portfolio
design olga karchevska semester 2 2021
contents arb criteria and revised work 01 critical introduction building project
02 urban intervention
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declared design
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Interconnected Pathways Experiential Moment Fori di Augusto Experiential Moment Subterranean Fountain Experiential Moment
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03 via dei fori imperiali site context
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Site Location Via dei Fori Imperiali Site Location Archaeological Excavations Contemporary Excavations Alessandrino Quarter Alessandrino Quarter Historical Occupancy Existing Site Plan Site Context Historical Site Context Mapping Subterranean Structures Excavation Process Alessandrino Quarter Excavation Process Forum of Caesar
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04 roman concrete material composition
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Porticus Aemilia Roman Concrete Porticus Aemilia Precedent Analysis Spolia Material Composition Precedent Analysis Concrete Construction Methods Material Tests Concrete Construction Methods Material Test 01 Concrete Construction Methods
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05 programme site constraints
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Monti Neighbourhood Spatial Inhabitation and City Life Programme Collage Spatial Connections Spatial Requirements Programme Specification Site Constraints Design Development 9 Square Grid Exercise Design Development
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06 pottery studio design development
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Concrete Casting Process Conceptual Pottery Studio Moment Model Conceptual Moment Model Pottery Studio Materiality Pottery Studio Precedent Analysis Pottery Studio Design Development Louis Kahn Precedent Analysis Pottery Studio Design Development
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07 restaurant space
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design development
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Richard Serra Precedent Analysis Restaurant Space Design Development Peter Cook Precedent Analysis Artists’ Studio Design Development Le Corbusier Precedent Analysis
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Restaurant Space Design Development Tadao Ando Precedent Analysis Restaurant Space Subterranean Structures
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08 gallery space design development
The Guggenheim Museum Frank Lloyd Wright Gallery Space Design Development Aldo Rossi Precedent Analysis Gallery Space Design Development
09 final plans design resolution
Ground Floor Final Plan Subterranean Level 1 Depth –1.5m Subterranean Level 2 Depth -4.8m Subterranean Level 3 Depth -7.0m Roof Plan Final Plan
10 rooftop view design resolution
11 long section
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103 103 105 107 109 111
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design resolution
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Short Section Resolution
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12 technical details design resolution
Sverre Fehn Hedmark Museum Peter Zumthor Kolumba Museum Retaining Wall Detail Technical Design Development Composite Wall Detail Subterranean Structures Skylight and Concrete Roof Detail Technical Detail Pottery Studio Experiential Moment Pile Foundations Technical Detail Concrete Structure Technical Detail
13 experiential moments design resolution
Gallery Space Experiential Moment Restaurant Experiential Moment The Painters’ Studio Experiential Moment
14 bibliography
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arb criteria
mapping of arb general criteria The work within this portfolio has been matched to the ARB criteria. This has allowed me to track which criteria I have met and the areas I need to develop next semester. GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. .1 prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; .2 understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; .3 develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user. GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. .1 the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; .2 the influence of history and theory on the spatial, social, and technological aspects of architecture; .3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach. GC3 Knowledge of the fine arts as an influence on the quality of architectural design. .1 how the theories, practices and technologies of the arts influence architectural design; .2 the creative application of the fine arts and their relevance and impact on architecture; .3 the creative application of such work to studio design projects, interms of their conceptualisation and representation. GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process. .1 theories of urban design and the planning of communities; .2 the influence of the design and development of cities, past and present on the contemporary built environment; .3 current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development. GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. .1 the needs and aspirations of building users; .2 the impact of buildings on the environment, and the precepts of sustainable design; .3 the way in which buildings fit in to their local context. GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. .1 the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; .2 the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; .3 the potential impact of building projects on existing and proposed communities.
GC8 Understanding of the structural design, constructional and engineering problems associated with building design. .1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; .2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; .3 the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices. GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. .1 principles associated with designing optimum visual, thermal and acoustic environments; .2 systems for environmental comfort realised within relevant precepts of sustainable design; .3 strategies for building services, and ability to integrate these in a design project. GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. .1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; .2 understand the cost control mechanisms which operate during the development of a project; .3 prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. .1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; .2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; .3 the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.
revised work
new and amended work The convention below indicates amendments made to work and new work completed following the final review: Amended
New
GC7 Understanding of the methods of investigation and preparation of the brief for a design project. .1 the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; .2 the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; .3 the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.
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01 critical introduction building project
The Via dei Fori Imperiali is an “emptied” space, a void formed through the ideologically-driven demolition of the entire medieval Via Alessandria neighbourhood, a symbol of the erasure of the Rome of the Papacy. The Via dei Fori Imperiali sought to create a physical and symbolic connection between Mussolini’s fascist government, situated at the Vittoriano, and the legacy of ancient imperial Rome, exemplified by the newly excavated ruins of the Imperial Fora, lining both sides of the road up to the Colosseum. The design of the road and the publicised depictions of its construction demonstrate a total disregard for the preservation of the ancient ruins, surpassed by the need to glorify the fascist action of violently destroying the city’s Medieval past. The road covers three-quarters of the excavated area and cuts diagonally across the orthogonal Imperial Fora, preventing a correct reading of the Forums of Trajan, Nerva and Augustus, and inhibiting the opportunity to reunite the Forums into a single ancient park. The vast 30m wide and 900m long, four-lane road is completely devoid of use today following a private traffic ban and its pedestrianisation in 2013, as a result of the progressive damage exhaust fumes and vibrations produced by heavy daily traffic caused to the Roman ruins, situated either side of the road. Crowds of tourists walking towards the Colosseum, street entertainers, buskers and painters typically occupy the road today. The urban intervention explored in semester 1 aspired to disrupt and subvert the fascist framing of the Imperial Fora imposed by the design of the Via dei Fori Imperiali, introducing a new way of navigating the site which reconnected to the site’s erased history and its current organic urban context. The intervention challenged the opposition to the historically lively urban life of Rome and the perception of the city as an open-air museum enforced by the Daspa Urbano, the national exclusion laws introduced in 2019, which severely restrict the social use of public space in Rome, through the design of inviting interconnected individual interventions which foster urban life. Informed
by the architectural theories of Herman Hertzberger and Bernard Tschumi’s Parc de la Villette project in Paris, France, individual interventions are open to interpretation by the user and do not prescribe a highly specialised use through their design. Spatially and visually connected spaces created opportunities for interaction between different activities, promoting individual agency. Individual interventions are perceived as musical instruments to be creatively interpreted by users. The activities which characterise Roman street life, key architectural features of the urban fabric of Rome and the current use of the Via dei Fori Imperiali, are considerations in the design of individual interventions. Pathways mimicking the organic character of the urban fabric of Rome and the lost Via Alessandrina neighbourhood, developed using a contextual site grid, produced as an outcome of mapping layers of the site’s history onto the existing site, connected individual interventions and provided a new way of navigating the Via dei Fori Imperiali in relation to its context. The selected building project site is in close proximity to present archaeological excavations of the Forum of Caesar, having reached the surviving ruins of the Alessandrino Quarter. The proposed building expands upon the current excavations, partially preserving the ruins of the historically erased medieval Alessandrino Quarter and a fragment of the Forum of Caesar, while introducing urban life to the site so as to reconnect it to its organic urban context and subvert the fascist framing of the site. Excavations at the Via dei Fori Imperiali, commencing in 2018, uncovered that the houses in the Alessandrino Quarter were only demolished to ground floor level. Existing cellars and sewers were infilled with a homogenous layer of compacted rubble accumulated from the demolitions and levelled out to create an even surface for the construction of the Via dei Fori Imperiali. The ruins of the medieval neighbourhood will be demolished as the archaeological dig continues through the 7m of earth separating archaeologists from a section of the Forum of Caesar below, considered of greater historical significance than the Alessandrino Quarter, facilitating the historic erasure of the neighbourhood.
Mapping the position of the ruins of the ancient Imperial Fora, the demolished medieval Via Alessandrina neighbourhood and the existing trees onto the site plan provided constraints for the design of the subterranean components of the programme. The development of a contextual site grid establishing design constraints was a continuation of a similar process undertaken in the first semester, whereby the spatial conditions of Rome explored through the 9 square grid exercise were translated onto the site as the beginnings of interventions. Axonometric drawings illustrating the surviving subterranean structures of the Alessandrino Quarter on site demonstrated the extent of the compacted rubble which could be removed during archaeological excavations. An analysis of the composition of the excavated surviving walls of the demolished buildings showed that ancient materials were reused within them, evoking the historic tradition of spolia (spoils), whereby existing materials are repurposed in new construction. The incorporation of existing landscape features in Álvaro Siza’s concrete Leça swimming pools, in addition to Frank Lloyd Wright’s use of large rocks found on site in Taliesin West, influenced the idea of reusing the existing substructures of the Alessandrino Quarter and reclaimed pieces of rubble within the construction material of the building, as aggregates in a Roman concrete mix, following the historic tradition of spolia. The building’s programme emerged from research considering the historic inhabitation of the site and the current spatial inhabitation of the Monti Neighbourhood, adjacent to the Via dei Fori Imperiali. An artists’ and pottery studio were introduced into the programme as the Alessandrino Quarter was formerly inhabited by craftsmen. Courtyard spaces utilising existing trees on site could revive the 9th century AD agricultural uses of the site which include orchards, vineyards and vegetable gardens. Fruits could be harvested by kitchen cooks or visitors meandering through the site. A restaurant incorporating a performance space and dressing rooms, in addition to a subterranean art gallery, would revive the urban life typically present in other areas of Rome such as the Monti neighbourhood.
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02 urban intervention declared design
An aerial view of the urban intervention demonstrating each individual intervention situated on site, connected by a network of pathways transversing the site, disrupting the framed view of the surrounding context imposed by the Via dei Fori Imperiali.
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interconnected pathways experiential moment
Pathways connect individual interventions across the Via dei Fori Imperiali and reach out into the ruins, providing a new way of exploring and navigating the site, subverting the fascist reading of the ruins imposed by the Via dei Fori Imperiali. Derived from the contextual site
grid and developed through a model and a series of sketches, the design of the pathways, framed in copper, reflect the organic character of the urban fabric of historic Rome and revives elements of the urban grid of the lost medieval Via Alessandria neighbourhood.
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fori di augusto experiential moment
The way in which spatially and visually interconnected spaces could be inhabited by users, hosting different activities inherent to city life, is shown in this moment. The design of the intervention explores the arch, an architectural element derived from the site, cast in concrete, and the spatial conditions prevalent in Rome’s historic urban fabric, including that of the lost Via Alessandria neighbourhood.
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subterranean fountain experiential moment
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The linearity, vastness and enforced framing of the Via dei Fori Imperiali is interrupted by this intervention, which breaks the surface of the road to create a subterranean space. The foun-
tain, a key feature of the urban fabric of Rome, provides respite and shelter from the heat. The inviting intervention embodies a variety of spatial conditions in its design, creating opportu-
nities for interaction between different activities characteristic of Rome’s historically lively urban life, through spatial and visual interconnection. 14
03 via dei fori imperiali site context
The Via dei Fori Imperiali is a vast, 30m wide and 900m long, road connecting the Piazza Venezia and the Colosseum in Rome, Italy. The road passes directly through the ruins of the Imperial Fora, situated either side of it. Crowds of tourists walking towards the Colosseum and some buskers, street entertainers and painters usually occupy the road.
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site location via dei fori imperiali
The site is indicated in orange, adjacent to contemporary excavations at the Via dei Fori Imperiali, which commenced in 2018.
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site location
archaeological excavations Archaeological excavations have unearthed that the houses in the Alessandrino Quarter were only demolished to ground floor level. However, the ruins of the medieval neighbourhood will be demolished as the archaeological dig continues through the 7m of earth separating archaeologists from a section of Caesar’s Forum below, considered of greater historical significance than the Alessandrino Quarter.
1.0 The Catasto Urbano (1820-1824) Rione 1, Foglio IX 2.0 Site street view 3.0 Site plan 3.0
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contemporary excavations alessandrino quarter
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Recent excavations at the Via dei Fori Imperiali, commencing in 2018, have uncovered that the houses in the Alessandrino Quarter were only demolished to ground floor level. Existing cellars and sewers were infilled with a homogenous layer of compacted rubble accumulated from the demolitions, consisting of bricks, plaster, tiles and pieces of cement. The rubble was compressed and levelled out to create an even surface for the construction of the Via dei Fori Imperiali. Trees and shrubs planted in landscaped areas either side of the street have caused some damage to the remaining structures beneath.
material composition repurposing ancient materials
Only a few notable fragments have been discovered on site, as pictured, as the inhabitants of the Alessandrino Quarter removed the majority of their belongings following their displacement from the neighbourhood to the outskirts of Rome.
Italian apartment buildings during the 1920s and 1930s. Hexagonal cement tiles in a red colour similar to that of brick were found in several residential rooms. Shop floorings consisted of a layer of small pebbles and river sand, coated by Portland cement.
Analysis of the composition of the excavated surviving walls of the demolished buildings demonstrate a reuse of ancient materials within them, similar to the incorporation of spolia in the domus terrinee in the 9th century AD. Although the walls consisted of mostly regular brickwork, comprised of perforated bricks, with mediocre mortar used as a binder, in some instances volcanic pozzolana was found in the mortar. Tufa pebbles were used in the interior core of walls.
Detailed digital 3D reconstructions of the remnants of the houses of the Alessandrino Quarter and their interiors are in the process of being created from the findings of the excavations, including their distinct architectural features such as mosaics, floor tiles and spatial divisions. The ruins of the medieval neighbourhood will be demolished as the archaeological dig continues through the 7m of earth separating archaeologists from a section of Caesar’s Forum below, considered of greater historical significance than the Alessandrino Quarter.
Partially preserved pieces of flooring show popular designs consistent with that of most
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Fragments of Liberty style tile flooring Neo-classic column base A Roman brick from the Tetrarchic Period Fragment of a marble architrave frieze dating back to the Augustan Age 2.0 Photogrammetric model of the Alessandrino Quarter substructures by Giovanni Murro, The Caesar’s Forum Project 3.0 Photomap of the excavated area by Giovanni Murro, The Caesar’s Forum Project
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alessandrino quarter historical occupancy
Cardinal Michele Bonelli, referred to as Cardinal Alessandrino, and the Della Valle family, the land owners, advocated for the urbanisation of the area following the population growth of Rome during the second half of the 16th century.
Bonella and Via della Salara Vecchia. At first, a total of 35 houses were constructed, which were expanded and rebuilt in the 19th century. Predominantly craftsmen and immigrants inhabited the homes.
Since the 11th century AD, the land which became the Alessandrino Quarter was a swamp, which was subsequently drained and the land reclaimed to construct the medieval residential neighbourhood.
The densely populated neighbourhood, inherent to the urban fabric of Rome for over 300 years, was demolished in its entirety from 1931-1933 by Mussolini’s fascist government to make way for the construction of the Via dei Fori Imperiali and to “liberate” the ruins of antiquity below.
Orchards, vineyards, vegetable gardens and domus terrinee had occupied the area from the 9th century AD. Domus Terrinee were single storey houses consisting of one room, incorporating spolia, ancient architectural elements such as column fragments or marble blocks. Permission was granted to the Della Valle family for the construction of new roads in 1548, including the Via Alessandrina, Via Cremona, Via
1.0 View of Via Bonella prior to the demolition of the Alessandrino Quarter 2.0 The demolition of the Alessandrino Quarter for the construction of the Via dei Fori Imperiali 3.0 Photos documenting recent excavations of the southern part of the Alessandrino Quarter, including a block of apartments in close proximity to the corner of the Via Bonella and Via Cremona. 4.0 Remnants of the medieval domus terrinee situated on the eastern side of Caesar’s Forum 3.0
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existing site plan
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site context
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historical site context mapping subterranean structures
Mapping the position of the ruins of the ancient Imperial Fora and the demolished medieval Via Alessandrina neighbourhood, situated 7m directly below the site, onto the existing site plan. The cellars and sewers of the Via Alessandrina, infilled with a layer of compacted rubble during the construction of the Via dei Fori Imperiali, are the last surviving remnants of the medieval neighbourhood. The ruins have sustained some
damage from tree roots. The mapping provides constraints with regard to the construction of the subterranean components of the programme and the incorporation of the ruins into the proposed building. 1.0 Mapping the Imperial Fora onto the existing site, particularly Caesar’s Forum 2.0 Mapping the Alessandrina Quarter onto the existing site
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excavation process alessandrino quarter
An axonometric drawing illustrating the surviving subterranean structures of the Alessandrino Quarter on site and the extent of the compacted rubble which could be removed during archaeological excavations. The compacted building material was used to infill the remaining cellars and sewers of the Alessandrino Quarter as the houses were only demolished to ground floor level during the construction of the Via dei Fori Imperiali, as unveiled by contemporary archaeological excavations. The rubble consists of pieces of cement, rock and tiles which could be used as aggregates within the concrete mix of new structures.
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excavation process alessandrino quarter
Illustrating the surviving subterranean structures of the Alessandrino Quarter on site and the position of existing trees, as possible constraints during the design development process. The existing structures and subterranean spaces of the Alessandrino Quarter could be preserved and incorporated into the design of new spaces.
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excavation process forum of caesar
An axonometric drawing illustrating the subterranean structures of the Forum of Caesar on a segment of the site and the extent of material which could be removed during archaeological excavations.
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excavation process forum of caesar
Illustrating the subterranean structures of the Forum of Caesar on a segment of the site at a depth of 7m and the position of existing trees, providing possible constraints during the design development process. The existing structures of the Forum of Caesar, consisting of remnants of columns and steps could be preserved and incorporated into the design of new spaces, particularly the art gallery.
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04 roman concrete material composition
Roman concrete, opus caementicium, comprising of a mixture of stone rubble and liquid mortar, composed of lime, sand and pozzolana (a volcanic substance found in Pompeii and Herculaneum), was first implemented on a large scale during the construction of the Porticus Aemilia, a 460m by 60m rectangular warehouse constructed in 199 BC along the Tiber. The mixture of natural ingredients used hardened into a substance which was stronger than
each of the individual components. Minute cracks would form in the concrete over time however the chemical reaction between a component of the volcanic ash and the water seeping into the cracks would form a new compound, strengthening and “healing” the concrete. Therefore, the durability of Roman concrete far surpasses that of modern concrete. Roman concrete is environmentally sustainable due to its durability as it strengthens with time.
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porticus aemilia roman concrete
The Porticus Aemilia was a 460m by 60m rectangular warehouse constructed in 199 BC along the Tiber by M Aemilius Lepidus and L Aemilius Paulus. Although the exact use of the complex is contested, it is likely that it was built to accommodate the increasing quantities of goods imported into Rome as the city’s population increased following military expansion. Roman concrete, opus caementicium, comprising of a mixture of stone rubble and liquid mortar, composed of lime, sand and pozzolana (a volcanic substance found in Pompeii and Herculaneum), was first implemented on a large scale in this project. The mixture of natural ingredients used hardened into a substance which was stronger than each of the individual components. Minute cracks would form in the concrete over time however the chemical reaction between a component of the volcanic ash and the water seeping into the cracks would form a new compound, strengthening and “healing” the concrete. Therefore, the durability of Roman concrete far surpasses that of modern concrete.
Porticus Aemilia Interior, 1957 by Ernest Nash
Forma Urbis Romae (Severan Marble Plan of Rome 203-211 AD), a fragment illustrating the Porticus Aemilia
Wooden frames were used as moulds. This revolutionised Roman architecture in the second and first century BC as any shape which a carpenter could create as a wooden framework could be built, liberating architects from the restrictions of rectilinear forms of Etruscan and Greek styles, as evidenced in the dome of the Pantheon. The use of concrete also allowed for the decorative use of columns, as opposed to a predominantly utilitarian structural use. Concrete was less visually appealing to the Romans than the traditionally used stone. Therefore, the material was faced with a thin layer of stone or brick while still wet, improving its appearance and protecting it from moisture.
Porticus Aemilia within the urban context of ancient Rome, recreation
Portico of Marcus Aemilius Lepidus and P. Aemilius Paulus, 1756 by Giovanni Battista Piranesi
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porticus aemilia precedent analysis Axonometric Cross Section of the Porticus Aemilia
The design of the warehouse consisted of a series of 50 barrel vaults, creating aisles. However, the vaults were not connected to solid walls internally, but rather to piers and arches, forming arcades which facilitated axial and lateral movement within the building. The barrel vaults were tiered in four levels, ascending up the slope of the hill. The back walls of each vault had arched windows and doors, providing light. Curved slit windows on top of each tier allowed additional light to flow into the internal spaces. The concrete of the building was faced with opus incertum, irregular stones used to disguise the appearance of concrete. Roman architects carefully orchestrated views, creating distinct, intentional visual experiences and established predetermined paths navigating through a building, allowing for some variation in route.
A demonstration of the remains of the Portico built by M. Emilio Lepido and P. Emilio Paolo outside the Porta Trigemina in the Emporio on the bank of the Tiber, 1756 by Giovanni Battista Piranesi
Sectional Perspective of the Porticus Aemilia
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spolia
material composition Analysis of the composition of the excavated surviving medieval walls of the demolished buildings in the Alessandrino Quarter demonstrate a reuse of ancient materials within them, similar to the incorporation of spolia in the domus terrinee in the 9th century AD. Although the walls consisted of mostly regular brickwork, comprised of perforated bricks, with mediocre
mortar used as a binder, in some instances volcanic pozzolana was found in the mortar. Tufa pebbles were used in the interior core of walls. The historic principle of spolia whereby existing materials are repurposed in new construction will be implemented in the design and construction process of the building.
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precedent analysis
concrete construction methods The incorporation of existing landscape features into Álvaro Siza’s concrete Leça swimming pools, in addition to Frank Lloyd Wright’s use of large rocks found on site in Taliesin West inspire a re-use of the existing substructures of the Alessandrino Quarter and the use of reclaimed pieces of rubble within the construction material of the building, following the historic principle of spolia.
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1.0 Taliesin West, 1937, by Frank Lloyd Wright 2.0 Concrete Detail, Leça Swimming Pools, 1966, by Álvaro Siza Vieira 2.1 Leça Swimming Pools, 1966, by Álvaro Siza Vieira
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material tests
concrete construction methods Exploring white concrete with reclaimed marble, brick, glazed clay and stone aggregate, inspired by the historic reuse of found materials in the Via Alessandrina quarter and Frank Lloyd Wright’s use of local stone in concrete in Taliesin West. Álvaro Siza Vieira’s incorporation of the local rocky terrain in the design of the Leça swimming pools proposes the inclusion of some ruins found on site in future subterranean spaces.
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material test 01
concrete construction methods Exploring white concrete with reclaimed marble and stone aggregate, inspired by the historic reuse of found materials in the Via Alessandrina quarter and Frank Lloyd Wright’s use of local stone in concrete in Taliesin West.
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05 monti neighbourhood spatial inhabitation and city life
The current inhabitation of the Monti Neighbourhood, adjacent to the Via dei Fori Imperiali is characteristic of the historically vibrant urban life of Rome, facilitating social interaction. The spatial qualities of the neighbourhood are in
stark contrast to the largely uninhabited and vast Via dei Fori Imperiali, illustrating its detachment from the urban fabric of Rome. The project intends to embody the spatial qualities of the Monti Neighbourhood, reconnecting to
the historic nature of urban life in Rome and transforming the “emptied” space of the Via dei Fori Imperiali created through demolitions, through reintroducing historic and current uses into the programme of the site.
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programme collage spatial connections
A collage exploring the spatial connections between additional elements of the programme and their possible vertical situation on site in relation to the ruins of the Alessandrino Quarter and Caesar’s Forum below. Artists’ studios, a pottery studio and a costume workshop are introduced into the programme as the Alessandrino Quarter was formerly inhabited by craftsmen. Courtyard spaces with vegetation such as orange trees and grape vines revive the 9th century AD agricultural uses of the site including orchards, vineyards and vegetable gardens. Fruits can be harvested by kitchen cooks or visitors meandering through the building.
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spatial requirements programme specification 1 2 3 4 5 6
Restaurant Kitchen Restaurant Performance Space Artists’ Studios Courtyard Santi Luca e Martina Individual Intervention 7 Courtyard
8 Foro di Cesare Individual Intervention 9 Dressing Room 10 Atelier 11 Pottery Studio 12 Art Gallery 13 Archaeological Excavation Site
The diagram illustrates the calculated spatial requirements of each component of the programme. Elements of the programme are situated on site relative to each other and the unique characteristics of the site, establishing new spatial connections. The site is in close proximity to present archaeological excavations of Caesar’s Forum, having reached the surviving ruins of the Alessandrino Quarter at present. Therefore, the building
could expand upon the excavations and the ruins from different time periods could be partially preserved, accommodating parts of the programme. In addition, the rubble unearthed in the excavation process could be incorporated into the building method, as explored in previous concrete material studies. The proposed building could also connect to or develop from the urban interventions on site.
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site constraints design development
A drawing illustrating the site constraints of the surviving ruins of the medieval Via Alessandrino Quarter, the ruins of the Forum of Caesar and existing trees on site. The elements of the ruins to be retained and integrated into the new building design are shown.
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Iteration 01
Iteration 02
9 square grid exercise design development
The aim of the exercise, considered in Semester 1, was to explore the specific spatial conditions identified in the cognitive map of Rome through design, to be placed on site. Spatial concepts such as compression, enclosure, path, density, fragmentation and coherent interconnection were investigated in multiple iterations in plan and developed further through a series of three-dimensional models. The exercise prompts a study of the relationships between abstract architectural elements utilising a 9 square grid in plan and in three dimensions, consisting of 27 cubes.
Iteration 03
The output of the exercise influenced the site selection since the designs developed exploring Rome’s spatial conditions could be translated onto a site as the beginnings of an urban intervention and developed through the lens of the site’s distinct grid as determined by its urban and historical context.
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06 pottery studio design development
Initial sketches illustrating the development of the pottery studio including designated damp subterranean spaces for storing working pottery, a separate kiln room and studio space. The surviving walls of the Alessandrino Quarter are utilised as part of the new building design. The design accommodates an existing tree positioned on site, creating an atrium which provides light into the subterranean storage space and allows onlookers a glimpse into the pottery-making process.
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1.0
concrete casting process conceptual pottery studio moment model
Documenting the mold making and concrete casting process used to create a conceptual moment model of the pottery studio exploring materiality. 1.0 Pottery studio 3D printed model 2.0 Mold making process using alginate 3.0 Alginate mold components 2.0
3.0
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conceptual moment model pottery studio materiality
An experimental conceptual model exploring materiality through the design of the pottery studio, considering the way in which concrete, brick and copper interact. 1.0 Conceptual pottery studio moment model 2.0 Materiality detail: brick, concrete and copper
1.0
2.0
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conceptual moment model pottery studio materiality
An experimental conceptual model exploring materiality through the design of the pottery studio, considering the way in which concrete, brick and wood interact.
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pottery studio precedent analysis
A riverside pottery studio designed for artist Le Duc Ha by Vietnamese studio Tropical Space. The structure consists of perforated brick walls with an internal bamboo shelving grid exhibiting the artist’s work to the public. A large circular void allows visitors to observe the artist at work.
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pottery studio design development
Sketches demonstrating the development of the pottery studio design with the inclusion of new design elements such as subterranean windows looking into the adjacent art gallery space, providing gallery visitors with the opportunity to experience the process of creating pottery.
The existing walls of the Alessandrino Quarter are retained and incorporated into the design of new spaces. A timber and glass structure is proposed in proximity to the studio entrance which creates an opportunity for the public to glance into the studio and view pottery stored on storage shelves.
Various window configurations were explored inspired by the traditional arch form prevalent on site.
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1.0
2.0
louis kahn
precedent analysis Louis Kahn’s innovative use of brickwork to construct curved forms, inspired the design of the arched windows in the pottery studio, situated within an existing surviving brick wall of the medieval Alessandrino Quarter and the proposed concrete structure. The arched windows intend to provide views of artists working in the studio to gallery visitors.
1.0 National Assembly Building in Dhaka, Bangladesh, 1982 2.0 Indian Institute of Management in Ahmedabad, 1974 2.0
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pottery studio design development
The design seeks to accommodate a working pottery studio, inspired by the historic inhabitation of the site by craftsmen, while providing visitors with an insight into the pottery-making process. The existing subterranean walls of the Alessandrino Quarter are retained and in-
corporated into proposed concrete structures. Large arched windows provide gallery visitors with views into the pottery studio, similar to the glass structure at the studio’s entrance, exhibiting working pottery designs.
An atrium accommodating an existing tree allows light to seep into the damp subterranean pottery storage space, while providing additional external views into the space. Copper detailing is utilised throughout the design.
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07 restaurant space design development
Initial sketches documenting the design of the restaurant space accommodating the restaurant, restaurant kitchen, performance space, dressing rooms and atelier, while considering the site constraints including existing trees and the subterranean structures the Alessandrino Quarter. Existing subterranean structures situated beneath ground level are used as the foundations of the design of the dressing rooms and atelier.
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richard serra precedent analysis
The artist’s inhabitable curved sculptures created using COR-TEN steel, inspired the idea of designing the restaurant spaces as a configuration of curved forms, determined by the constraints of the existing trees on site.
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restaurant space design development
Sketches developing the initial design of the restaurant space. The design of the space is further defined by the constraints proposed by existing trees on site.
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peter cook
precedent analysis The design of the freestanding, all-steel prefabricated drawing studio for the Arts University Bournemouth by Peter Cook’s Crab Studio, informed the spatial arrangement of the artists’ studio, with regard to the positions of the painting storage area, washing up area and bathroom relative to each other and in relationship to the larger studio space.
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artists’ studio design development
Sketches developing the initial design of the artists’ studio space, situated between the restaurant space and the pottery studio. The design of the space integrates and is embedded within the surviving medieval walls of the Alessandrino Quarter. The subterranean space is characterised by a ramped entrance encircling a courtyard space, integrating the constraint of an existing tree on site. The studio space is north-facing, providing the best lighting conditions for artists.
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1.0
le corbusier precedent analysis
Le Corbusier stated that a “a staircase separates one floor from another: a ramp connects them.”. The architect’s use of ramps as an architectural element which facilitates fluid movement through spaces, demonstrated in the Villa Savoye and the Maisons La Roche-Jeanneret, slows visitors down as they navigate through a building. Informed by Le Corbusier, ramps are used within the restaurant and kitchen spaces to foster the experience of slow, considered movement through space, antithetical to the linearity of the Via dei Fori Imperiali and consistent with the architectural features of the urban fabric of Rome.
1.0 Villa Savoye, Poissy, on the outskirts of Paris, 1929 2.0 Maisons La Roche-Jeanneret, Paris, 1925 2.0
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restaurant space design development
The design of the restaurant space accommodates the restaurant, restaurant kitchen, performance space, dressing rooms and rooftop restaurant area, shaped by the site’s constraints including existing trees and the subterranean structures the Alessandrino Quarter. The adjacent artists’ studio is situated at a half-level, integrating the surviving medieval walls of the Alessandrino Quarter into its structure. A ramped entrance encircles a courtyard formed to accommodate an existing tree on site, leading into a semi-enclosed outdoor studio space.
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tadao ando precedent analysis
The architect’s use of spiralling stairs as circulation in the He Art Museum (HEM) in Guangdong, China, influenced the design of the back of house kitchen and dressing rooms access stair, in addition to the restaurant bathroom stair.
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restaurant space subterranean structures
A curved, concrete stairwell provides separate access to the subterranean restaurant kitchen, situated at a half-level, and the performer’s dressing rooms, positioned directly beneath the performance space within the restaurant. The restaurant’s bathrooms, accessed via a stairwell which wraps around a tree atrium and the performance space, are situated beneath the restaurant entrance.
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08 the guggenheim museum frank lloyd wright
The Guggenheim Museum in New York, designed by Frank Lloyd Wright, consists of a continuous ramp wrapped around a central atrium, traversing six stories. Visitors view art work displayed along the walls of the gallery as they climb up to the sky or descend down the ramp. The design of the gallery inspired the idea of wrapping gallery spaces around an atrium housing an excavated fragment of the ruins of the Forum of Caesar. The surrounding gallery walls would incorporate the surviving brick walls of the Alessandrino Quarter, thereby allowing visitors to transverse several periods of Roman history, gradually descending from modern day Rome, through the surviving remnants of the medieval Alessandrino Quarter and into an excavated fragment of Caesar’s Forum.
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gallery space design development
Sketches developing the initial design of the subterranean gallery space, adjacent to the pottery studio and restricted by the current archaeological excavations on site. The design of the gallery allows visitors to transverse several periods of Roman history, gradually descending from modern day Rome, through the surviving remnants of the medieval Alessandrino Quarter and into an excavated fragment of Caesar’s Forum. The surviving medieval brick walls of the Alessandrino Quarter are incorporated into the fabric of the walls of gallery spaces up to a depth
of 3m. Small gallery spaces provide a transition into the excavated forum of Caesar, situated at a depth of 7m. Arched windows provide visitors with a glimpse into the pottery studio as they begin to meander through the gallery. An atrium situated above the excavated forum of Caesar visually connects the initial gallery space with the ruins below. A ramped entrance provides access to the gallery from street level, incorporating a public courtyard which utilises an existing tree on site.
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aldo rossi
precedent analysis
1.0
Aldo Rossi’s Bonnefantenmuseum seamlessly connects a new museum building to the existing fabric of the Maastricht, preserving and respecting the site’s historic urban context. The architect’s use of different forms of stairs as inhabitable architectural elements influenced the spatial arrangement of exhibition spaces within the art gallery.
1.0 Il triangolo in architettura, Studi per il Monumento di Segrate, 1967 2.0 Bonnefantenmuseum in Maastricht, the Netherlands, 1995 3.0 Gallaratese Quarter in Milan, Italy, 1969 3.0
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gallery space design development
The design of the gallery allows visitors to transverse several periods of Roman history, gradually descending from modern day Rome, through the surviving remnants of the medieval Alessandrino Quarter and into an excavated fragment of Caesar’s Forum. A curved ramped entrance provides access to the gallery from street level, incorporating a subterranean courtyard space which utilises an existing tree on site. The surviving medieval brick walls of the Alessandrino Quarter are embedded into the fabric of the walls of two gallery spaces up to a depth of 3m. Gallery spaces wrap around an atrium which connects them to the excavated ruins below and provides closer views into a fragment of the Forum of Caesar, situated at a depth of 7m, to visitors traveling through the gallery spaces.
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09 ground floor final plan
1:200 1 2 3 4 5
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Restaurant Kitchen Restaurant Entrance Restaurant Seating Area Performance Space Existing Tree Atrium
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subterranean level 1 depth –1.5m
1:200
N
1 Restaurant Kitchen 2 Artists’ Studio Space 3 Artist Studio Storage Space 4 Artists’ Studio Wash Up Area 5 Artists’ Studio Bathroom 6 Outdoor Artists’ Studio Space 7 Courtyard Entrance 8 Pottery Studio 9 Kiln Room 10 Art Gallery Space 11 Gallery Bathrooms 12 Forum of Caesar Atrium 13 Existing Tree Atrium
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subterranean level 2 depth -4.8m
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Dressing Rooms Restaurant Bathrooms Pottery Storage Space Art Gallery Space Forum of Caesar Atrium Existing Tree Atrium
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subterranean level 3 depth -7.0m
1:200
N
1 Excavated Forum of Caesar Atrium Space
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roof plan final plan 1:200
N
1 Rooftop Restaurant Space 2 Existing Tree Atrium
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10 rooftop view design resolution
A rooftop view of the building illustrating the design of skylights illuminating subterranean spaces and the prominence of existing trees situated within the building’s tree atriums and on site, providing shade from the sun. Courtyard entrances to the gallery and studio spaces as well stairs leading to the kitchen, dressing rooms and pottery studio are also shown. The rooftop restaurant, situated within the canopy of several trees and accessed via an external staircase, is demonstrated. The building’s disruption of the linearity of the Via Dei Fori Imperiali is shown as the courtyard gallery entrance, painter’s studio and restaurant envelop significant portions of the road.
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11 long section design resolution
A long section illustrating the restaurant performance space, subterranean dressing room space, painters’ studio courtyard entrance, pottery studio and art gallery.
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short section design resolution
A short section demonstrating the gallery’s exhibition spaces encircling the central atrium, housing an excavated fragment of the Forum of Caesar. The existing medieval brickwork incorporated into the new building fabric is also shown. GC 1.1 GC 2.3 GC 3.3 GC 5.1 GC 5.3 GC 8.2 GC 9.1 GC 9.2 GC 10.3 117
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12 sverre fehn hedmark museum
The Hedmark Museum located in Hamar, Norway, designed by Sverre Fehn, integrates ruins dating back to the 13th century and the remains of a 15th century Bishop’s Castle into its structure. Concrete ramps are cast in place within the confines of the ruined walls. A timber roof sits on top of the historic walls and the
new concrete components of the structure. The combination of the old and the new is deliberate, creating dramatic spaces which foster conversation between the derelict ruins and the new building which inhabits and protects them. 1.0 Sections illustrating the composite structural system 2.0 External and internal views demonstrating the superimposition of the historic and the new structure 2.0
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peter zumthor kolumba museum
Peter Zumthor’s Kolumba Museum in Cologne, Germany, completed in 2007, utilises an innovative form of construction whereby the new building is built up from the ruins of a late-Gothic church, creating a composite brickwork consisting of the preserved old and the new. 1.0
Steel columns, 30cm diameter, were drilled into the ruined walls of the historical church and anchored with injection piers at their base. A reinforced concrete peripheral beam stabilised the crown of the historic walls. Columbia
bricks were inserted into the outer face of the reinforced concrete peripheral beam, creating a composite form of construction. A similar construction method of reinforcement could be implemented to create a composite structure between the existing medieval brickwork and the new concrete building structure. 1.0 Extension of construction with no intermediate joint, walling from two millennia 2.0 Retaining wall detail sketch in response to precedent analysis 3.0 Sectional diagram of “pullover” composite brickwork 3.1 Sectional diagram of composite brickwork
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retaining wall detail technical design development
A diagram exploring the way in which the existing medieval walls of the Via Alessandrino Quarter could be retained and integrated into the concrete structure of the building. Retaining wall detail development diagram
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composite wall detail
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subterranean structures
A technical detail at scale 1:20 exploring the way in which the existing medieval walls of the Via Alessandrino Quarter are retained and integrated into the concrete structure of the new building.
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The technical resolution of this detail was influenced by the techniques used to reinforce existing walls in Peter Zumthor’s Kolumba Museum. The intersection explored is situated within the pottery studio and also considers the skylight and roof details.
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1:20 Retaining Wall, Existing Wall and Concrete Structure Composite Detail 1 2 3 4 5 6 7 8
150mm Concrete slab Rigid insulation Damp-proof membrane Base course of fully compacted hard-core to prevent capillary rise of groundwater Concrete footing Longitudinal reinforcement Reinforcing bar Existing Brick Wall
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Reinforcing bars Vertical steel reinforcement Anchorage bars Reinforced concrete Lateral steel reinforcement Vertical steel reinforcement Reinforced concrete wall Bent horizontal reinforcement at wall intersections for structural continuity
17 10-30 mm Screed to falls 18 Drainage layer: PP mat on 12 mm polythene studded membrane 19 Base flashing 150mm from roof deck 20 Thermal insulation 21 Precast-concrete coping 22 Roof deck 23 Skylight
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1:10 Skylight and Concrete Roof Detail 1
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Skylight, double glazing, 2x 8 mm laminated safety glass + 2x 8 mm laminated safety glass with solar coating Roofing membrane Drainage layer: PP mat on
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12 mm polythene studded membrane Support, 50/50 mm steel angle Reinforced Concrete Frame, 480/8 mm steel plate Steel reinforcement
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Base flashing 150mm from roof deck Seal, neoprene profile Thermal insulation 10-30 mm screed to falls Reinforced concrete
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pottery studio experiential moment
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pile foundations technical detail
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Pile foundations are required in order to transfer building loads to a deeper level as the existing soil on site consists of a layer of compacted rubble from the demolition of the Via Alessandrina neighbourhood in 1932, the surviving substructures of the medieval neighbourhood, at a depth of 3m, and the ruins of the Forum of Caesar, at a depth of 7m. The gallery is spread across three levels and is situated at a maximum depth of 7m, necessitating deep pile foundations as the existing soil composition may not be stable enough to support the weight of the gallery’s structure.
1:50 Pile Foundations Detail
3
1 Existing compacted rubble 2 Precast reinforced-concrete piles, prestressed concrete column 3 10m Groundwater Level
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concrete structure technical detail
A technical detail at scale 1:20 demonstrating the concrete wall and floor system utilised within the art gallery.
1:20 Concrete Wall and Floor System 13
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150mm Concrete slab Rigid insulation Damp-proof membrane Base course of fully compacted hard-core to prevent capillary rise of groundwater Precast reinforced-concrete piles Lateral steel reinforcement Vertical steel reinforcement Concrete footing Wall to footing dowel connection Longitudinal reinforcement Reinforcing bar Bent horizontal reinforcement at wall intersections for structural continuity Reinforced concrete wall
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13 gallery space experiential moment
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restaurant
experiential moment
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the painters’ studio experiential moment
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14 bibliography key sources
Augé, Marc. ‘Non-places : Introduction to an Anthropology of Supermodernity’. London: Verso, 1995. Print. Bollas, Christopher. ‘The Fascist State of Mind’, in Being a Character: Psychoanalysis and Self Experience. New York: Hill & Wang, 1993, pp. 193-217. Available at: https://www.york.ac.uk/media/ english/documents/newsandevents/The%20Fascist%20 State%20of%20Mind.pdf Calvino, Italo. ‘Invisible Cities’. London: Vintage, 1997. Print. Certeau, Michel De. ‘The Practice of Everyday Life’. Berkeley: U of California, 1988. Print. Coleman, Nathaniel. ‘Architecture as Anticipation: The Anticipatory Illumination of Drawing’. In Handbook of Anticipation, R. Poli, (Ed.). Springer International Publishing AG, part of Springer Nature 2018, pp. 1-18. Available at: https://doi.org/10.1007/978-3-319-31737-3_34-1 Coleman, Nathaniel. ‘Materials and Meaning in Architecture: Essays in the Bodily Experience of Buildings’. London: Bloomsbury, 2020. Debord, Guy. ‘Society of the Spectacle’. Detroit: Black & Red, 1983. Print. Dyer, Emma. ‘Interview With Herman Hertzberger (2016)’. Architecture And Education, 2016. Available at: https://architectureandeducation.org/2016/02/03/interview-with-herman-hertzberger/amp/. Eco, Umberto. ‘Ur-Fascism’. New York Review of Books, June 22, 1995 Issue. Available at: https://www.nybooks.com/articles/1995/06/22/ur-fascism/
Pilat, Stephanie Zeier. ‘La Parola Al Piccone: Demonstrations of Fascism at the Imperial Fora and the Mausoleum of Augustus.’ Political Landscapes of Capital Cities, edited by Jessica Joyce Christie et al., University Press of Colorado, Boulder, Colorado, 2016, pp. 319–346. JSTOR, Available at: www.jstor.org/stable/j.ctt1dfnt2b.15. Povoledo, E., ‘Rome’s New Rules: No Sitting On The Spanish Steps (And No Wading In The Trevi Fountain)’, Published 2019, [online] Nytimes.com. Available at: https://www.nytimes. com/2019/08/07/world/europe/rome-spanish-steps-sit.html Rhodes, John David, ‘Mussolini And The Tomb Of Augustus In The Spring Of 1935’. Drawingmatter.Org, 2018, https://drawingmatter.org/mussolini-and-the-tomb-of-augustus-in-the-springof-1935/. Rowe, Colin. ‘Colin Rowe: Piazza Augusto Imperatore (1995)’. Drawingmatter.Org, 2020, Available at: https://drawingmatter.org/colin-rowe-piazza-augusto-imperatore/. Rowe, Colin and Fred Koetter. ‘Collage City’. Cambridge: MIT Press, 1978. Schumacher, Thomas L. ‘Surface & Symbol: Giuseppe Terragni and the Architecture of Italian Rationalism’. New York: Princeton Architectural Press, 1991. Wood, Adam. ‘Interview With Herman Hertzberger (2017): Architecture As Visual And Social Connection’. Architecture And Education, 2017, Available at: https://architectureandeducation. org/2017/08/29/interview-with-herman-hertzberger-2017-architecture-as-visual-and-social-connection/.
Giardina, Andrea. ‘The fascist myth of romanity’. Estudos Avançados, 2008, vol.22, n.62, pp. 55-76. Available at: https://www.scielo.br/scielo.php?pid=S0103-40142008000100005&script=sci_arttext&tlng=en Hanscomb, Stuart. ‘Do it Yourself: Existentialism as Punk Philosophy’. Café Philosophy 2010, Available at: http://eprints.gla.ac.uk/54598/ Kallis, Aristotle. ‘The ‘Third Rome’ of Fascism: Demolitions and the Search for a New Urban Syntax.’ The Journal of Modern History, vol. 84, no. 1, 2012, pp. 40–79. JSTOR, Available at: www.jstor. org/stable/10.1086/663287. Lefebvre, Henri. ‘Dissolving City, Planetary Metamorphosis’, Translated by Laurent Corroyer, Marianne Potvin, Neil Brenner. Environment and Planning D: Society and Space (2014), volume 32, pp. 203–205. Available at: https://doi.org/10.1068%2Fd3202tra Lefebvre, Henri., Gerald. Moore, Stuart. Elden, and Ebooks Corporation. ‘Rhythmanalysis Space, Time and Everyday Life’. London: Continuum International Group, 2004. Athlone Contemporary European Thinkers. Web. Marinetti, Filippo Tommaso, Boccioni, Umberto and the Sackville Gallery. ‘Exhibition of Works by the Italian Futurist Painters.’, Sackville Gallery, Held by The British Library, 1912 Available at: https:// www.bl.uk/collection-items/manifesto-of-futurism
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