Hana Baraka Portfolio by PDF Uploads

CITY U I N

H A N A

B A R A K A

P O R T F O L I O

A R C 3 0 0 1

C I T Y

R U I N S

N E W C A S T L E

U N I V E R S I T Y

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S T A G E

CONTENTS I L L U S T R AT E D R E F L E C T I V E D I A RY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

RUIN LUST (FRAMING) ...........................................

CITY GRAIN (FRAMING) .........................................

CITY BUILDING (TESTING) .......................................

CITY THRESHOLD (SYNTHESIS) .................................

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THINKING THROUGH MAKING .................................

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APPENDIX ............................................................

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C U LT U R A L B I B L I O G R A P H Y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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T H E M AT I C C A S E S T U D Y R E P O R T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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B I B L I O G R A P H Y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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GROUP WORK NEW WORK OR MAJOR CHANGES SEEN IN TECH

IL L U S T R A T ED R E F L E CT IV E DIA R Y

My choice of the studio City Ruins stemmed from a growing interest in conserving and developing rather than demolishing. Interlacing the design with historical narrative and a sense of place without isolating it in time. The Collective Studio for Internationals is the design I proposed for the studio. The design utilizes, alters and adds onto a ruin (uptin house), to create a Live/Work space for 15 early international practitioners, and space for the wider public. The importance of creating space for the wider public was elevated after writing the Professional Practice essay, and finding more about the site and its role in the ‘Core Strategy and Urban Core Plan for Gateshead and Newcastle upon Tyne’. I think that the proposal would positively impact its surrounding context. Planning documents have been put in for the demolition of the Uptin House to be replaced with more student accommodation which received major uproar from the community. My proposal suggests a much more sympathetic approach, respecting the existing historical building and nurturing the arts and culture community of Ouseburn. Through the years I have developed a crucial method of practice, which is highly interlaced with creating a narrative. Both my Theory into Practice and Dissertation modules had a strong connection to narrative. My dissertation revolved around the power of myths more particularly, it was a critique of Architectural Narrative through a Feminist Lens. Through my dissertation research and writing I developed a way of creating narrative, as well as analyzing it through different perspectives. Consequently the way I designed The Collective Studio Internationals, was in the form of creating a narrative. Honing in on the users, their backgrounds, and how that would influence their experience of the space. But also focusing on the wider aspects like the site and the history of the building ruin, which informed my design, staring with the bigger elements of the building form, to the smaller elements such as creating a pattern with the cladding of the facade.

THE ROSE BUILDING, RALPH ALLEN SCHOOL, BATH FEILDEN FOWLES

Below The steel walkway and stair, which is supported by the facade, during the construction phase

1. Glulam tapered beam 2. Suspended steel balcony and stair 3. Cross-laminated timber frame

The desire of creating narratives which was fostered by the two pieces of writing also led me to read and watch interviews from “Inside the painters studio” by Joe Fig, who spoke to artists of different backgrounds and how they viewed their studios. This gave me a sense of what artists look for in their studio spaces. A more specific example of this is my addition of the three wall openings between the studios, bringing in more indirect light, which was heavily sought after in the interviews. Upon reflection, I could have referred back to these interviews more often as I feel it could have created an even strong understanding of the users needs. 1

I have really enjoyed the cross over of the models, I feel it has helped me understand the process of designing significantly better, and increases my confidence in every element and its purpose. 2

Creating a sheltered path around my building was one particular element that was aided by other models. The external walkway was a major challenge during ARC3013. It was difficult to find CLT precedents which combined such a large external walkway to its structure. However, the Rose Building by Fielden Fowles, was a great point of reference. This structural strategy proved to be not only structurally sound but it also created a unique variation to the facade.

ALL IMAGES: FEILDEN FOWLES

Axonometric

Another example of how different aspects of my project informed each other was the choice of materials, particularly CLT. The exposed CLT walls in the studio spaces was an effective example of biophilic design, leaving a clean slate for the artist to experiment with. Remaining exposed, the CLT cuts down on a large amount of plasterboard, and makes it easy to recycle at the end of the buildings life cycle. AJSPECIFICATION

I feel this year has been a turning point in my Architectural education, and if i had to dedicate two reasons for that change, they would be my studio tutors and an increase in my self confidence. My graduation project is a culmination of everything I have learned throughout the year both as part of the modules and outside them (cultural bibliography). Going on this one academic year long design journey has given me invaluable experiences and knowledge which I will hopefully carry forwarded into my career path.

CIT Y R U IN S

City Ruins is a studio that asks students to engage with ideas concerning context, historical narrative, and materials to create comprehensible lasting architecture. With reference to author Rose Macaulay who writes of the complex historical, political, and emotional associates we as humans hold with ruins. The studio uses sites occupied by ruins, viewing them through a romanticised lens, otherwise known as ruin lust. The importance of perserving the ruins, creates the basis of a design which joins the existing with the cotemporary. A strong emphasis is placed on narrative and spatial complexity, the studio encourages working through a process of research rather than invention. Investigating the work of others (whether it be writers, artists, or architects), and learning from their process. In doing so I have proposed The Collective Studio for early international practioners, as part of a wider initiative to expand the arts and culture scene of ouserbun.

RUIN LUST FRAMING

“A ruin needs ruining nature. Nature gives it a shape, and it gives nature a shape.” The Aesthetics of Ruins- Florence M. Hetzler

The Woodmen 2018 - Abigail Reynolds

London based artist who uses her interest in books to curate collages with old and new photographs, forming a different narrative to their initial intention

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The focus on this work was the process rather than the outcome. I gathered scrap paper/letters and placed them outside, over the course of a week I watched as nature took over. Some flew and became part of a pile of miscellaneous leaves, while others fell to the side of the stairs, somewhat sheltered, slowing down the process of nature.

I then took one piece of paper in on each day, slicing it and piecing it to form a collage with the other effected pieces. I see these pieces of papers as ruins which have all been effected by nature over time, even though they weren’t necessarily connected to begin with, they have now become one in my collage.

Crossing Boundaries- Ana Teresa Barboza

In some of her recent works, Ana Teresa Barboza tracks the movement of plants with time-based embroidery. She begins by projecting light onto plants in her studio, casting shadows onto a wall behind them. The artist traces these shadows each day, recording the movement and growth of the plants.

Using a deconstructed hummus put, I created an embroidery ring, with which I embroidered an old fabric. I used the picture I had taken of the city ruins, and every day I would embroider a bit of nature taking over in a slightly different shade of green, to show the effect of passage of time.

Connecting ruins with nature, this is a bit too literal, below I go through various iterations to abstract it further

Colour palette representing nature, seeping into a solid form

Twigs holding two forms that were initially one, together

Three separate forms showing a time lapse of nature taking over

Perforations

Nature concealing a Ruin

Solid Material

Nature completing form

The ruin has now given nature its shape

“A ruin needs ruining nature. Nature gives it a shape, and it gives nature a shape.” The Aesthetics of Ruins- Florence M. Hetzler

The cube is intended to represent a man made structure, whilst the leaves represent nature. Therefore, the ruin as seen here, gave shape to nature. I chose the cube as a form, as I felt it was the least organic form found in nature which meant it will be highly recognizable as a man made object once the nature had taken shape around it. I was very pleased with this outcome as it really speaks for itself without being overly complicated.

CITY GRAIN FRAMING

“I would have not been able to imagine the beauty that lies behind” The theme of nature that arose from my Ruin Lust piece became a grounding feature through the entirety of my project. During the City Grain (framing stage) I investigated how I could use my site and the pre-existing building to create a link between nature and the man-made context on the other side. My concept aimed to look at the nearby context of Ouseburn and the history of Newcastle for: form, roof scape and architectural language inspiration. I took on the challenge of keeping most of the ruin’s structure intact to maintain the historical narrative of the local area. Upon reflection I believe this was a successful choice as the outcome sits harmoniously within its context. This is the story of how a ruin nestled in nature will become the home to The Collective Studio for International Practitioners.

OUSEBURN - STEPNEY ROAD

Site Photos

UPTIN HOUSE - STEPNEY ROAD - NEWCASTLE UPON TYNE - UK

Having already looked at nature in my art pieces, I was more aware of the connections between it and the site. The nature surrounding the site is currently hidden behind the buildings. I aim to create more of a direct link between Stepney road and the nature behind whilst still maintaining the element of surprise as you reach the main green space behind.

The nearby buildings are of a smaller scale, I therefor wish to maintain the current city scape, by not introducing any over powering buildings, in terms of height and form. There is also a recurring theme of pitched or mono-pitched roofs which I wish to respect.

Home to Sheildfield Boarding School till 1937, this now Uptin Building still stands, almost unchanged (named after the occupants Uptin Motors who moved in 1988). Recently a planning proposal submitted to demolish it completely for a student accommodation take its place. This proposal however was not taken lightly by the locals, who deem the uptin motors building a vital part of the city scape and community.

“For a side street, there was plenty of hustle and bustle, mainly students on their way to pubs or on their way back from the nearby shop. The building stands in front of me, a window suddenly opened, a younger guy calling loudly for his friend Alex. Assessing the now empty windows they show the signs of the time, with the odd glass panel replaced by a shopping bag or a used pizza box.”

I wondered what else is inside... I would have not been able to imagine the beauty that lies behind if I hadn’t ventured back. So much nature, mostly over grown but still contributing so much character.”

TESTING

OPEN CALL ! OPEN CALL ! OPEN CALL! EVENTS

MENTORING

WORKSHOPS STUDIOS

OPPORTUNITIES

THE COLLECTIVE STUDIO 10-month Development Programme FOR EARLY-CAREER PRACTITIONERS

OCTOBER 2020 AUGUST 2021

‘The Collective Studio’ in Newcastle, gave me a great starting point for my brief. TCS is “a development programmed for early-career artists and/ or recent graduate artists and creative practitioners.” They provide affordable workspaces and studios which coincide with a range of educational, collaborative experiences. The development is run by the The New Bridge Project in partnership with Newcastle University and its Institute

for Create Arts Practice. Located at Carliol House (holding over 80 artist studios) and a building on the high street in central Gateshead (20 artist studios), the development holds great importance in the artist scene.

TESTING

Having researched ‘The Collective Studio’, I started thinking of ways I could expand on what they currently have. I therefore propose a live/work art collective, for international early practitioners looking for place to explore and expand their knowledge without having to settle down just yet. A cultural hub which offers a temporary experience yet immediately connects like-minded individuals.

TESTING

Si Rong Xu

Oliver

Malak

Odelle

Ahmed

Aurelia

I will be keeping the facade, the two towers, and the form of the main body, however I will be splitting it through the middle to allow for direct movement from the street to the nature behind

Reminiscent of the old Tyne bridge, where smaller clustered forms are housed in between higher towers, I wish to experiment with varied roof scape’s as well as the height difference between the current structures (two towers + existing main building) and the proposed additional design.

Hortus Conclusus ProposalElefsina, Greece Administration Building Leonidas papalampropoulos and Georgia syriopoulou

Madison HouseMadison, Wisconsin Residential Thomas Phifer and Partners

https://www.dezeen.com/2013/04/02/madison-house-by-thomasphifer/ 54

Iterations of the existing nature giving the new form a shape:

Hortus Conclusus Latin for ‘enclosed garden’, a garden within a garden.

Following through with my reference of Hortus Conclusus I started off with mapping where the main route would be which would take a visitor through the building as well as my Hortus Conclusus. Mapping this also gave me an idea of where the public and private programs would be.

Public Private

C I T Y BU I LDI N G TESTING

Conserving Nature and Responding to the Context Building upon my earlier investigations of a ruins link with nature, and the importance of preservation, I continued to test out and develop the building form in conjunction with programmatic strategies. A variety of precedents ranging from architecture to art helped me establish a well grounded proposal. I also took an alternative route of development which I felt was encouraged form the start with the Ruin lust piece. Where I created small vignettes of views I could image the proposal to include. This method of working proved to be very enjoyable and I wish to continue implementing it in the future.

Mirroring the existing mono-pitched main building to the other side, and creating an under passage as well as fully enclosing the Hortus Conclusus makes it successful. However, for future iterations I am considering simplifying the roof scape further instead of using a variety of roof types.

Investigating massing, arrangments and pitched roofs

Vertical Circulation

External Vs Internal Horizontal Circulation

Responding to the Slope

Public- Wider Community Semi-Public- Community of Early Practitioners Private- Individual Practitioner

Maintained Nature

Courtyard

Brick Work Cladding Pitched Roof

Existing Building New Build

Creating a Sheltered Path Around The Collective Studio

Sigurd Lewerentz- Flower Kiosk

Caruso St John- Gladstone Library

Feilden Fowles- Rose Building

The suspended external walkway will be supported by the metal ties attached to the steel triangles to the roof, it will also be supported by glulam beams to the CLT structure. The overhang of the roof will shelter the external walkway, and the walkway itself will create a sheltered path underneath it.

Serpentine PavilionLondon, United Kingdom Ladscape Design by Piet Oudolf

Dutch Painter Ambrosius Bosschaert Still-Life Painting

Inspired by Piet Oudolf’s Serpentine Pavilion gardens and reminiscent of the old flower vase paintings which even though a bit disheveled and some showing moths and caterpillars create a beautiful composition, I explored the use of planting in the courtyard to create harmony between the overgrown nature at the back of the site and The Collective. This also allows all residents to benefit from views out onto nature.

Units

Hierarchy

Circulation

Additive & Subtractive

Symmetry

Plan to Section

SYNTHESIS

SYNTHESIS I created these pastel drawings, to situate my building in its context you can see here the proxemity of the bridge and the smaller establishments, and how the building fits the language of the area with its roof scape and architectural language.

SYNTHESIS

SYNTHESIS 88

Visualizing the journey through The Collective Studio

I created these small vignettes to help me explore the spaces and their atmospheres before grounding them in floor plans and sections. This back to front way of working insured that my narrative took priority when creating spaces.

I wanted to use the existing building to create a welcoming entrance that fits the language of the scheme. The towers create a unique roof scape, and shape in the plan, which I decided to take further in the shape of my entrance. This octagonal shape was also implemented on the first floor as a bridge connecting the two sides of the existing building after being separated.

View from the Connecting Bridge

Development of the Entrance

Halving the shell of the existing structure creates a path which directly leads into the hortus conclusus. It also takes the visitor on a journey of scales, you enter and the larger trees with the open roof make you feel small, then walking underneath the bridge connecting the two structures you feel a lot larger-enclosed in a small space, this then heightens the grandness of the nature to follow of the hortus conclusus.

Process of Sections

SYNTHESIS

COMMUNAL KITCHEN AND DINING AREA

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SYNTHESIS

PRIVATE LIVING SPACES

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SYNTHESIS

WORKSHOP

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CITY THRE S H O LD SYNTHESIS

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The Collective Studio for Internationals came as a result of the collection of themes and methods explored thus far. The themes of nature and importance of ruins identified in the Ruin Lust phase are presented in all aspects of the design. The courtyard carries great importance and is celebrated in every output to a certain extent as it forms the centre of the proposal as well as create that visual harmony between the surrounding context and the building. The proposal creates a balanced dynamic between the public and private spaces, establishing an interesting journey for the users. The uproar which occurred with the proposition of demolishing the uptin house and its notable tower, was why I began to delve deeper into paying an ode to the ruin. This was in the hopes of creating a proposal which gives back to its vibrant community.

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Thinking Through Making

For my thinking through making piece, I explored recycling the bricks leftover from the partial demolition of the uptin house. This could create variations in colour as shown in my piece on the right, which uses ground coffee and cornstarch to represent recycled bricks with 40% new added material. However, having consulted with the engineers, it became apparent that using the bricks from the demolition for brick slips would be more efficient, and would still pay an ode to the ruin, and respond to the surrounding context which is predominantly brick built.

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Thinking Through Making

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Pensthorpe Wildlife and GardensPensthorpe, Norfolk Play Barn Adam Khan

Know for his richly textured facades, Khan applied a grid of 50mm holes where insects could take residence. I was inspired by the level of detail yet simplicity achieved in Khan’s facades and wished to explore this level of detail in ‘The Collective Studio’s” facade.

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Sou Fujimoto Architects Casa N en Oita House N, Oita Oita-shi, Oita, Japan, 2006-2008 House-N-3

The tower on site and its battlements were my main inspiration for the cladding. Our studio City Ruins delves into the theme of timelessness. Therefore, I wanted to create a subtle contemporary ode to the ruin. This took form in the pattern of the facade, as well as some of the roof details.

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Cladding

Roof Scape

Entrance Design

Design response to the prominent tower existing on site and its battlements

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Facade Process Work

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PRIVATE WORK SPACE

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By exposing the CLT walls, I wish to create a visual link between the tones of the facade and the interior space.

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AXANOMETRIC OF THE COLLECTIVE STUDIO (INTERNATIONALS)

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A PPEN D IX

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Additional Process & Development Work

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Public

Private

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Creating shared circulation space to get to the units

Iterations of the resident living and working spaces

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Elevation Process

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Sheltered Route Process

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Render Itterations

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CULTURAL CU LT U RAL BIBLIO GRAPHY BIBLIOGRA-

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This year has been unorthodox to say the least, with covid having a significan impact on the exposure of content that we could have gotton. Having said that, my stay at home has allowed more time and space for extra curricular activities which I would have normally not explored further.

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One example is perusing my hobbies further. Creating art using various mediums. This started of as a challenge in October (Inktober), where I would create a drawing using a prompt list for everyday of the month. I had not initially thought this would have a direct impact on my portfolio, however I feel it has strongly benefited how I express certain ideas and represent my work. At times it became slightly overwhelming as I wanted to create through so many techniques and styles, however with the help of my tutors I was able to establish representation styles that worked in harmony together.

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Even though I was not able to go back to my home country this year, I was able to spend a month in Germany. With a full lock-down in motion, I wondered through the empty streets of Frankfurt to capture some photos of the incredible facades. This was not only a great way to brush up on my photography skills but was also beneficial to our studio City Ruins which delved into the design of the facade.

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The process of designing and creating a narrative is not too dissimilar from writing books. Which is how I found inspiration in reading a variety of genres through this academic year. These books influenced my process of design, as well as my way of presenting. The Muse by Jessie Burton, had an artistic character based in Trinidad called Odelle. During the testing and synthesis review, I took the viewers on a day in a life of Odelle who I had imagined had come to The Collective Studio International. I created a journey though the plans/building from her perspective, same way as I would find the authors of these books doing (taking me on a journey.)

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

Craftmanship

Philip Russell

Instead of using straight, static columns, typical in a modernist design, a hand-twisted column is used. This provides not only a visual purpose, but enhances the idea of the spatial dimension. This craftmanship, seen extensively throughout the Apartment Along a Party Wall, was required to specifically express the building. The care and attention in the details of the building create a sense of work, and its form is honest, not hiding away its structure, corresponding with this. This enhances the meaningfulness developed with these spaces. The relationship with the space becomes more personal and intimate.

Figure 7

Figure 8

Figure 9

Figure 10

As a collective the year created a bank of knowledge in the form of thematic case studies. The following case-studies some which I attended the presentation of and others I read through, gave an insight on a variety of design perspectives. Even though not all were directly linked to my design journey they offered a clear and concise sample of precedents. It was also interesting to see how different groups presented not only visually but verbally, creating a learning experience. During the synthesis phase it was helpful to refer back to my groups thematic case study, the language of the building and the external walkway specifically was something I carried into The Collective Studio’s design.

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

Sergison Bates Case Study Urban Housing Vienna, Austria 2013 CASE STUDY

HOUSING IN MULHOUSE BY LACATON &VASSAL

Wohnheim Sargfabrik BKK-2 Architects Co-Housing Vienna, Austria

Studio 1 A Manifesto for Housing Thomas Adams Alexander McCall Samuel Hare Eleanor Jarah Dawei Zhao

Terrassenhaus

Brandlhuber+ Edme, Burlon and Muck Petzet Architekten Berlin 2018

City Ruins ARC 3001 2020-21

n ’ s

Thematic Case Study Kate Macintosh East Dulwich London

SERGISON BATES ARCHITECTS SUBURBAN HOUSING ZURICH 2019 ARCHITECTURAL THEORETICAL POSITION

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CULTURAL TH EMATIC CASE S T U D Y BIBLIOGRA-

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

Courtyards

Exisiting Buildings

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

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

Isobel Prosser

Benoit Rawlings

Figure 2

Isobel Prosser

Figure 4

In this way, the building connects with the existing structures surrounding it, but is also clearly a newer intervention. “Herzog & de Meuron’s buildings do not simply reflect and absorb their surroundings in a naturalistic way… but rather differ from them, comment on them, remember them, even transform them in such a way that they will never be the same.”

Figure 1

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

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

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

Figure 3 Figure 5

Furniture

Two Layers

Isobel Prosser

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

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

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

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

Figure 6

Figure 9

Figure 10

Layering the façade softens the physical and visual transition between the external courtyard and internal apartment building. This contrasts with the flat, opaque façades of the buildings surrounding the courtyard, emphasising the medieval structures. As such, Apartment Building Along a Party Wall respectfully reflects its surroundings without imitating them or trying to appear as though it’s the same age.

Figure 11 Figure 8

Spatial Facade Concept

Wood Turned Column Detail

The facade of the apartment building extends from the existing wing with a platform jutting out from it on each level. These platforms, supported by columns, provide depth to the facade. Therefore, the facade becomes a spatial dimension of varying depth across multiple layers and levels between the internal apartments and the external garden.

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

Benoit Rawlings

Figure 7

Party wall Timber columns Extended wing direction

Spatial dimension Figure 2

Ground Floor Plan 1:200

Party wall

New walls

Existing walls

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

Figure 1

Figure 3

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Benoit Rawlings

Steel frame structure supporting roof

Timber frame structure on first two levels

Facade elevation 1:200 with shutters open

Perspective section showing structural frame

Facade elevation 1:200 with shutters closed

Figure 6

Figure 8

Figure 5

Figure 7

Roof

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

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

Philip Russell

Jiwoo Kim

In Basel, the summers are warm, the winters are very cold, and it is partly cloudy year round, so oak panels cladding is the better choice than using other materials because it can withstand cold, wind and rain, especially when properly positioned and maintained. Efficient insulation from wood cladding and shingles also reduces dependence on building heating and cooling systems and promotes environmentally friendly energy use.

Timber cladding is effective for both heat and sound insulation, trapping in heat and ensuring that the sound does not escape. Better for heat retention than for concrete, steel and aluminium, wood cladding is both functional and aesthetically ideal for making structure looks like a piece of furniture.

Jiwoo Kim

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

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

Benoit Rawlings

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

Material Selection and Structure The structure of this building is formed of a combination of steel and timber. The first two levels consist of a timber structure, a material choice inspired by the old timber sheds which share the same courtyard. The timber structure and cladding were used so that the building could express itself like a wooden box, or piece of furniture such as a cupboard in front of an existing wall. The attic storey of the building has a steel structure and a continuous layer of glazing, an independent configurational element which allows for increased natural light into this more private floor.

Figure 2

Figure 1

Figure 3

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

Foundation Support

A third floor was placed at the top of this wooden box called permanent wood foundation (PWF) or support, reaching above the partition wall (figure 7). It retains the rhythm of the panels and the columns, and the architects want the plan and height alignment with the existing wall to produce unity in the facade. A permanent wood foundation (PWF) is an integrated building device that utilizes loadbearing external light-frame walls in a low-grade application. The PWF consists of a stud wall and a base substructure, constructed of approved preservative-treated plywood and lumber, which supports an oversized superstructure.

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

Jiwoo Kim

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

THEMATIC CASESTUDY Figure 8

Figure 4

Figure 9

Figure 7

Philip Russell

Figure 5

Figure 6

Representing Space

The Spatial Dimension

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

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

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

Figure 1

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

Figure 2

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

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

Figure 4

Figure 3

Figure 5

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Figure 6

Philip Russell

This craftmanship, seen extensively throughout the Apartment Along a Party Wall, was required to specifically express the building. The care and attention in the details of the building create a sense of work, and its form is honest, not hiding away its structure, corresponding with this. This enhances the meaningfulness developed with these spaces. The relationship with the space becomes more personal and intimate.

Thematic Housing Typology 11 Hebelstrasse Apartment Along A Party Wall Herzog & de Meuron Figure 7

Figure 8

Figure 9

Figure 11

Figure 12

Philip Russell

Everyday Life “We think, and of course we hope that our work at least tries to appeal to life, and to liveliness, it appeals to the five senses. There are critics who look at our work and only see tasteful facades and Cartesian form and call it conservative. That is something we cannot understand! These are stale judgments. They think in conservative categories, such as: square is boring, or solidity is old fashioned. With such a way of thinking you cannot have access to our architecture, which avoids entertainment and spectacular gestures. At the limit, we believe that architecture should merge more with life, to merge the artificial and natural, the mechanical and biological.” As a result from this different way of representing and imagining space, Herzog & de Meuron have been able to create an environment which ultimately creates pleasure in everyday life.

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

11 Hebelstrasse Apartment Along A Party Wall Herzog & de Meuron Thematic Housing Typology Isobel Prosser, Benoit Rawlings, Jiwoo Kim Philip Russell, Hana Baraka Figure 13

Figure 14

Figure 15

Figure 10

Related Case Studies

Apartment Building Along Party Wall. Basel. 1988

PartyBuildings Wall Exisiting

TheHow ‘Apartment Building along a Party Wall’, does Apartment Building Along could be said be timeless,to byanviewing a Party Wallto contribute ongoingthe building you could mistake it for dialogue with the surrounding city?one which was built today. The choice of oak, and steel and very minimal concrete, could be taken as The a sign a better architectural cityfor block on which Apartment future, Buildingone which consistently hopes maintain the use of Along a Party Wall sits istostructured around sustainable (Figure 2) a series materials. of courtyards divided by walls (Figure 1). On the other hand of the spectrum, the Kreuzberg Tower and Wings designed by the As the name suggests, Apartment Building American John sits Hejduk is a sign Along aarchitect Party Wall against one of of its time. (Figure 3+4)walls, Located closeistoshared Checkpoint these dividing which by Charlie, the towerbuilding proposes clear representation an adjoining inathe neighbouring of courtyard. the postmodern buildingsthe of organisation its time-1988. This maintains Using as with the a main with of theconcrete courtyards, similarmaterial footprint to green shapes it attached the facade, the geometric low-level building replacedto(Figures 2 conveying and 3). . an aura of melancholy. (Figure 5) The tower’s functioned as low to middle income housing units, with the main tower comprising of a living area on the lower level and a loft-type artist’s studio on the upper level.

AsMost aforementioned, ‘Apartment along of the city block consist Building of medieval a Party , continues the grain the of the existing stoneWall’ buildings, particularly row of courtyard. TheApartment medieval stone structures houses that Building Along aare celebrated andis used as the vital backbone Party Wall adjacent to (Figure 5). Baselofinthe linear apartment complex. (Figurearchitecture, 7-10) general has a lot of historical with many buildings predating the 20th “It century, is excitingso for aus to dealintervention with existing structures new should because the attendant demand a very be sensitive to the constraints age of the architecture different kind ofit. creative energy. In the future, surrounding this will be an increasingly important issue in European cities. You cannot always start from Herzog & de Meuron took inspiration from scratch. ” - Herzog & de the wooden sheds onMeuron the site and designed a primarily wooden structure that emulates This statementmedieval goes hand in(Figure hand 4). with the a traditional stable following precedent, designed by Spanish architect Ferrando. In this Josep way, the building connects with the existing structures surrounding it, but is Concealed behind a historic facade is the ‘176 also clearly a newer intervention. House E+M’. Wedged between two party walls, the“Herzog house measures to be lessbuildings than 6 meters wide. & de Meuron’s do not This non-obstructive approach taken by the simply reflect and absorb their surroundings architects was in keeping the rather house’sdiffer historic in a naturalistic way…ofbut surrounding is home to the medieval from them,which comment on them, remember monastery. (Figure 11) them in such a way them, even transform that they will never be the same.” With the street facade unchanged, the new concrete block lies behind resolving the complex conditions of the context and site (Figure 12). The interior of the concrete house, is an assemblage of laminated wood panels which provide a warm atmosphere, adapt to the openings of the preexisting facade and the topography of the site, one which raised another obstacle since the street levels on either end of the house are different.

In 2010 renovation plans were set for the building, where they would alter the building’s facade. (Figure 6) This however, raised a lot of negative attention, encouraging the reconsideration of the the importance of the building. Consequently, this saved the building from the controversial change, and instead the only renovation which will occur is to the surrounding gardens, which were designed by Hejduk, but never realized.

Figure 1

Materiality:

Figure 3

Materiality:

Figure 4

Figure 1

Figure 2

Wood-Oak

Steel

Figure 5

Concrete

Copper

Concrete

Existing Courtyard

Party Wall

Medieval Monastery Figure 4

Party Wall Building Axonometric

Figure 11

Site Plan

Figure 12 Figure 7

Figure 8 Figure 2

176 House E+M. Barcelona. 2014

Front: Exterior Historical Facade

Back: New-Build Facade

Party Wall

Figure 9

Figure 10

Figure 3

Figure 13

Figure 14

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

Two Layers

The&existing partystrive wall that the building has Herzog de Meuron, to allow the structure been inserted in front of is of to become the driving force ofthe thebackbone design. One the design (Figure 6). Yet the structure has key element of their apartment building in Basel the appearance of being simply placed is the exposed circulation connecting all on the the site like a(Figure piece of furniture against a resident together. 16+20) wall (Figure 8). This appearance is aided by the building beingan raised off of ISA’sthe usebase of of circulation is also interesting the ground and completely from approach. Philadelphia’s urban separated renewal era left the asmall steps thatthelead to urban its entrance behind cut through city’s fabric. (Figure 7). Chinatown was one of the neighborhoods disconnected by the expressway significantly. ISA further emphasises suggestionforthat wereThis challenged by the task the of deigning the Apartment Building Along a Party is oddly shaped leftover strip of land whichWall would stable-like structure has abeen added haveabeen otherwise left to that become parking lot. to the (Figure 21)adjacent buildings. Additionally, this maintains the impression that the building is simply object placed against the XS house placedanseven apartments, rejuvenating party wall, when it is density. in fact deeply rooted the plot and adding urban To make up for into the ground 6). Moreover, the the 152m thin space,(Figure the architects got creative impression makes it clearand that withfurniture the strategic use of bays, mezzanines biAlong a Party required Wall is levelApartment upper units.Building These units ultimately a newcirculation intervention surrounding spacious toagainst allow the all residents use. buildings. This medieval was achieved through allowing access to the upper units from the common stair, while the lower ones access directly through the street. (positively increasing foot traffic on vine street). The expanded tree like approach to the circulation emphasized vertical living, whilst maintaining a sense of community. ( Figure 22)

Inhabitation

Figure 21

Site Map Figure 6

Inhabitation

Figure 16

Building Circulation Plan

Figure 17

Figure 9

Figure 10

Building Circulation Section Figure 21

Circulation Building Circulation Section

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

IH s oa bneal BPar roasks ae r

IsH o ba enla PBr ao rs as ke ar

XS House . Philadelphia . 2019

Circulation Furniture

Circulation

Figure 15 Figure 5

Apartment Building Along Party Wall. Basel. 1988

In-between Two Party Walls

IH s oabneal BP ar ro as ks ea r

I sH o ba en la PBraorsaske ar

Kreuzberg Tower . Berlin . 1988

Apartment Building Along Party Wall . Basel . 1988

TimeCourtyards and Materiality

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

Figure 18

Figure 19

Figure 20

Figure 22

Figure 23

Figure 24

Figure 11

Figure 8

Figure 7

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

Studio Specific Criteria Spatial Facade Concept

Wood Turned Column Detail Courtyards

Benoit Rawlings

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

Related Case Studies

Spatial dimension

Ground Floor Plan 1:200

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

Figure 2

Party wall

New walls

Existing walls

Platform

Isobel Prosser

Figure 2, 6, 9: By Author - Jiwoo Kim Figure 4: ‘Sobrecegueira’, Sobrecegueira <https://sobrecegueira.tumblr.com/post/183052333572/apartment-building-along-a-party-wall-basel>

Benoit Rawlings

These platforms, supported by columns, provide depth to the facade. Therefore, Enviromental the facade becomes a spatial dimension of depth Building across multiple layers Figures 1, 3, 5,varying 7-8:“Apartment along a Party Walland by Herzog & de Meuron (677AR) — Atlas levels between<https://www.atlasofplaces.com/architecture/apartment-building-alongthe internal apartments and of Places”. Atlasofplaces.com a-party-wall/>the external garden.

How does on Apartment Along The detail the facadeBuilding which enables athisParty Wall contribute an ongoing expression of depth to is the column dialogue with the city? which repeats andsurrounding extends throughout the facade transferring the load down to the foundation. Oak columns, which decorate The city block on which Apartment the first two levels of the facade, Building required Along a Party craftsmanship Wall sits is structured considerable as theyaround were awood seriesturned of courtyards divided walls to produce their byelegant, (Figure 1).shape. The form of the columns cigar-like was not only necessary for the building’s As the namebut suggests, Apartment expression, also provided moreBuilding tension Along Party column, Wall sitstherefore, against one of than a astraight giving these dividing walls, which layer. is shared by more resistance to the facade an adjoining building in the neighbouring courtyard. This maintains the organisation of the courtyards, with a similar footprint to the low-level building it replaced (Figures 2 and 3). .

Party wall Timber columns

Figure 1

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

Figure 1

Figure 3

Figure 2

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Figure 3

Figures 1, 3, 5, 7: “Apartment Building along a Party Wall by Herzog & de Meuron (677AR) — Atlas The facade <https://www.atlasofplaces.com/architecture/apartment-building-alongof the apartment building of Places”. Atlasofplaces.com a-party-wall/>extends from the existing wing with a jutting out Rawlings from it on each level. Figures 2, 4, 6,platform 8: By Author - Benoit

BIBLIOGRAP HY

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