate Action’ (2020)

San Rocco Magazine covers by Mic h e l e M a rc h e t t i

cryptic.k - curated blog

A c o n s t a n t p o i n t o f re f e re n c e w i t h i n t h e p ro j e c t a n d a m a j o r s o u rc e o f inspiration in terms of its attitude a n d a p p ro a c h t o w a rd s re s e a rc h .

A n i n s p i r i n g re a d t h a t c o n s i d e r s h o w t h e b u i l d i n g w o u l d re l a t e i t s e l f w i t h t h e s i t e a s o n e c o h e re n t e x i s tence.

A n i n t e re s t i n g i n t e r v i e w - b o o k t h a t e x p l o re s F u j i m o t o ’s u p b r i n g i n g a n d a rc h i t e c t u r a l e x p e r i e n c e s .

‘ R e s e a rc h t h ro u g h p r a c t i c e ’

‘ . . . w h e n e v e r y t h i n g re f e r s t o e v erything else... Place, use, and f o r m . T h e f o r m re f l e c t s t h e p l a c e , the place is just so, and the use re f l e c t s t h i s a n d t h a t ’ ( Z u m t h o r, 2006)

A b o o k t h a t e x p l o re s t h e t r a d i t i o n a l J a p a n e s e a e s t h e t i c t h a t i s ro o t e d f ro m t h e t e a c e re m o n y. A n a e s t h e t ic that emphasizes ‘the beauty in imperfection’.

A n a rc h i t e c t u re w o r k s h o p t h a t I u n d e r t o o k i n 2 0 2 0 , t i t l e d ‘ S a t u rd a y ’s S c a t t e re d S h o w e r s ’ . I n t h i s w o r k s h o p , w e i n v e s t i g a t e d t h e ro l e o f n a t u re i n t r a n s c e n d i n g b e t w e e n communities and a rc h i t e c t u re t h ro u g h a v i s u a l n a r r a t i v e .

We p ro p o s e d a c o n c e p t o f a t e m porary-modular museum as a solution to long lasting and sustainable museum. Making use of the ‘outside’ as the setting for a transportable museum.

T h i s w a s m o re o f a c o n s t a n t g r a p h ic inspiration of mine in most of m y s t u d y. M a i n l y o n t h e i r u s e o f diagrams and drawings that emp h a s i z e s f o r m o v e r a rc h i t e c t u r a l elements.

M o s t o f m y e x p l o r a t i o n s o n a rc h i t e c t u re re v o l v e s a ro u n d d r a w i n g s a n d re p re s e n t a t i o n . M y i n t e re s t i s m o s t l y o n p re c e d e n t s a n d c a s e s t u d i e s , w h e re i s t a r t t o l o o k i n t o h o w a rc h i t e c t ’s d e c i d e o n c e r t a i n t h i n g s t h ro u g h t h e i r d r a w i n g s .

T h i s b o o k i n s p i re d m e t o re c o n s i d e r m y p ro c e s s i n d e s i g n .

T h i s m o s t l y i n s p i re d m e i n t e r m s o f s h a p i n g m y a t t i t u d e a n d i n t e re s t t o w a rd s m o d e s t d e s i g n r a t h e r t h a n ‘ornate’ design.

This experience helped develop m y s k i l l s i n c o n s t r u c t i n g a n a rc h i t e c t u r a l n a r r a t i v e f o r t h i s p ro j e c t .

This competition helped develop m y i n q u i r y i n t h e e ff e c t s o f a rc h i t e c t u re o n t h e w i d e r c o n t e x t .

This blog has been a constant point o f re f e re n c e w h e n I a m i n n e e d o f inpiration in terms spatial design a n d re p re s e n t a t i o n .

125

Illustrated Cultural Bibliography | List of References

A n d e r s o n , J . ( 2 0 1 7 ) ‘ W h a t D o We L e a r n W h e n We G o O u t s i d e ’ , a a e C h a r re t t e , 5 , p p . 1 – 7 .

B l a n d e r, A . ( 2 0 1 9 ) T h e L e s s e r- K n o w n B a u h a u s : C r a f t a n d E x p re s s i o n i s m i n We i m a r, M e t ro p o l i s . Av a i l a b l e a t : h t t p s : / / w w w. m e t ro p o l i s m a g . c o m / d e s i g n / early-bauhaus-craft-history/.

C o g l e y, B . ( 2 0 2 0 ) G r a f t o n A rc h i t e c t s u n v e i l s t i m b e r re s e a rc h c e n t re f o r U n i v e r s i t y o f A r k a n s a s , d e z e e n . Av a i l a b l e a t : h t t p s : / / w w w. d e z e e n . c o m / 2 0 2 0 / 0 3 / 2 5 / a n t h o n y - t i m b e r l a n d s - c e n t e r- f o r- d e s i g n - a n d - m a t e r i a l s - g r a f t o n - a rc h i t e c t s - u n i v e r s i t y - o f - a r k a n s a s / .

F i e d e re r, L . ( 2 0 1 7 ) A D C l a s s i c s : H a u s a m H o r n / G e o r g M u c h e , A rc h d a i l y. Av a i l a b l e a t : h t t p s : / / w w w. a rc h d a i l y. c o m / 8 7 3 0 8 2 / a d - c l a s s i c s - h a u s - a m - h o r n germany-georg-muche.

G e r r i t R i e t v e l d A c a d e m y a n d S a n d b e r g I n s t i t u t e / S t u d i o P a u l i e n B re m m e r + H o o t s m a n s A rc h i t e c t s ( 2 0 1 9 ) A rc h d a i l y . Av a i l a b l e a t : h t t p s : / / w w w. a rc h d a i l y. c o m / 9 2 4 6 7 7 / g e r r i t - r i e t v e l d - a c a d e m y - a n d - s a n d b e r g - i n s t i t u t e - s t u d i o - p a u l i e n - b re m m e r- p l u s - h o o t s m a n s - a rc h i t e c t s .

G ro p i u s , W. a n d Ta n g e , K . ( 1 9 6 0 ) K a t s u r a : Tr a d i t i o n a n d C re a t i o n I n J a p a n e s e A rc h i t e c t u re . Ya l e U n i v e r s i t y P re s s .

H e r z o g & d e M e u ro n - C h a s e r u g g ( 2 0 1 9 ) A t l a s o f P l a c e s . Av a i l a b l e a t : h t t p s : / / w w w. a t l a s o f p l a c e s . c o m / a rc h i t e c t u re / c h a e s e r r u g g / .

M a rc h e s e , K . ( 2 0 1 9 ) M a x L a m b A p p l i e s 9 0 0 0 - Ye a r- O l d J a p a n e s e L a c q u e r Te c h n i q u e To R o u g h l y H e w n F u r n i t u re , d e s i g n b o o m . Av a i l a b l e a t : h t t p s : / / w w w. d e s i g n b o o m . c o m / d e s i g n / m a x - l a m b - u r u s h i - w a j i m a - g a l l e r y - f u m i - l o n d o n - d e s i g n - f e s t i v a l - 0 9 - 1 6 - 2 0 1 9 / .

M a r i , E . ( 2 0 0 2 ) A u t o p ro g e t t a z i o n e ? C o r r a i n i E d i z i o n i .

M I L L E R & M A R A N TA - M A R K E T H A L L I N A A R A U ( 2 0 1 9 ) D i v i s a re . Av a i l a b l e a t : h t t p s : / / d i v i s a re . c o m / p ro j e c t s / 3 0 4 6 0 2 - m i l l e r- m a r a n t a - r u e d i - w a l t i - m a r k e t hall-in-aarau.

N e s t We G ro w / K e n g o K u m a & A s s o c i a t e s + C o l l e g e o f E n v i ro n m e n t a l D e s i g n U C B e r k e l e y ( 2 0 1 5 ) A rc h d a i l y . Av a i l a b l e a t : h t t p s : / / w w w. a rc h d a i l y. c o m / 5 9 2 6 6 0 / n e s t - w e - g ro w - c o l l e g e - o f - e n v i ro n m e n t a l - d e s i g n - u c - b e r k e l e y - k e n g o - k u m a - a n d - a s s o c i a t e s .

R u r a l H o u s e / R C R A rq u i t e c t e s ( 2 0 1 7 ) A rc h d a i l y . Av a i l a b l e a t : h t t p s : / / w w w. a rc h d a i l y. c o m / 6 3 5 7 1 0 / r u r a l - h o u s e - rc r- a rq u i t e c t e s .

S t e v e n s , P. ( 2 0 1 6 ) Ta d a o A n d o ’s R e m o d e l e d S e t o u c h i A o n a g i H o t e l O p e n s i n M a t s u y a m a , d e s i g n b o o m . Av a i l a b l e a t : h t t p s : / / w w w. d e s i g n b o o m . c o m / a rc h i t e c t u re / t a d a o - a n d o - s e t o u c h i - a o n a g i - h o t e l - m a t s u y a m a - j a p a n - 0 5 - 2 0 - 2 0 1 6 / .

S u l t a n N a z r i n S h a h C e n t re / N i a l l M c L a u g h l i n A rc h i t e c t s ( 2 0 1 8 ) A rc h d a i l y . Av a i l a b l e a t : h t t p s : / / w w w. a rc h d a i l y. c o m / 8 8 8 1 0 5 / s u l t a n - n a z r i n - s h a h - c e n t re - n i a l l - m c l a u g h l i n - a rc h i t e c t s .

T h o m a s , H . ( 2 0 1 7 ) S a n R o c c o : F ro n t C o v e r s , D r a w i n g M a t t e r . Av a i l a b l e a t : h t t p s : / / d r a w i n g m a t t e r. o r g / s a n - ro c c o / .

U n d e r O n e R o o f / K e n g o K u m a & A s s o c i a t e ( 2 0 1 6 ) A rc h d a i l y . Av a i l a b l e a t : h t t p s : / / w w w. a rc h d a i l y. c o m / 8 0 1 5 0 3 / u n d e r- o n e - ro o f - k e n g o - k u m a - a n d - a s s o ciates.

Yo m o g i d a i H o u s e / To m o a k i U n o A rc h i t e c t s ( 2 0 2 0 ) A rc h d a i l y . Av a i l a b l e a t : h t t p s : / / w w w. a rc h d a i l y. c o m / 9 3 7 2 4 3 / y o m o g i d a i - h o u s e - t o m o a k i - u n o - a rc h i tects.

Z u m t h o r, P. ( 2 0 1 8 ) A F e e l i n g o f H i s t o r y . S c h e i d e g g e r & S p i e s s .

126

Illustrated Cultural Bibliography | Thematic Case Study

Studio 2 - City Ruins

Studio 8 - Curating the City

‘ A p a r t m e n t A l o n g a P a r t y Wa l l ’ b y H e r z o g & d e M e u ro n ( 1 9 8 8 )

‘ Te r r a s e n h a u s ’ b y B r a n d l h u b e r + Emde Burlon, etc. (2018)

‘ P o r t H o u s e ’ b y Z a h a H a d i d A rc h i tects (2012)

‘Fondaco (2016)

OMA

‘The Hill House Box’ by Carmody G ro a r k e ( 2 0 1 9 )

‘ G M I T F u r n i t u re C o l l e g e ’ b y O ’ d o n n e l l + Tu o m e y ( 2 0 0 1 )

Ta i K w u n C e n t re f o r H e r i t a g e a n d A r t ’ b y H e r z o g & d e M e u ro n ( 2 0 1 8 )

‘Joanneumsviertel’ by Nieto Sobejano (2011)

i n t e re s t i n g t i m b e r d e s i g n a n d c o n cept of the ‘multi layer’ timber p o s t s t o c re a t e a s e n s e o f d e p t h

a ‘ f o re i g n ’ s t r u c t u re t h a t m a n a g e s to exist seamlessly within the site

a ‘ r a d i c a l ’ a p p ro a c h i n c o n s t r u c t ing a building above an existing s t r u c t u re

i n t e re s t i n g c o n s e r v a t i o n d e s i g n s t r a t e g y t h ro u g h t h e u s e o f m a t e r i al and openings

a ‘ r a d i c a l ’ a p p ro a c h t o p re s e r v i n g a heritage building

t h i s p ro j e c t h a s a s i m i l a r g r a m m e w i t h m y p ro j e c t

p ro -

i n t e re s t i n g s t r a t e g y i n s e t t i n g t h e building within the context

i n t e re s t i n g s t r a t e g y i n s e t t i n g t h e building within the context

f u t u r i s t i c d e s i g n d o e s n o t re a l l y a l i g n w i t h m y p ro j e c t ’s d i re c t i o n

served as an inspiration in terms of h o w t h e a rc h i t e c t c o n s i d e re d t h e site being on the bank of the river

t h e i r a p p ro a c h t o a d h e r i n g t o t h e s i t e ’s h i s t o r y a n d e n v i ro n m e n t a l qualities served as pivotal themes

the organization and use of levels served as loose inspiration for my p ro j e c t

the organization and use of levels served as loose inspiration for my p ro j e c t

serves as an inspiration in terms of the curation of structural components unique way of designing a building that feels spaceous within a sec l u d e d a n d n a r ro w s i t e

127

Studio 6 - Building Upon Building

i n t e re s t i n g u s e o f l e v e l s t o s e p a r a t e t h e p ro g r a m m e s a m u l t i u s e s t r u c t u re t h a t c a n e a s i l y b e re p u r p o s e d f o r v a r y ing functions

de

Te d e s c h i ’

possible flooding t o b e c o n s i d e re d ?

by

strategies

the idea of a shelter / shield i n t e re s t i n g u s e o f s t e e l f r a m e w o r k construction and envelope as a w a y t o re s p o n d t o t h e e n v i ro n m e n t

something that I attempted to d o t h ro u g h m y p ro j e c t

128

Appendix | Group Framing Celebration Research

*

T h e A c a d e m y - i d e n t i f y i n g N e w c a s t l e U n i v e r s i t y ’s a p p ro a c h e s t o re s e a rc h

T h e A c a d e m y - i d e n t i f y i n g t h e c o m m o n a p p ro a c h e s t o a rc h i t e c t u r a l e d u c a t i o n a n d s t a r t t o d e v e l o p a n u n d e r s t a n d i n g a s t o w h y

(Red star marks my contribution) 129

130

Appendix | Group Framing Celebration Research

T h e A c a d e m y - i d e n t i f y i n g s p e c i f i c s t u d e n t c o m m u n i t i e s p re s e n t w i t h i n t h e u n i v e r s i t y

T h e C o m m u n i t y - d e v e l o p i n g a n u n d e r s t a n d i n g o f O u s e b u r n ’s h i s t o r y a n d i t s d e v e l o p m e n t o v e r t h e y e a r s

(Red star marks my contribution) 131

132

Appendix | Group Framing Celebration Research

*

T h e C o m m u n i t y - i d e n t i f y i n g t h e e x i s t i n g c o m m u n i t i e s a n d ‘ h o t s p o t s ’ w i t h i n O u s e b u r n , a n d u n d e r s t a n d i n g p e o p l e ’s t h o u g h t s o f O u s e b u r n

T h e C o m m u n i t y - o b s e r v a t i o n o f i n t e re s t i n g s i t e c o n d i t i o n s a n d p o s s i b l e s i t e c o n s t r a i n t s

(Red star marks my contribution) 133

134

Appendix | Group Framing Celebration Research

* *

T h e C o m m u n i t y - o b s e r v i n g t h e s i t e t h ro u g h s e c t i o n d r a w i n g s a n d o b s e r v i n g t h e s i t e ’s i n t e re s t i n g l a n d s c a p e ( s e c t i o n 1 a n d 2 d o n e b y m e ) (Red star marks my contribution) 135

136

Appendix | Group Thematic Case Study

QUESTION 02 | TOPOGRAPHICAL CONTEXT

Figure 8: Participation Diagram

CONTINUATION OF THE STREET:

( .0 2 ) C o n t ex t u a l Re s p o n s e: B e t w e e n t h e A c a d e my a n d t h e C i t y

8

Q1 H O W DO E S T H E CAS E S T U D Y R E L AT E T O T H E S T U DI O S P E C I F I C C R I T E R I A .0 1 ?

3

2nd STRUCTURE

Ibid. p.17

RENT SPACES - economic

12

Q3 H O W DO E S T H E CAS E S T U D Y R E L AT E I T S E N V I RO N M E N TA L / C L I MAT E C R I S I S CO N T E X T ?

Q4 H O W DO E S T H E CAS E S T U D Y R E L AT E T O T H E A RC H I T E C T ’S T H E O R E T I CA L P OS I T I O N / H O W DO E S I T E X P LO R E I DE AS / P R E OCCU PAT I O N S ?

Figure 3: Photograph by Lacaton and Vassal

16

Q5 H O W DO E S T H E CAS E S T U D Y R E L AT E T O O T H E R BU I L DI N GS OF I TS T YPE?

20

L I S T O F F I GU R E S

24

B I B L I OG RA P H Y

25

Figure 4: Render by Lacaton and Vassal

ARCHITECTURE - AN INSULAR ACTIVITY?

SIMILARITIES:

DIFFERENCES: 10

WORKSHOP

Within the school all processes are integrated and run alongside each other. This can be shown by the workshop doors opening onto open public space. This was designed in an act to ‘break the conventions of education as an internal and insular activity’.7 The polycarbonate sheeting allows for the public to also see the activity happening in the workshop, creating connections between the city and the academia. This allows for the work in the school to have direct presence in the life of the city.

7 Prewett Bizley, "Nantes Architecture School – Lacaton Vassal — Prewett Bizley Architects | Passivhaus | Retrofit", Prewett Bizley Architects | Passivhaus | Retrofit, 2020 <http://www.prewettbizley.com/graham-bizley-blog/2015/7/2/nantes-architecture-schoollacaton-vassal> [Accessed 11 December 2020].

Figure 18: Photograph by Lacaton and Vassal

Figure 19: Photograph by Lacaton and Vassal

Both Ouseburn and Nantes have a OUSEBURN rich industrial heritage with the architectural typology dominated by industrial warehouses and large-scale infrastructure.

Figure 20: Photograph by Ella Freeman The Nantes School of Architecture has an industrial building character, continuing that of the nearby buildings, embedding it in its urban context.

Figure 15: Workshop Diagram

A

OUSEBURN

NANTES

Nantes School of Architecture is located on Ile de Nantes, an island on the Loire River. Its topography is relatively flat with little undulation.

Whereas Ouseburn is in a valley and therefore has a steep, varying topography that will really affect designing and building on it.

PROGRAMMED SPACE

4

SPACE AVAILABLE FOR MODELING

90CM

The production of extra space more than doubled the project’s usable surface area, from 12,500 to 26,000 square meters.8 This space could then be used by the city and the school to accommodate 1:1 scale modelling.

The use of industrial construction processes has meant the building can take loads of 1 ton per square meter, 2.5 times the standard load bearing capacity.9 Like seen in the AA Visiting School, 1:1 scale modelling is seen to be an important skill to be integrated into education.

8 9

Figure 17: Modelling Diagram

(Red star marks my contribution)

6

Ruby and Ruby, p.13 Ibid. p.46

2

Figure 22: Photograph by Franklin Azzi

Figure 21: Photograph by Ella Freeman

Figure 23: Photograph by M. Argyroglo

B

4

6

5

4 5

1

6

A A

B

Figure 28: Photograph by GX Project

Figure 30: Photograph by BCNUEJ

Figure 29: Photograph by Happy Pontist

Figure 31: Photograph by Lacaton and Vassal

5

B

B

B

A B

1. Common room 1. Auditorium 2. Library (250 seats) 3. Workspace 2. Amphitheatre 4. Association for (150 seats) Architectural 3. Studios Broadcasting – ARDEPA 4. Automobile and 5. Studios bicycle parking 6. Classrooms

3

B

1. Studios

1. Auditorium (250 seats)

bureau

2. Amphitheatre 3

rooms 1

(150 seats) 3. Studios

4. Workspace

4. Automobile and B A

B

C

C

1

4

1

4

4

A

2

2

3

1

B

C

1

B

2

A

1

4

F i g u re 3 8

A B A

A B

C

A

C B

C

B C

Both locations are situated on the banks of a river (Loire and The Ouseburn). This creates a greener, more vibrant environment that generate more open space around the banks.

7

38

39

40

F i g u re 3 4 : A xo n o m e t r i c d r aw i n g s f ro m t h e ‘U n i v e r s i t y B u i l d i n g i n F r a n c e: N a n t e s S c h o o l o f A rc h i t e c t u re”

OUSEBURN NANTES Ouseburn is a much smaller city with a smaller population and a much more integrated and connected community feel. Île de Nantes is seen as the centre of Nantes with a lot of urban development making it seem more spread out and therefore not be as community driven as Ouseburn.

37

The Nantes School of Architecture is located on the Île de Nantes, across the city centre, and was completed in 2009 by Paris based architecture studio Lacaton and Vassal10. The school accommodates roughly one thousand students, with a structure that seeks to create a diverse setting that encourages both education and interaction11.

It is fundamentally a radical reinterpretation of a typical academia programme, due to its openness to the city and adaptable nature12.

present life, considering the building as a ‘work in progress’ rather than a finished product, a non-permanent arrangement . Despite the ‘factory’ like presence, the building shelters an interesting programme.

The building makes use of a sustainable construction where the design is intended to be changeable, extendable, and shrinkable, essentially being flexible. The spaces are meant to be adaptable to dynamics of

10 ‘S c h o o l o f A rc h i t e c t u re’ , E U m i e s aw a rd , p a r a . 2 < h t t p s : / / m i e s a rc h .c o m / w o r k / 8 1 1 > .

11 P h i l i p S t eve n s , ‘ L i s b o n A rc h i t e c t u re Tr i e n n a l e: L a c a t o n & Va s s a l W i n s L i fe t i m e A c h i ev e m e n t Aw a rd ’ , D e s i g n b o o m , 2 0 1 6 , p a r a . 6 < h t t p s : / / w w w.d e s i g n b o o m .c o m / a rc h i t e c t u re / l i s b o n - a rc h i t e c t u re - t r i e n n a l e - l a c a t o n - v a s s a l - l i fe t i m e - a c h i eve m e n t - aw a rd -1 0 -1 1 - 2 0 1 6 / > .

12 S c h o o l o f A r c h i t e c t u re’ , p a r a . 1 .

13 Ru by a n d Ru by, p. 5 .

2C 2B 2A

The ground floor hosts most of the public programme such as the parking, auditorium, café, gallery, and model workshop. The first and second floor primarily accommodates the educational spaces such as the library, studio spaces, and classrooms.

8

c o n c re t e s l a b s a n d p o s t s s e r v e a s t h e m a i n s t r u c t u re o f t h e bu i l d i n g

B

B

A

3

C B

3 1

A

A

5

B

8

bicycle parking

A

A

C

t h e s t e e l s t r u c t u re a re easily installed onto t h e bu i l d i n g b a s e d o n t h e d e s i re d n e e d s o f t h e participants

Level 0B

Level 3

1. Rooftop 2. Coordination

7

6

8. Research facilities

B

L ev e l 2 C 1 . Ro o f t o p

Level 2A

I n t e r m e d i a r y L eve l s T h e s t e e l s t r u c t u re i s e n c l o s e d by d ou b l e g l a z e d w i n d ow s t h a t a re o p e r a b l e and equipped with a s h a d i n g sy s t e m

s t e e l s t r u c t u re a c t a s t h e ‘t e m p o r a r y ’ o r m o d u l a r f r a m ew o r k o f t h e p ro g r a m m e

C

C

C

L ev e l 2 A 1. Studios 2 . C o o rd i n a t i o n bu re a u 3 . C o o rd i n a t i o n ro o m s 4 . Wo r k s p a c e

3. Coordination

7. Student services

A

C

L ev e l 1 A 1 . C o m m o n ro o m 2. Library 3 . Wo r k s p a c e 4 . A s s o c i a t i o n fo r A rc h i t e c t u r a l B r o a d c a s t i n g - A R D E PA 5. Studios 6 . C l a s s ro o m s 7. Student services 8 . Re s e a rc h f a c i l i t i e s

Level 0B

A

Figure 33: Nantes Density Diagram

11

B

A

C

C

37

Figure 27: Photograph by BNCUEJ

F i g u re 3 7

C

A

A 6

C

OPEN GREEN SPACE

F i g u re 3 6

7

3

3

L ev e l 0 B 1. Auditorium (250 seats) 2 . A m p i t h e a t re ( 1 5 0 s e a t s ) 3. Studios 4 . A u t o m o b i l e a n d b i cy c l e parking Level 1A

C

Figure 32: Ouseburn Density Diagram

OPEN GREEN SPACE

Ehan Halimun

11. Exhibition space

C

B

SCALE:

OPEN GREEN SPACE

QUESTION 01 | CONNECTIONS BETWEEN LEVELS

Ehan Halimun

2

1 1

A B

2

Figure 26: Photograph by Simon Menges

2

B B

C

4

C

A

1

LOIR ER

2

B

C

1

2

1

*

7. Cafeteria 9. Workshop office

1

A

3

Ibid. p.36

10. Workshop

C

A

A

A

3

B

11. Exhibition space

B

Figure 25: Nantes Green space Diagram

A

A

QUESTION 01 | MAIN AND TEMPORARY LEVELS

6

4

*

8. Maintenance

B

A B

5

6. Lobby

9 8

B

Figure 11: Photography by Lacaton and Vassal

5. Reprographics

3. Workspace 4. Classrooms

5

4

10

Figure 9: Adaptability Diagram

The secondary lightweight structure installed programmed spaces between floor plates to create an adaptable framework for future expansion and evolution depending on the needs of the city. These spaces can also be rented to make surplus revenue.

The openings between the two types of spaces use floor-toceiling glass sliding doors that ‘establish an unobstructed visual relationship among spaces inside the school’6 and the immediate city context.

Ibid. p.36

1. Auditorium L ev e l 2 B 1. Studios 2. Event space 2 . C o o rd i n a t i o n bu re a u 3. Storage 3 . Wo r k s p a c e 4. Nurse

3. Studios

C A

The unprogrammed spaces welcome the public to use them for concerts, film screenings enhancing the cultural life of the city.

2. USE OF UNPROGRAMMED SPACES: Figure 12: Programmed vs Unprogrammed Space Diagram

The ramp creates a gradual change in levels by the ramp allows for the building to be experienced like a city, walking from one ground to another. This continuity denotes the ‘floor plates as superimposed ground floors rather than stacked building levels.’4 The use of a ramp creates a softer interaction between the ground and the building allowing for the public to gentle enter the building.

1

7

B

11

DENSER - MORE BUILDINGS

STUDIOS

2

3

IVER

X2

C A

L ev e l 1 B 1. Media library 2 . Pro dLevel u c t i1B o n a n n ex Level 2B 3. Studios 4 . C l a s1. s roMedia o m s library 1. Studios 5 . S t u d2. e n Production t s e r v i c2.eannex sCoordination bureau

5. Student services

7. Cafeteria 5. Center for 8. Maintenance Architectural 9. Workshop office Research – CERMA 10. Workshop

B

HITECTURE OOL OF ARC

NANTES SCH

EVENTS CONCERTS FILM SCREENINGS

Level 0A

A

CONCRETE SLAB AND POST CONSTRUCTION

137

8

Ibid. p.19

Figure 10: Photography by Lacaton and Vssal

Ehan Halimun L ev e l 0C 1. Auditorium (250 seats) 2 . A m p i t h e a t re ( 1 5 0 s e a t s ) 3. Local association 4 . A m p i t h e a t re ( 1 00 s e a t s ) 5 . C e n t re fo r A rc h i t e c t u r a l Re s e a r c h - CE R M A

1

PROXIMITY TO A WATER BODY: Figure 24: Ousburn Green space Diagram

Figure 16: Load Diagram

NANTES

LESS DENSE - LESS BUILDINGS

1:1 SCALE MODELLING:

TOPOGRAPHY:

INDUSTRIAL PAST AND BUILDING TYPOLOGY:

OPEN PUBLIC SPACE

9

5

OPENINGS

3. ADAPTABLE AND FLEXIBLE SPACES:

Figure 5: Photograph by Lacaton and Vassal

* L ev e l 0A 1. Auditorium 2. Even space Level 0C 3 . S t o r a gLevel e 0A 1. Auditorium 4 . N u r s e 1. Auditorium (250 seats) 5 . Re p ro g r a p h i c s 2. Event space 6 . L o b by 2. Amphitheatre 7 . C a fe t e r3.i a Storage (150 seats) Nurse 8 . M a i n t e4. nan ce 3. Local association 9 . Wo r k s h5.o pReprographics office 4. Amphitheatre 1 0. Wo r k s h o p 6. Lobby 1 1 . E x h i b i t i o n s p a c e (100 seats)

EVENTS - cultural

UNPROGRAMMED SPACE

Figure 1: Nantes Site Plan

QUESTION 01 | SPATIAL ARRANGEMENT

STAFF

The main communities within the school ‘played a central role in conceptualizing the new school of architecture and were able to shape the spaces they needed.’5

THE RAMPS AND DECKS:

Ella Freeman

Ella Freeman

2

USE OF UNPROGRAMMED SPACES

STUDENTS

Figure 7: Benefits to communities Diagram

Nantes Wider Site Plan

QUESTION 02 | NANTES VS OUSEBURN

BENEFITS TO LOCAL COMMUNITIES

Figure 6: Ramp Diagram

1 University Building in France: Nantes School of Architecture, ed. by Andreas Ruby and Ilka Ruby (Holcim Foundation, 2011), p.30 2 Ibid. p.15

Ella Freeman

3

SPACES ADAPT TO SUIT THE NEEDS OF THE CITY

( .0 1 ) I n h a b i t a t i o n a n d S p a t i a l Re l a t i o n s h i p s o f C h o s e n S p e c i a l i s m

Nantes School of Architecture was completed in 2009 by architect duo Anne Lacaton and Philippe Vassal. The school is located on Île de Nantes, in the Northwest region of France. Île de Nantes is considerably larger than the historical centre in Nantes, making it a prime location for urban development. They are remained mainly unused since the ‘relocation of naval commerce until the 2001 development scheme.’1 The Nantes School of Architecture consolidates the city’s urban development, achieving ‘relatively dense land use.’2

QUESTION 02 | LINK TO ACADEMIA

1

The main massing of the school is pushed up creating a multi-use space on the ground floor where tarmac runs throughout. The continuation of the asphalt street ‘dissolves the threshold between the institution and the city, entrenching it into the urban fabric.’3 This allows the school to act as a public space.

4

Q2 H O W DO E S T H E CAS E S T U D Y R E L AT E T O T H E S T U DI O S P E C I F I C C R I T E R I A .0 2 ?

PUBLIC

1. PARTICIPATION:

PARTICIPATION IN DESIGN

Figure 2: Continuation of street Diagram

TABLE OF CONTENTS

Figure 14: Photograph

by Lacaton and Vassal

LACATION & VASSAL

NANTES SCHOOL OF ARCHITECTURE | SITE PLAN

CONCERT/EVENT

Question 01: Ehan Halimun Question 02: Ella Freeman Question 03: Xinrui Lin Question 04: Chao Jung Chang Question 05: Anna Toft

Ella Freeman

Figure 13: Photograph

by Lacaton and Vassal

NANTES SCHOOL OF ARCHITECTURE

QUESTION 02 | RELATIONSHIP WITH THE CITY Ella Freeman

GLASS SLIDING DOORS

Creative Synergies Group 3:

The school is essentially divided by three concrete decks, serving as the main levels (See Figure 34), supported by posts that are interconnected by a continuous ramp that goes up until the roof. These levels are double heighted – 9, 16, and 22 meters – and left without programme. A lightweight steel structure further subdivides the heights of the main levels; essentially a three levelled building that is divided into eight floors. This provided a space for desired programmes, which created a system that can be readily adapted in the future14.

2nd Phase An intermediary steel s t r u c t u re t h a t s u p p o r t s t h e s c h o o l ’s p ro g r a m m e d spaces, subdividing the t h re e m a i n l eve l s i n t o s m a l l e r l ev e l s

1st Phase A p o s t - a n d - s l a b c o n c re t e s t r u c t u re w i t h t h re e f l o o r p l a t e s c o n n e c t e d by a c o n t i n u ou s r a m p

1B 1A

14

S t ev e n s , p a r a . 7 .

P h o t o s by J av i e r C a l l e j a s P h o t o g r a p hy, a n n o t a t e d by E h a n H a l i m u n

0C

F i g u re 3 9 : E x p l o d e d a xo n o m e t r i c d i a g r a m by E h a n H a l i m u n b a s e d on floor plans

0B 0A

F i g u re 4 0: P h o t o s by L a c a t o n a n d Va s s a l , a n d c o l l a t e d by E h a n H a l i m u n

F i g u re 3 5 : D i v i s i o n o f l eve l s

9

10 138

Appendix | Group Thematic Case Study

* QUESTION 01 | UNPROGRAMMED AND PROGRAMMED SPACE

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

Ehan Halimun

F i g u re 41

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

Xinrui Lin Translucent facades are light glazing panels used for the exterior of buildings, protecting the structure from weather damage. Its composition Figure 47: Polycarbonate panel diagram of polycarbonate microcells creates a Figure 48: Polycarbonate panel photo soft, naturally diffused light with a wide range of possible colors, brightnesses, and opacities.18

NANTES SCHOOL OF ARCHITECTURE, NANTES, FRANCE, 2009

BY ARCHITECTS ANNE LACATON AND JEAN-PHILIPPE VASSAL F i g u re 4 2

The changes of the volume in different climates/seasons: 20 Climate zones integrate natural system of thermal control for suitable temperatures.

20

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

Xinrui Lin

During the SUMMER, the panels act as passive cooling mechanisms. Half of the panels can be opened up to allow for cross ventilation, these spaces then can adopts to warmer temperatures. (except auditorium and restrooms)

During the WINTER, the panels capture the sun’s rays to generate solar heat gain. These programmed space that are heated by radiant panels and exterior climate, will provide a buffer zone to allow the performance of smaller heating system. The temperature will then reach to 10 degree Celsius.

Ruby and Ruby

Passive Solar Heating

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

Xinrui Lin

Passive Solar Heating

Gas Radiator

18 "Nantes School Of Architecture / Lacaton & Vassal", Archdaily, 2020 <https://www.archdaily.com/254193/nantes-school-of-architecturelacaton-vassal> [Accessed 11 December 2020]

The sheet of corrugated metal and translucency of polycarbonate panelling plays an essential role in the school, with a basis of low-tech energy strategy. The panels protected intermediate climate by capture solar heat gain and minimize heat loss between the interior, programmed space (classrooms, research facilities, administrative offices), and the exterior.19

F i g u re 4 5 F i g u re 4 3

F i g u re 4 4

The basic structure is infinitely adaptable and can resolve to constraints with ease, divided into two types of spaces: • Programmed – a required programme for the competition brief that constitutes to 15,000 m2 (i.e. classrooms, research facilities, admin offices) • Unprogrammed – this type doubles the surface area of the building through the double height enclosed exterior space, terraces, and balconies The unprogrammed nature of the space challenged challenging students to evaluate the potentials of space15. The invitation to re-appropriate the school’s spaces teaches the students to not reduce architecture as just buildings16, emphasizing the experience of producing space, which redefines the standards of architecture school.

P h o t o s by P h i l i p p e Ru a u l t

15 16

Ru by a n d Ru by, p. 5 6 Ru by a n d Ru by, p. 5 6

19

Figure 49: Facade of polycarbonate panels

Architects Lacaton & Vassal’s work is an ideal of the multifaceted and innovative potential of contemporary sustainable architecture, with their use of natural climatic controls, such as passive cooling, natural ventilation, and solar heat gain.17 The site is situated in a rich historical and contemporary context: Area: +/- 5,000 square meters; Location: along the river Loire; Accessiblity: from the city center by foot and bicycle or by public transportation from the suburbs, with eight bridges connecting the mainland to the Île; Neighborhood environment: comprised of wastelands, unbuilt plots, reappropriated warehouses, and new residential developments.

QUESTION 4 | THEORATICAL POSITION

LEARNING FROM AFRICA

Figure 55

SPRING and AUTUMN Upper Ventilation panels are progressively opened so that the interior temperature does not surpass 22 degree Celsius.

Figure 58

NIGHT time in Summer - Nocturnal radiative/ ventilative cooling system, allowing cool air flows into the building

Natural Ventilation

QUESTION 4 | THEORATICAL POSITION

QUESTION 4 | THEORATICAL POSITION

Chao Jung Chang

Figure 54 - 3D Modelling Diagram

15

QUESTION 5 | GALLERY OF FRAC DUNKERQUE - LACATON AND VASSAL - 2009

Chao Jung Chang

Anna Toft

ARCHITECTURAL FINANCING

INTEGRATION WITH THE CONTEXT

The Nantes School of Architecture represents a fundamentally different way of conceptualising low-cost architecture, in which a minimal budget translates into maximum space. Located on the banks of the Loire, the site benefits from an unusual adjacency to large open spaces, as well as to the dense city center, where land values are exceptionally high. Lacaton & Vassal decided to take full advantage of these two qualities, leaving no part of the site unbuilt and pushing the school’s façade to its outermost limits. (Fig.61)

Completely accessible to the general public, the Nantes School of Architecture is a truly public space.

STRUCTURAL SOLUTION TO ENERGY EFFICIENCY

parking is on the first floor (an underground car park would have involved complex and costly excavation work) and the ground floor is covered with tarmac to suggest that it’s a literal extension of the street. (Fig.64-65) The ramp, which is also publicly accessible, connects the street with the rooftop terrace, a new urban space with panoramic views over Nantes. (Fig.68-69)

The establishment of two climatic zones integrates natural systems of thermal control into the building. (Fig.70-72) The first zone consists of the school’s programmed spaces that feature standard insulation and heating. These areas are surrounded by unprogrammed double-height volumes, which, like horticultural greenhouses, optimise climatic conditions to produce an optimal interior temperature.

The similaries between Dunkirque and the Nantes project are closely linked due to the architectes theoretical values including the way they approach future needs and use of the building.

Althought both The Nantes architecture and the FRAC Building differ the most in terms of context and institution, both projects aim to blend into the context of their setting using a minimun buget to create maxiumum space.

92% of the school’s volume is free for use.

Figure 60

After returned to Europe where the climate is complete different to that in Africa, the use of greenhouse systems emerged as a way to incorporate exterior spaces into Lacaton and Vassal’s work (Fig.58-59) as it carefully balances exterior brightness and temperature with interior airflow and humidity in order to create an optimal interior climate. (Fig.60)

Programmed spaces

Exhibitions

Installation art

61. Site plan showing the building outline and the site boundary 62. Diagrams showing the potential fuctions of the unprogrammed spaces 63. Diagram showing the design approach of Lacaton and Vassal compared to other architects

Figure 70

The building’s industrial character firmly embeds the school in its urban context, formerly dominated by industrial warehouses and transport infrastructures. (Fig.66-67)

25

these spaces provide a buffer zone between the programmed spaces, which are heated by radiant panels, and the exterior climate, allowing for the implementation of smaller heating systems.

Figure 77: Interior FRAC

ArchDaily. 2020. FRAC Dunkerque / Lacaton & Vassal. [online] Available at: <https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal> [Accessed 14 December 2020].

FRAC DUNKERQUE

NANTES ARCHITECTURE SCHOOL

Figure 75: FRAC Dunkerque edited google image

Figure 76: Nantes architecture school edited google image

Programme: open, large spaces as well as programmed space in relation to scale that can be integrated into the more ridged planned spaces. space allow for further teaching through multi-use space. Dunkerque probably has more multiuse space due to the fact it is an art gallery with non-permanent exhibitions as well as half the being able to use separately to the gallery whereas Nantes has a more ridged academy.

FRAC DUNKERQUE - SECTION

NANTES ARCHITECTURE SCHOOL - SECTION

Crits

Figure 62

Figure 67

Figure 66

appropriable free space

Figure 74

Figure 71

The combination of a robust and a lightweight, transformable structure is central to the building’s ability to respond to future changes in program, eliminating the need for future demolition. What is now a school could easily adapt to an altogether different use. Nantes School of Architecture is a curious example of a building that generously lays itself open to unpredictable spatial demands. (Fig.62)

17

64. Picture showing the connection between the building and the context 65. Entrance of the workshop space, picture taken from the street 66. Building outline 67. Enclosed space/public space 68. Sketch of the slope 69. Sketch of the building exterior and the surroundings Figure 72

Figure 69 Figure 64

Equipped with simple ventilation and shading systems, these spaces can adapt to warmer temperatures; In the winter, the polycarbonate clad double-height spaces (Fig.74) act like a greenhouse, capturing solar heat gain to minimize heat loss between the interior programmed spaces and the exterior (Fig.73); in the height of the summer, half of the façade can be opened up to passively ventilate the structure.

70. Diagram of climate system of the building in Winter 71. Diagram of climate system of the building in Spring/Autumn 72. Diagram of climate system of the building in Summer 73. Diagram of polycarbonate panel 74. Building facade

Figure 68

Figure 63

Figure 61

16

Ruby and Ruby

Figure 53 - First Floor Plan

14

Figure 51: Collages of Climate Performance during Winter and Spring/Autumn

Total volume of construction materials: 8,067 m3

Figure 57

Light Steel Structure

Figure 52 - Collages of Climate Performance during Summer

13

Chao Jung Changg

Circulation

The Gallery of FRAC (Fonds regional d’art contemporain) Dunkerque is part of a network of ‘23 public collections of contemporary art across France funded both regionally and nationally’25 as part of a decentralisation policy to move aspects of governance out to reginal governments. Like the Nantes school of architecture, the main objectives of the architects focus upon scale, multi-use space and sustainability with an emphasis on architectural financing in order to achieve maximum space at minimum cost.

Total building volume: 100,926 m3

55. Anne Lacaton and Jean-Philippe Vassal 56. Diagram of tents in Niger 57. Picture of Jean-Philippe Vassal’s housing design in Niger 58. Maison Keremma by Lacaton & Vassal 59. Maison Latapie by Lacaton & Vassal 60. Diagram of greenhouse systems

Ruby and Ruby

24

Electric Radiator

Social events

Figure 56

22

Floor - to - ceiling glass sliding doors

The facade’s operability allow the users to manually regulate the building’s interior climate. Its light- weight structure is central to the building’s ability to respond to changes in program, therefore decreasing the probability of future grey energy of polluting sources.

By combining both traditional and contemporary notions of sustainability, the school of architecture is able to remain structurally relevant through the present and well into the future.

Nocturnal air currents

The original brief called for 15,150m², to which Lacaton & Vassal added 4,430m² of extra internal space and 8,000m² of terraces, all on a budget of 17.75 million euros.

Figure 59

S c h o o l o f A rc h i t e c t u re’ , E U m i e s aw a rd , p a r a . 2 < h t t p s : / / m i e s a rc h .c o m / w o r k / 8 1 1 > .

21 Diffen, “Electric Heating vs.

Gas Heating”, 2020 <https://www.diffen. com/difference/Electric_Heating_vs_Gas_ Heating>[Accessed 14 December 2020]

LACATON & VASSAL ARCHITECTS Anne Lacaton and Jean-Philippe Vassal are award winning architects based in France. Openly proclaiming to be a reflection and search for architectural economy, the works focus on reduced-cost constructions, creating maximum spaces, connection with the surrounding and sustainability.

Electric Radiator

Thermal Stratification

12

Chao Jung Changg

In between the concrete floor plates, Lacaton & Vassal inserted a light steel structure that redivides the height of the main levels. Linked to the single level classrooms, research facilities, studio spaces, administrative offices, and library are double-height volumes, which help regulate the school’s interior temperature. The floor-to-ceiling glass sliding doors that divide these two types of space establish an unobstructed visual relationship among spaces inside the school, in contrast to the blurred visual boundary between the school and its immediate surroundings that is provided by the building’s polycarbonate façade. (EUmiesaward, 2020)

Natural climate control such as passive cooling and crossventilation, eliminates any costs for installation and operation of mechanical cooling system.

This also allow the rooftop to be liberated from its utility ducts (for distribute the conditioned air within define areas), creating even more usable surface area. 22

Cross Ventilation

Prewett Bizley

11

After graduating from the Bordeaux school of architecture in the 1980s, Anne Lacaton and Jean-Phillippe Vassal moved to Niger, a former French colony. In Niger, where the air temperature averages 40 degrees Celsius, the priority of local architects is to maintain a cool temperature in buildings. Therefore, people of Niger uses local materials to built tents in order to block the heat from the sun while still enable the wind to blow into the interior. (Fig.55) The Lacaton and Vassal learned from the local construction technique that mediates between the constructed interior conditions and the reality on the ground. (Fig.56)

Figure 50: Theses panels modulates the interior lighting

Figure 46: Nantes Site Plan

17

QUESTION 4 | THEORATICAL POSITION

Stevens

Spatial Configuration

23

Notes: Gas radiator produce more heat when compared to electric radiator in the same amount of time.

Since gas is generally cheaper than electricity, a gas radiator has lower operating cost. Electric space radiator are cheaper only when a small space is to be heated at lower temperature settings. 21

Xinrui Lin

Figure 78: Gallery space FRAC

Figure 73

18

19

Figure 81: FRAC Dunkerque facade

Figure 82: Nantes school of architecture edited section

Figure 83: Nantes school of architecture facade

Figure 84: climate control diagram

Both have very similar strategys and material use that lends itself to sustainability that improves the quality of life while acting responsibly towards the environment. but the main diffrence is the use of an existing structure in the FRAC gallery (maximum space minimum cost) rather than a conversion Figure 79: Exterior FRAC

Figure 65

Figure 80: FRAC Dunkerque edited section

Sustainability and materials: -light bioclimatic envelope, lightweight steel structure -prefabrication -transparency (connection with wider context of place) -natural climate control, low-tech energy strategy and programming and orientation

20

(Red star marks my contribution)

139

140

Appendix | Group Thematic Case Study

QUESTION 5 | SEONA REID BUILDING - STEVEN HOLL ARCHITECTS - 2014

QUESTION 5 | GLASGOW SCHOOL OF ART - CHARLES RENNIE MACKINTOSH - 1909

Anna Toft

26

Gsa.ac.uk. 2020. The Mackintosh Building. [online] Available at: <https://www.gsa.ac.uk/visit-gsa/mackintosh-building-tours/the-mackintosh-building/> [Accessed 14 December 2020].

SEONA REID BUILDING

SUSTAINABLE DESING - SEONA REID BUILDING

QUESTION 5 | UNIVERSITY OF OXFORD BEECROFT BUILDING - HAWKINS\BROWN - 2018

Anna Toft

The Mackintosh Glasgow school of art was ‘built over a period of nine years’28 and is the only building assigned to one discipline un-like other buildings in the GSA group. The cost and time of construction is one of the main differences to the Nantes school as well as the wide umbrella of people the building invites in due to the flexibility of space it provides. However, despite the time differences between the two projects they both similarly reflect innovative light solutions. This similarity can also be seen in the double height library with workstations placed at its heart, although intentionally programmed, libraries create a space of knowledge and learning for multiple people (collaboration).

Designed as a complimentary contrast to the older Macintosh school of art ‘1909’ 26, the Seona Reid building’s main aims focus on light distribution as well as its connection to the city’s wider fabric. Like that of the Nantes architecture building there is a purposeful allocation of programme in order to maximise natural light and circulation encouraging creative abrasion and sustainability. However, the main difference in these two projects is the expenditure and sustainability method with the Nantes school being more successful due to construction and material considerations whist creating maximum space at minimum cost NANTES ARCHITECTURE SCHOOL

28

LIST OF FIGURES:

Anna Toft

The Beecroft building is the ‘first new addition to the physics department at Oxford University in 50 years’29. A much-needed update of facilities and working behaviours in terms of collaborative learning orientated by open learning spaces situated at the centre of the building with surrounding classrooms and sunroof. The architects had to stick to a tight brief because specific technological performance requirements and sited in a sensitive location surrounded by listed buildings and historic trees. Compared to the Nantes architecture school the site was much larger and where scale is of more importance within an architectural institution, where as circulation is of more importance within the science faculties as BEECROFT BUILDING NANTES ARCHITECTURE SCHOOL science changes very quickly.

Mackintosh-architecture.gla.ac.uk. 2020. Mackintosh Architecture: The Catalogue - Browse - Display. [online] Available at: <https://www.mackintosh-architecture.gla.ac.uk/catalogue/browse/display/?rs=133&xml=des> [Accessed 14 December 2020].

29 ArchDaily. 2018. University Of Oxford Beecroft Building / Hawkins\Brown. [online] Available at: <https://www.archdaily.com/902141/university-of-oxford-beecroft-building-hawkins-brown?ad_medium=gallery> [Accessed 14 December 2020].

Figure 109: Beecroft building circulation

The Reid buildings sustainability approach is of a more complex nature possibly due to the fact it was built at a later date, However, cost a considerable amount more than the Nantes building due to being a completely new structure unlike Nantes which is a partially converted warehouse. Alongside this the building was mostly prefabricated and covered similar space at a lower cost. Even though the use of concrete in both buildings is in fact unsustainable and counts for ‘4-8% of carbon emissions’27 the Nantes building makes up for this by using the existing building as well as natural sustainable methods that do not require huge amounts of complex construction.

Figure 86: Exterior Reid building 2

Figure 96: Light wells Mackintosh

Figure 94: Exterior Mackintosh

141

21

Figure 111: Map 1:600 Beecroft building

Figure 99: Nantes school edited google image

Figure 97: exterior windows Mackintish

Figure 112: Nantes school edited google map

Cost and scale: Expensive material used in terms of construction cost £50m overall with an internal space of 7900m^2 compared to the Nantes internal area of 15150m^2, however, the Beecroft building extends 16m below ground creating greater amounts of space regardless of hight restrictions and site size. The Nantes building has more of a longitudinal spatial organisation.

Materials: Limestone, steel, wood, heavy weighted structure, and long construction time compared to the Nantes; however, sustainability is more of a modern-day issue, Mackintosh’s main issue was budget at the time hence the local sourcing of material.

Orientation opposite to the Nantes building

Larger unprogrammed space

Figure 101: Material Mackintosh

F I GU R E 2 : CO N T I N UAT I O N O F S T R E E T DI AG RA M B Y E L L A F R E E MA N F I GU R E 3 - 5 : P H O T OG RA P H S B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / / L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 >

Figure 102: Material Nantes school

Figure 107: Section Beecroft building

Use of natural light to minimise energy use and natural ventilation just like the Nantes building, but ventilation at lower lab levels but encompasses the same idea of future thinking within the institutional practise and collaboration.

Figure 103: Massing diagrams

Longitudinal space like the Nantes, spread out rather than tall buildings that are more common today as institutional buildings tend to be at the centre of the city.

Figure 91: Reid building programme

Figure 92: Nantes school light access diagram

Figure 95: Enterence Mackintosh

Figure 115: Nantes school massign diagram

22

Figure 113: Beecroft section showing sustainability Figure 104: Nantes school open space

Figure 105: Mackintosh school open space

Figure 108: Collaborative learning spaces interior Beecroft

23

Nantes is built with multi-purpose study space with public services integrated, the Beecroft building is more a more exclusive institution.

( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 4 7 : P O LYCA R BO N AT E PA N E L DI AG RA M T RAC E D B Y X I N RU I L I N F RO M - MAT E R I A L , “ W H AT E X AC T LY I S A P O LYCA R BO N AT E T RA N S LUC E N T FACA DE ? ” , A RC H DA I LY, 2 0 1 9 < H T T P S: / / W W W. A RC H DA I LY.CO M / 9 2 2 7 3 5/ W H AT - I S - E X AC T LY-A- POLYCA R BONAT E - T RA N S LUC E N T - FACA DE > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 4 8 : P O LYCA R BO N AT E PA N E L P H O T O B Y MAT E R I A L , “ W HAT E X AC T LY I S A P O LYCA R BO N AT E T RA N S LUC E N T FACA DE ? ” , A RC H DA I LY, 2 0 1 9 < H T T P S: / / W W W. A RC H DA I LY. CO M / 9 2 2 7 3 5/ W H AT - I S - E X AC T LY-A- POLYCA R BONAT E - T RA N S LUC E N T - FACA DE > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 4 9 : FACA DE O F P O LYCA R BO N AT E PA N E LS - P H O T OG RA P H S B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / /

[ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 6 : RA M P DI AG RA M B Y E L L A F R E E MA N C R E AT E D US I N G S E C T I O N F RO M - " N A N T E S SC H OO L O F A RC H I T E C T U R E / L ACAT O N & VASS A L" , A RC H DA I LY, 2 0 2 0 < H T T P S: / /

L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 5 0: T H E S E PA N E LS M O DU L E S T H E I N T E R I O R L I G H T I N G - P H O T OG RA P H O F N A N T E S SC H OO L O F A RC H I T E C T U R E B Y P H I L I P P E RUAU LT F RO M - " N A N T E S SC H OO L O F A RC H I T E C T U R E / L ACAT O N & VASS A L" , A RC H DA I LY, 2 0 2 0 < H T T P S: / / W W W. A RC H DA I LY.CO M / 2 5 41 9 3/ N A N T E S - SC H OO L - OF -A RC H I T E C T U R E - L ACAT O N -VASS A L > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 5 1 : CO L L AG E S O F C L I MAT E P E R F O R MA N C E DU R I N G W I N T E R A N D S P R I N G / AU T U M B Y X I N RU I L I N - US I N G F RO M S E C T I O N S B Y L ACAT O N A N D VASS A L F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 5 2 : CO L L AG E S O F C L I MAT E P E R F O R M A N C E DU R I N G SU M M E R B Y X I N RU I L I N - US I N G F RO M S E C T I O N S B Y L ACAT O N A N D VASS A L F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 5 3 : F I RS T F LOO R P L A N B Y X I N RU I L I N - US I N G F RO M P L A N B Y L ACAT O N & VASS A L F RO M - “ N A N T E S SC H OO L O F A RC H I T E C T U R E ” , W O R L DA RC H I T E C T S, 2 0 1 2 < H T T P S: / /

DE C E M B E R 2 0 2 0 ] .

F I GU R E 8 4 : C L I MAT E CO N T RO L DI AG RA M B Y A N N A T O F T F I GU R E 8 5 - 8 7 : DE E Z E N , 2 0 1 4 . S E O N A R E I D BU I L DI N G. [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. DE Z E E N .CO M / 2 0 1 4 / 0 3/ 0 6 / G L ASGO W- SC H OO L - O F -A R T - R E I D - BU I L DI N G S T E V E N - H O L L / > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

F I GU R E S 8 8 - 8 9 : S I T E P L A N S F O R M GOOG L E I M AG E B Y A N N A T O F T F I GU R E 9 0: R E I D BU I L DI N G SUS TA I N A B I L I T Y DI AG RA M B Y A N N A T O F T F I GU R E 9 1 : R E I D BU I L DI N G P ROG RA M M E B Y A N N A T O F T F I GU R E 9 2 : N A N T E S SC H OO L O F A RC H I T E C T U R E L I G H T ACC E SS DI AG RA M B Y A N N A T O F T F I GU R E 9 3 - 9 7 : DE E Z E N , 2 0 1 8 . MAC K I N T OS H SC H OO L O F A RC H I T E C T U R E . [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. DE Z E E N .CO M / 2 0 1 8 / 0 6 / 0 5/ G L ASGO W - SC H OO L - O F -A R T C H A R L E S - R E N N I E - MAC K I N T OS H - MAS T E R W O R K -1 5 0 -A N N I V E RS A R Y/ > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

F I GU R E S 9 8 - 9 9 : S I T E P L A N S F RO M GOOG L E I MAG E B Y A N N A T O F T F I GU R E 1 00: MAC K I N T OS H L I B RA R Y S E C T I O N B Y A N N A T O F T F I GU R E 1 0 1 : DE E Z E N , 2 0 1 8 . MAC K I N T OS H SC H OO L O F A RC H I T E C T U R E . [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. DE Z E E N .CO M / 2 0 1 8 / 0 6 / 0 5/ G L ASGO W- SC H OO L - O F -A R T C H A R L E S - R E N N I E - MAC K I N T OS H - MAS T E R W O R K -1 5 0 -A N N I V E RS A R Y/ > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

F I GU R E 1 0 2 : L ACAT O N A N D VASS A L , 2 0 1 0. N A N T E S SC H OO L O F A RC H I T E C T U R E . [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. L ACAT O N VASS A L .CO M / I N DE X . P H P > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

F I GU R E 1 0 3 : MASS I N G DI AG RA M S B Y A N N A T O F T F I GU R E 1 0 4 : N A N T E S SC H OO L O P E N S PAC E B Y A N N A T O F T F I GU R E 1 0 5 : MAC K I N T OS H SC H OO L O P E N S PAC E B Y A N N A T O F T F I GU R E S 1 0 6 -1 0 8 : A RC H DA I LY, 2 0 1 8 . B E E C RO F T BU I L DI N G. [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. A RC H DA I LY.CO M / 9 0 2 1 41 / U N I V E RS I T Y - O F - OX F O R D - B E E C RO F T - BU I L DI N G H AW K I N S - B RO W N > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

F I GU R E 1 0 9 : B E E C RO F T C I RCU L AT I O N DI AG RA M B Y A N N A T O F T F I GU R E 1 1 0: N A N T E S SC H OO L C I RCU L AT I O N B Y A N N A T O F T F I GU R E 1 1 1 : M A P 1 : 6 00 B E E C RO F T BU I L DI N G B Y A N N A T O F T F I GU R E 1 1 2 : S I T E P L A N F RO M GOOG L E I MAG E B Y A N N A T O F T F I GU R E S 1 1 3 : B E E C RO F T S E C T I O N S H O W I N G SUS TA I N A B I L I T Y B Y A N N A T O F T F I GU R E S 1 1 4 -1 1 5 : M ASS I N G DI AG RA M S B Y A N N A T O F T

‘SC H OO L O F A RC H I T E C T U R E ’ , E U M I E S AWA R D < H T T P S: / / M I E S A RC H .CO M / W O R K / 8 1 1 > A RC H DA I LY. 2 0 1 8 . U N I V E RS I T Y O F OX F O R D B E E C RO F T BU I L DI N G / H AW K I N S \ B RO W N . [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W. A RC H DA I LY.CO M / 9 0 2 1 41 / U N I V E RS I T Y - O F OX F O R D - B E E C RO F T - BU I L DI N G - H AW K I N S - B RO W N ? A D _ M E DI U M = GA L L E R Y > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

A RC H DA I LY. 2 00 9 . F RAC DU N K E RQ U E / L ACAT O N & VASS A L . [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W. A RC H DA I LY.CO M / 4 7 5 5 0 7/ F RAC - O F - T H E - N O R T H - R E G I O N - L ACAT O N A N D -VASS A L > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

A RC H DA I LY. 2 0 2 0. " N A N T E S SC H OO L O F A RC H I T E C T U R E / L ACAT O N & VASS A L" , A RC H DA I LY, < H T T P S: / / W W W. A RC H DA I LY.CO M / 2 5 41 9 3/ N A N T E S - SC H OO L - O F -A RC H I T E C T U R E L ACAT O N -VASS A L > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] B I Z L E Y, P R E W E T T, " N A N T E S A RC H I T E C T U R E SC H OO L – L ACAT O N VASS A L — P R E W E T T B I Z L E Y A RC H I T E C T S | PASS I V H AUS | R E T RO F I T " , P R E W E T T B I Z L E Y A RC H I T E C T S | PASS I V HAUS | R E T RO F I T, 2 0 2 0 < H T T P: / / W W W. P R E W E T T B I Z L E Y.CO M / G RA H A M - B I Z L E Y- B LOG / 2 0 1 5/ 7/ 2 / N A N T E S -A RC H I T E C T U R E - SC H OO L - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] CA R BO N B R I E F. 2 0 2 0. Q & A : W H Y C E M E N T E M I SS I O N S MAT T E R F O R C L I M AT E C H A N G E | CA R BO N B R I E F. [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W.CA R BO N B R I E F.O RG / Q AW H Y- C E M E N T - E M I SS I O N S - MAT T E R - F O R - CL I M AT E - C H A N G E > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

DI F F E N , “ E L E C T R I C H E AT I N G VS. GAS H E AT I N G ” , 2 0 2 0 < H T T P S: / / W W W. DI F F E N .CO M / D I F F E R E N C E / E L E C T R I C _ H E AT I N G _ VS _ GAS _ H E AT I N G > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] E - F LUX .CO M . 2 0 2 0. OU T O F BO LOG N A : L ACAT O N A N D VASS A L ’S N A N T E S SC H OO L O F A RC H I T E C T U R E . [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W. E - F LUX .CO M / J OU R N A L / 6 4 / 6 0 8 6 7/ OU T - O F - BO LOG N A- L ACAT O N -A N D -VASS A L - S - N A N T E S - SC H OO L - O F -A RC H I T E C T U R E / > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ]

F I GU R E 1 3 -1 4 : P H O T OG RA P H S B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / / L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 1 5 -1 7 : DI AG RA M S B Y E L L A F R E E MA N O V E R A XO N O M E T R I C F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 )

W W W.W O R L D -A RC H I T E C T S.CO M / E N / A RC H I T E C T U R E - N E W S / R E V I E W S / N A N T E S - SC H OO L - OF -A RC H I T E C T U R E > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 5 4 : 3 D M O DE L L I N G DI AG RA M B Y X I N RU I L I N F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 5 5 : P H O T OG RA P H O F A N N E L ACAT O N A N D J E A N - P H I L I P P E VASS A L F RO M “ T H E DAY L I G H T A N D BU I L DI N G CO M P O N E N T AWA R D 2 0 1 1 ” < H T T P: / / T H E DAY L I G H TAWA R D.CO M / L ACAT O N -A N D -VASS A L / > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ]

F I GU R E 1 8 -1 9 : P H O T OG RA P H S B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / / L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ]

F I GU R E 5 6 : DI AG RA M O F T E N T S I N N I G E R B Y C HAO J U N G C H A N G F I GU R E 5 7 : P I C T U R E O F J E A N - P H I L I P P E VASS A L ’S H OUS I N G DE S I G N I N N I G E R F RO M < H T T P S: / / O F H OUS E S.CO M / P OS T / 1 3 7 3 3 1 6 7 1 0 3 1 / 26 7 -J E A N - P H I L I P P E - VASS A L -VASS A L -

F I GU R E 2 0 - 2 1 : P H O T OG RA P H S B Y E L L A F R E E MA N

H OUS E > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ]

F I GU R E 2 2 : P H O T OG RA P H B Y F RA N K L I N A Z Z I F RO M - G R I F F I T H S, A LY N , " F RA N K L I N A Z Z I A RC H I T E C T U R E CO N V E R T S N A N T E S WA R E H OUS E S I N T O A R T SC H OO L" , DE Z E E N , 2 0 1 8 < H T T P S: / / W W W. DE Z E E N .CO M / 2 0 1 8 / 0 9/ 2 3/ F RA N K L I N -A Z Z I -A RC H I T E C T S - N A N T E S - S A I N T - N A Z A I R E - H I G H E R - SC H OO L - F I N E -A R T S -A RC H I T E C T U R E / > [ ACC E SS E D 1 1 DE C E M B E R 2020]

F I GU R E 5 8 : MA I SO N K E R E M MA B Y L ACAT O N & VASS A L F RO M “ MA I SO N K E R E M MA , K E R E M MA ” , L ACAT O N A N D VASS A L , < H T T P S: / / W W W. L ACAT O N VASS A L .CO M / I N DE X .

P H P ? I DP = 1 4 > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 5 9 : MA I SO N L ATA P I E B Y L ACAT O N & VASS A L F RO M MA I SO N “ L ATA P I E F LO I RAC ” , L ACAT O N A N D VASS A L , < H T T P S: / / W W W. L ACAT O N VASS A L .CO M / I N DE X .

F I GU R E 2 3 : P H O T OG RA P H B Y M . A RG Y ROG LO F RO M - " T H E MAC H I N E S DE L' Î L E I N N A N T E S " , O F F I C I A L W E BS I T E F O R T OU R I S M I N F RA N C E < H T T P: / / E E . F RA N C E . F R / E N / DI SCO V E R / MAC H I N E S - I L E - N A N T E S > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 24 - 2 5 : S I T E P L A N S B Y E L L A F R E E MA N F I GU R E 26 : P H O T OG RA P H B Y S I M O N M E N G E S F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M

P H P ? I DP = 2 5 > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 6 0: DI AG RA M O F G R E E N H OUS E S YS T E M S B Y C H AO J U N G C HA N G F I GU R E 6 1 : S I T E P L A N S H O W I N G T H E BU I L DI N G OU T L I N E A N D T H E S I T E BOU N DA R Y B Y C H AO J U N G C HA N G F I GU R E 6 2 : DI AG RA M S S H O W I N G T H E P O T E N T I A L F U N C T I O N S O F T H E U N P ROG RA M M E D S PAC E S B Y C HAO J U N G C H A N G

RU B Y, I L K A , A N D A N D R E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) S T E V E N S, P H I L I P, ‘ L I S BO N A RC H I T E C T U R E T R I E N N A L E : L ACAT O N & VASS A L W I N S L I F E T I M E AC H I E V E M E N T AWA R D ’ , DE S I G N BOO M , 2 0 1 6 < H T T P S: / / W W W. DE S I G N BOO M .CO M / A RC H I T E C T U R E / L I S BO N -A RC H I T E C T U R E - T R I E N N A L E - L ACAT O N -VASS A L - L I F E T I M E -AC H I E V E M E N T -AWA R D -1 0 -1 1 - 2 0 1 6 / >

F OU N DAT I O N 2 0 1 1 )

F I GU R E 6 3 : DI AG RA M S H O W I N G T H E DE S I G N A P P ROAC H O F L ACAT O N A N D VASS A L CO M PA R E D T O O T H E R A RC H I T E C T S B Y C HAO J U N G C H A N G F I GU R E 6 4 : P I C T U R E S H O W I N G T H E CO N N E C T I O N B E T W E E N T H E BU I L DI N G A N D T H E CO N T E X T F RO M - B I Z L E Y, P R E W E T T, " N A N T E S A RC H I T E C T U R E SC H OO L – L ACAT O N VASS A L — P R E W E T T B I Z L E Y A RC H I T E C T S | PASS I V H AUS | R E T RO F I T " , P R E W E T T B I Z L E Y A RC H I T E C T S | PASS I V HAUS | R E T RO F I T, 2 0 2 0 < H T T P: / / W W W. P R E W E T T B I Z L E Y.CO M / G RA H A M B I Z L E Y- B LOG / 2 0 1 5/ 7/ 2 / N A N T E S -A RC H I T E C T U R E - SC H OO L - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ]

W O R L DA RC H I T E C T S, L ACAT O N & VASS A L F RO M - “ N A N T E S SC H OO L O F A RC H I T E C T U R E ” , 2 0 1 2 < H T T P S: / / W W W.W O R L D -A RC H I T E C T S.CO M / E N / A RC H I T E C T U R E - N E W S / R E V I E W S / N A N T E S - SC H OO L - O F -A RC H I T E C T U R E > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ]

F I GU R E 2 7 : P H O T OG RA P H B Y BC N U E J F RO M - " N A N T E S | BA RC E LO N A L A B F O R U R BA N E N V I RO N M E N TA L J US T I C E A N D SUS TA I N A B I L I T Y " , BA RC E LO N A L A B F O R U R BA N E N V I RO N M E N TA L J US T I C E A N D SUS TA I N A B I L I T Y < H T T P: / / W W W. BC N U E J .O RG / 2 0 1 8 / 0 4 / 2 3/ A- N E W- BOO K -A N A LYZ E S - T H E - T RA J E C T O R Y- OF - G R E E N I N G - P O L I C Y- I N - 9 9 - C I T I E S / N A N T E S / > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 2 8 : P H O T OG RA P H B Y GX P ROJ E C T F RO M - "OUS E BU R N VA L L E Y - W I N G E D TA L E S 6 — G E T N O R T H ! " , G E T N O R T H ! < H T T P S: / / G E T N O R T H 2 0 1 8 .CO M / V E N U E S / W I N G E D -

F I GU R E 6 5 : P H O T OG RA P H O F T H E E N T RA N C E O F T H E W O R KS H O P S PAC E F RO M - B I Z L E Y, P R E W E T T, " N A N T E S A RC H I T E C T U R E SC H OO L – L ACAT O N VASS A L — P R E W E T T

TA L E S - 6 / > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 2 9 : P H O T OG RA P H B Y HA P P Y P O N T I S T F RO M - P O N T I S T, T H E HA P P Y, " T Y N E S I DE B R I DG E S: 1 . OUS E BU R N V I A DUC T " , HA P P Y P O N T I S T. B LOGS P O T.CO M , 2 0 1 4 < H T T P: / /

B I Z L E Y A RC H I T E C T S | PASS I V H AUS | R E T RO F I T " , P R E W E T T B I Z L E Y A RC H I T E C T S | PASS I V HAUS | R E T RO F I T, 2 0 2 0 < H T T P: / / W W W. P R E W E T T B I Z L E Y.CO M / G RA H A M - B I Z L E YB LOG / 2 0 1 5/ 7/ 2 / N A N T E S -A RC H I T E C T U R E - SC H OO L - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ]

HA P P Y P O N T I S T. B LOGS P O T.CO M / 2 0 1 4 / 0 3/ T Y N E S I DE - B R I DG E S -1 - OUS E BU R N -V I A DUC T. H T M L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 3 0: P H O T OG RA P H B Y BC N U E J F RO M - " N A N T E S | BA RC E LO N A L A B F O R U R BA N E N V I RO N M E N TA L J US T I C E A N D SUS TA I N A B I L I T Y " , BA RC E LO N A L A B F O R U R BA N E N V I RO N M E N TA L J US T I C E A N D SUS TA I N A B I L I T Y < H T T P: / / W W W. BC N U E J .O RG / 2 0 1 8 / 0 4 / 2 3/ A- N E W - BOO K -A N A LYZ E S - T H E - T RA J E C T O R Y- OF - G R E E N I N G - P O L I C Y- I N - 9 9 - C I T I E S /

F I GU R E 6 6 : BU I L DI N G OU T L I N E DI AG RA M B Y C HAO J U N G C H A N G F I GU R E 6 7 : E N C LOS E D S PAC E / P U B L I C S PAC E DI AG RA M B Y C H AO J U N G C H A N G

N A N T E S / > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ]

Figure 114: Beecroft massing diagram

F I GU R E 4 6 : N A N T E S S I T E P L A N T RAC E D B Y X I N RU I L I N F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D.

W W W. A RC H DA I LY.CO M / 2 5 41 9 3/ N A N T E S - SC H OO L - OF -A RC H I T E C T U R E - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 7 - 8 : B E N E F I T S T O CO M M U N I T I E S DI AG RA M B Y E L L A F R E E MA N F I GU R E 9 : A DA P TA B I L I T Y DI AG RA M B Y E L L A F R E E MA N O V E R A XO N O M E T R I C F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 )

F I GU R E 3 1 : P H O T OG RA P H B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / / L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ]

Lighting: the Reid building Studios are positioned on the north façade with large, inclined north facing glazing to maximize access to the desirable high quality diffuse north light. The nates accessed light in a similar way through the large double heighted windows extent up through all the levels in the building. However, the Reid building needs the light voids positioned in the centre in order to allow natural light to reach lower levels, where as the Nantes is all above ground with a more open site meaning this is not nessisary.

Figure 87: Interior Reid building

Figure 98: Mackintosh building edited google image

Figure 100: Mackintosh libary section

27 Carbon Brief. 2020. Q&A: Why Cement Emissions Matter For Climate Change | Carbon Brief. [online] Available at: <https://www. carbonbrief.org/qa-why-cement-emissions-matter-for-climate-change> [Accessed 14 December 2020].

Figure 90: sustainability diagram Reid building

ntes school of architecture facade

Figure 89: Nantes architecture school edited google image

F I GU R E 1 : N A N T E S S I T E P L A N T RAC E D B Y E L L A F R E E MA N F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 )

F I GU R E 1 2 : P ROG RA M M E D VS U N P ROG RA M M E D S PAC E DI AG RA M B Y E L L A F R E E MA N C R E AT E D US I N G P L A N F RO M - " N A N T E S SC H OO L O F A RC H I T E C T U R E / L ACAT O N & VASS A L" , A RC H DA I LY, 2 0 2 0 < H T T P S: / / W W W. A RC H DA I LY.CO M / 2 5 41 9 3/ N A N T E S - SC H OO L - OF -A RC H I T E C T U R E - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ]

Figure 106: Facade Beecroft building

Figure 88: Seona Reid building edited google image

CO N T E N T S PAG E : N A N T E S W I DE R S I T E P L A N B Y E L L A F R E E MA N

F I GU R E 1 0 -1 1 : P H O T OG RA P H S B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / / L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ]

Figure 110: Nantes school circulation

Figure 93: Libary space

Figure 85: Exterior Reid building 1

BIBLIOGRAPHY:

F RO N T PAG E : P H O T OG RA P H O F N A N T E S SC H OO L O F A RC H I T E C T U R E B Y P H I L I P P E RUAU LT F RO M - " N A N T E S SC H OO L O F A RC H I T E C T U R E / L ACAT O N & VASS A L" , A RC H DA I LY, 2 0 2 0 < H T T P S: / / W W W. A RC H DA I LY.CO M / 2 5 41 9 3/ N A N T E S - SC H OO L - OF -A RC H I T E C T U R E - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ]

F I GU R E 3 2 : OUS E BU R N DE N S I T Y DI AG RA M B Y E L L A F R E E MA N F I GU R E 3 3 : N A N T E S DE N S I T Y DI AG RA M B Y E L L A F R E E MA N F I GU R E 3 4 : A XO N O M E T R I C DRAW I N GS F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 3 5 : DI AG RA M O F DI V I S I O N O F L E V E LS B Y E HA N HA L I M U N F I GU R E 3 6 : P H O T O B Y JAV I E R CO L L E JAS P H O T OG RA P H Y, A N N O TAT E D B Y E H A N HA L I M U N F I GU R E 3 7 : P H O T O B Y JAV I E R CO L L E JAS P H O T OG RA P H Y, A N N O TAT E D B Y E H A N H A L I M U N F I GU R E 3 8 : P H O T O B Y JAV I E R CO L L E JAS P H O T OG RA P H Y, A N N O TAT E D B Y E H A N HA L I M U N F I GU R E 3 9 : E X P LO DE D A XO N O M E T R I C DI AG RA M B Y E HA N HA L I M U N BAS E D O N F LOO R P L A N S F I GU R E 4 0: P H O T OS B Y L ACAT O N A N D VASS A L , A N D CO L L AT E D B Y E HA N H A L I M U N F I GU R E 41 : P H O T O B Y P H I L I P P E RUAU LT F I GU R E 4 2 : P H O T O B Y P H I L I P P E RUAU LT F I GU R E 4 3 : P H O T O B Y P H I L I P P E RUAU LT, A N N O TAT E D B Y E HA N HA L I M U N F I GU R E 4 4 : P H O T O B Y P H I L I P P E RUAU LT, A N N O TAT E D B Y E H A N H A L I M U N F I GU R E 4 5 : A DA P TA B L E S PAC E DI AG RA M B Y E HA N H A L I M U N

GS A . AC.U K . 2 0 1 8 . T H E MAC K I N T OS H BU I L DI N G. [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W.GS A . AC.U K / V I S I T - GS A / MAC K I N T OS H - BU I L DI N G - T OU RS / T H E - M ACK I N T OS H BU I L DI N G / > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

I N S P I RAT I O N . DE TA I L . D E . 2 0 2 0. FACU LT Y O F A RC H I T E C T U R E BU I L DI N G I N N A N T E S - DE TA I L I N S P I RAT I O N . [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / I N S P I RAT I O N . DE TA I L . DE / FACU LT Y- O F -A RC H I T E C T U R E - BU I L DI N G - I N - N A N T E S -1 0 3 5 4 4 . H T M L > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

M ACK I N T OS H -A RC H I T E C T U R E .G L A . AC.U K . 2 0 2 0. MAC K I N T OS H A RC H I T E C T U R E : T H E CATA LOGU E - B RO W S E - DI S P L AY. [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W. M ACK I N T OS H -A RC H I T E C T U R E .G L A . AC.U K / CATA LOGU E / B RO W S E / D I S P L AY/ ? RS = 1 3 3 & X M L = DE S > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

MAT E R I A L , “ W H AT E X AC T LY I S A P O LYCA R BO N AT E T RA N S LUC E N T FACA DE ? ” , A RC H DA I LY, 2 0 1 9 < H T T P S: / / W W W. A RC H DA I LY.CO M / 9 2 2 7 3 5/ W HAT - I S - E X AC T LY-AP O LY CA R BO N AT E - T RA N S LUC E N T - FACA DE > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ]

F I GU R E 6 8 : S K E T C H O F T H E S LO P E B Y C H AO J U N G C HA N G F I GU R E 6 9 : S K E T C H O F T H E BU I L DI N G E X T E R I O R A N D T H E SU R ROU N DI N GS B Y C HAO J U N G C H A N G F I GU R E 7 0: DI AG RA M O F C L I MAT E S YS T E M O F T H E BU I L DI N G I N W I N T E R B Y C H AO J U N G C HA N G F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 7 1 : DI AG RA M O F C L I MAT E S YS T E M O F T H E BU I L DI N G I N S P R I N G / AU T U M N B Y C HAO J U N G C H A N G F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 7 2 : DI AG RA M O F C L I MAT E S YS T E M O F T H E BU I L DI N G I N SU M M E R B Y C H AO J U N G C H A N G F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 7 3 : DI AG RA M O F P O LYCA R BO N AT E PA N E L B Y C HAO J U N G C HA N G F I GU R E 74 : BU I L DI N G FACA DE F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2011) F I GU R E S 7 5 -76 : S I T E P L A N S F RO M GOOG L E I MAG E B Y A N N A T O F T F I GU R E S 7 7 -7 9 : RUAU LT, P. , 2 00 9 . F RAC DU N K E RQ U E . [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. A RC H DA I LY.CO M / P H O T OG RA P H E R / P H I L I P P E - RUAU LT ? A D _ N A M E = P ROJ E C T S P E CS & A D _ M E DI U M = S I N G L E > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

F I GU R E 8 0: F RAC DU N K E RQ U E E DI T E D S E C T I O N B Y A N N A T O F T F I GU R E 8 1 : VASS A L , L . , 2 00 9 . L ACAT O N & VASS A L . [ O N L I N E ] L ACAT O N VASS A L .CO M . AVA I L A B L E AT: < H T T P S: / / W W W. L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 6 1 > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] .

F I GU R E 8 2 : N A N T E S SC H OO L O F A RC H I T E C T U R E E DI T E D S E C T I O N B Y A N N A T O F T F I GU R E 8 3 : L ACAT O N A N D VASS A L , 2 0 1 0. N A N T E S SC H OO L O F A RC H I T E C T U R E . [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. L ACAT O N VASS A L .CO M / I N DE X . P H P > [ ACC E SS E D 1 4

24

25

142

Appendix | Extra Process Work

P ro c e s s s k e t c h e s o n c o n c e p t s , c o n s t r u c t i o n , a n d l a y o u t o f t h e p a v i l i o n - a n i n t e re s t t o w a rd s o p e n f r a m e c o n s t r u c t i o n s 143

Early pavilion iterative model on site - testing forms on site 144

Appendix | Extra Process Work

Sketches of initial massing ideas on site

145

146

Appendix | Extra Process Work

Iterative sketches on access and and arrangement

I n i t i a l ro o f s c a p e s k e t c h e s Roof lighting and water system

147

148

Appendix | Extra Process Work

E a r l y p ro g r a m m e s e c t i o n d r a w i n g s Considering the layout, interplay of levels, and access

149

150

Appendix | Extra Process Work

1

M o re e x p l o r a t i o n o n s p a t i a l a r r a n g e m e n t s

2

3

4

Short sections

E x p l o r a t i o n s o n h o w t h e s t r u c t u re g r a d u a l l y d e s c e n d s i n t o t h e t o p o g r a p h y

151

152

Appendix | Extra Process Work

M a i n a re a s o f c i rc u l a t i o n - u n d e r s t a n d i n g t h e f l o w ( Te s t i n g v i s u a l re p re s e n t a t i o n )

153

154

155