Lea Monica Udrescu Portfolio by PDF Uploads

Lea Monica Udrescu

Architecture Planning and Landscape, Newcastle University 2020-2021

Lea Monica Udrescu

Curating the City Site section, Masterplan, Opportunities and Constraints, Climate Analysis, Trafﬁc Analysis, Material Analysis, Textile Research, Sustainability Research

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Plans, Elevations, Sections, Programme, Research, Massing

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Programme diagram, circulation diagram, Exploded Axo, Light Study, Plans, Heating Diagram, Elevations, Exterior Render, Section

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For me, this year’s project development process can be summarized in one word: hectic. For this reason, most of the layout in the process section will reflect just that. I wanted to convey the mistakes and lessons that I went through this year and the confusion and frustration that I felt. It started very organised. The first four weeks were spent analysing the UNESCO-protected village, Saltaire. Although my group strayed away from our specific topic, I learned a lot during this stage. Knowing from last year that a great project has a coherent story, key themes, and intentions, I began the project by resolving my line of inquiry and making sure that I have strong arguments for my proposal. The fact that I did this so early in the year helped me immensely during the year and with the Theory into Practice essay. After framing, my site analysis (for the specific site) was lacking. This resulted in me falling behind my peers. Fortunately, due to saving time with the TIP essay- as everything was resolved beforehand and I just needed to put it into words- I managed to catch up with additional site analysis and initial massing proposals. This is where the rollercoaster begins. The first massings that had great intentions behind them ended up being the opposite of what I wanted. The central theme throughout the development was sustainability. The building itself would be carbon neutral, and the programme was also a sustainable approach to the textile industry. With all this in mind, my first proposal was (ironically) a recyclable plastic factory. The intentions were pure but did not take into account the broader context and history. So I went back to researching. Many failed attempts at massing followed the exploration.

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During the testing phase, I focused on exploring all the wrong ways to do the design. This is what I understood from the description of the stage. I went on to try all the forms, heights, and structures to learn the why. Why is this not appropriate? Why do I have to do it this way? Why does this approach work? Why does this method not work? However, because I was experiencing all the ways it did not work, I lost track of what did work. To re-anchor myself, I went back to do more site analysis. Maybe there was something I missed (which there was). During this period, I also completed a sustainable interior design course. It mainly talked about the climate, what to consider in a sustainable design and what to avoid. The course helped me ground my ideas and ﬁnd the opportunities and constraints in and around my site. One massing element stuck, and from there, the building started developing in a more coherent manner: the canopy. The canopy symbolises the forest/ nature (sustainability) while providing shelter. I stumbled a lot with it. I knew what I wanted to convey with it. The atmosphere, visual effect, and functionality were very clear from the beginning, but I did not seem to represent it properly. It often happened that the aesthetic value did not correspond with the functional. For inspiration, I looked at Shigeru Ban’s Nine Bridges Golf Club, which communicated the same message that I wanted to express and other precedents- although that was the main one. It was towards the end of the testing stage that I realized my scale was wrong. Because of this, many of my massings looked disproportionate, the spaces were massive, and my programme too small. In parallel, I worked on my practice management essay, which required me to think about cost, risk, and maintenance. I was encouraged to introduce elements such as self-cleaning glass to reduce maintenance needs, think about reducing partitions to keep to the budget and consider where my lab’s toxic fumes will be directed towards. What helped me ground my project was the technology report. By thinking of the details rather than the big picture, I could resolve many issues that my building had. By ﬁguring out the structure, external and internal wall thicknesses, materials, and acoustic performance, I was able to see the initial vision (that was in my head) come to life on paper. Unfortunately, I could not complete the report as I spent too much time researching each element and cross-analyse it with the overall picture/ intention.

New Work

The last stage was synthesis. For clarification, I consider testing everything that is not the final resolved design. The synthesis starts when I had a clear design but needed to tweak a few elements to make it more coherent and accurate. Most of the year was spent in testing, disoriented and dissatisfied. In the last phase, the frustration was replaced with relief. Finally, all the elements were coming together. This was the most enjoyable stage too. All that was left was appropriately representing the proposal through accurate sections, elevations, and plans accompanied by exterior rendered views and interior experiences of the spaces. Lastly, the rollercoaster ride was over.

Modiﬁed

HISTORICAL CONTEXT (PROJECT FRAMING)

SITE ANALYSIS (PROJECT FRAMING)

THEORY (PROJECT TESTING)

PROCESS (PROJECT TESTING & SYNTHESIS)

FINAL PROPOSAL (PROJECT SYNTHESIS)

PRECEDENT STUDY (PROJECT FRAMING)

APPENDIX

OTHER MODULES

CONTENTS

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 Saltaire is located in West Yorkshire, near Leeds and Bradford. It is known for being the most complete examples of a model village and for having played a vital stage in the evolution of town planning. Titus Salt, the owner, built this village as a response to the cruelty and exploitation of the workers in Bradford that had a life expectancy of 20 years. Saltaire was considered a utopia at the time because it provided fresh air, clean water, and was free of cholera. Moreover, the workers were well paid and given homes. The buildings were made of the best quality local material and laid out in a parallel layout so that each house would get the right amount of sunlight and ventilation. In 2001 Saltaire became a UNESCO protected site and has been kept in almost complete form (only 1% of the buildings have been demolished). The extreme conservation of the site has led us to question whether preservation of the physical element also entails preservation of the memory. In our analysis we show the consequences of said preservation, the public’s opinion on current Saltaire, and possible future’s that engage with the heritage. In the 2014 Management Plan it is mentioned that Saltaire’s main source of economy comes from tourism. Due to this fact, I believe that the town is not ﬁt for modern needs and that Titus Salt’s utopian vision/ intention was lost in the desperate attempt to preserve its visual qualities.

Saltaire’s Ammenities

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* All historical context analysis was made during framing stage

Section of Saltaire

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Map of Saltaire showing key views Liverpool-Leeds Canal

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MEMORY

 VISUALITY

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ECO- ASSEMBLAGE

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URBAN FORM

TASK FORCE

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 OWN GROUP ANALYSIS ADDITIONAL INFORMATION

WHO?

Saltaire ‘s Textile Past Study

Titus Salt was a successful industrialist and the second mayor of Bradford. He was known for experimenting with Alpaca wool, a new ﬁbre at that time that he found by mistake in an abandoned warehouse in Liverpool. He became a driving force behind his family’s wool business. When he became mayor, he took it upon himself to improve the quality of life of his people. He believed ludicrous that, on average, a person would only live up to his 20s. His methodist faith inﬂuenced him into wanting to provide a better working environment than what was seen at that moment. Titus soon realized that what he was undertaking was an impossible task and chose to start fresh some place else. Wool Import

WHAT? Salt put together, with the help of the architects Henry Lockwood and William and Richard Mawson, a model village called Saltaire. The name of the town combines his name with the river Aire next to which he built. Located in Shipley- just a couple of miles from Bradford- he built, what is now considered, one of the most complete model villages of all time. Saltaire was considered a utopia at the time because it had fresh air, clean water, was cholera free, and the workers were well paid. Titus Salt built shops, a school, recreation facilities, and churches and each house had its own outdoor toilet- “a rare lucury in the 19th century”.

Britain’s Cotton Industry

Textile Industry 1800

WHY? Salt was an advocate for higher education- young workers were encouraged to go to school- a strong community, and diversity. In his biography it is mentioned that “he had the capital and the vision” and with the help of his Methodist faith “he brought a social conscience to capitalism”. He believed in a better quality of life and showed it numerous times through his village. For example, to efﬁciently make use of land, the houses were laid out in a gridiron pattern, this also made sure that each house would get the right amount of sunlight and ventilation. Also, the interior of the houses were separated into cooking and living for health, cleanliness and decency reasons.

Connections

UK Exports 1926 VS 2019 GROUP WORK- URBAN FORM

Buffer Zone and Site Boundary

Grade Listed Buildings

Extent of Demolition

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Trip Advisor Reviews of Saltaire- public opinion As a general consensus, the opinion of the public is a negative one. Tourists write that they have left the village feeling discontent. They say that the town is lacking vibrancy and culture, relying too heavily on the history of the mill. Some of the reviews say: “I was an arts student but there was nothing there that was any different to the run od the mill (excuse the pun) which was disappointing” “I walked around saying they could have done this here and that there to engage the public more” “We had food and drinks there because we did not know if there was anything else available throughout the village” “You cannot deny that this part has character as well as a ton of history but I did not enjoy it half as much as the pictures showed out that I may” “Not bad but I was disappointed” A loss of engagement and vibrancy from immaterial factors such as activities, experiences, and social opportunities is clear. Key issues taken from the reviews: -Minimal and unusable disabled access - Expensive shops -Little to do -Disappointing array of activities In summary Saltaire is considered: Boring Dissapointing Too expensive Lacking in disabled access Not much to do Conclusion: -Saltaire is not ﬁt for modern day uses. It appears as a “ghost town” because of the lack of activities available. -Social sustainability is not being met. Saltaire;s textile past is heavily reliant of Salts Mill and not well represented -By preserving the villages visual qualities to the extreme where the communitie’s social needs are not met, Salt’s utopian vision is lost. The village was considered to be a utopia due to exceeding all expectations and need (of that time) of a citizen.

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Salts Mill Timeline (1840-2001)

Group Analysis- Urban Form

Embracing its Original Identity The following collage, made by the memory group, opens up a series of questions that I would like to try and answer. First, they question the village’s character and liveliness after the closing of the mill. Salts mill closed in 1986 because the textile industry faltered in the UK. So if the whole village was built around the textile mill, what happened after it closed? The following year, Jonathan Silver, a local entrepreneur, transformed it into a commercial space with exhibition spaces to display the town’s history. In my visit to Saltaire, I noticed that there was a lack of activity opportunities. Tourists were all gathering next to the river and walking alongside the main road (Victoria Road). Also in my research comparing Saltaire with other model villages (Appendix 1.1- Urban Form) I came across some shocking statistics. In 2018, the unemployment rate was 25% higher than National Average. Although, visually, the village is almost intact, it’s spirit has disappeared with the death of the mill. Consequently, I am proposing a resurrection of the past through the form of an artisan textile lab. Because of our evolution, from once a utopia, the village has become a ghost of its own success. I plan to re-introduce the town to the textile industry of the future- artisan slow fashion.

Group Analysis- Memory

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My site can be found next to Roberts Park and the River Aire and across from the two mills. It is directly visible from the main road (Victoria Road) which makes it a sensitive site to build on as it can easily affect the character of the village. From the site a “pool of trees” is visible in any direction. This is one of the main factors contributing to Saltaire’s character. As a result, the proposed building will have to be under 8m high (equal to the height of the surrounding buildings). The location also provides me with opportunities. Due to being next to the most popular locations around the village- the mills, the river, and the park-, there are various opportunities of luring visitors in. From a functional point of view, the river will provide a source of energy production and cooling system. In order to further develop my proposal, an in depth analysis of the site and surroundings has been conducted. Key Lessons: - The street connected to my site is busy at all times which will result in a lot of trafﬁc noise - There are many access points around the site and people can easily use any type of transportation. There is a bus station right across from the site and a parking lot 10 minutes away by foot. - The key views will be towards the mills and the park - Although there is a lot of stone and brick buildings, there is a lot of opportunity for timber integration (there are a lot of sheds and rails made out of wood around) - Only 3.5% of the time/ per year is spent inside the comfort zone and no additional heating or cooling is required. 90% additional heating is needed and for the rest 6.5%, cooling and ventilation is recommended

SITE ANALYSIS

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Access Diagram

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Trafﬁc Analysis

Material Study

Climate Analysis

Site Collage

There are two main themes that have played a signiﬁcant role in the development of the project: 1. Interacting with the textile heritage and actively engaging with it. (Embracing with its original identity) 2. Providing an interactive and sustainable option for the community. Environmental: Use of sustainable passive and active strategies, smart use of materials, plenty of lighting and ventilation Social: Become a vital space for social gathering where you are enticed to come back and explore due to the variety of possibilities to experience the building Economic: Due to its mystery the building will attract more tourists, contributing to Saltaire’s economy For the textile research, I analyised the current textile industry, comparing fast fashion to slow fashion, with the intention the building will encourage the sustainable path of the industry.

TEXTILE RESEARCH

For the sustainability research, I explored all the strategies- passive and activeof building sustainable Key Lessons: - There is a slow but deﬁnite shift towards sustainable fashion where big brands are already taking initiative to become 0 waste - Most underdeveloped countries thrive over fast fashion with the conequence of exploiting the workers, underpaying, and working in a ﬁlthy environment - Best active strategies will consist of using the river for energy production, and cooling (a constant source), PV panels will be included for more green energy production, and the ground will be a constant source of heat production.

 SUSTAINABILITY RESEARCH

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25% WASTE Fast Fashion

Slow Fashion

Advantages:

Why is it sustainable?

Cheap ----> Accessible to all incomes

It values local resources, transparent production system, longevity and durability, it has a higher value

Challenges: Cheap fabrics ----> Low salaries ----> Worker exploitation

What does it mean?

It takes into account each material in With the challenges of modern day (cli- terms of: Renewability, Biodegradability, mate change, overpopulation, food and Chemical Use, Pollution, Cultivation water shortages etc.) the fashion industry is faced with major consequences. Slow fashion is a movement opposing These mainly revolve around the issues fast fashion. It advocates for production of fast fashion and its waste production. in repsect to the workers, environment In this case, what does the future hold and animals. It offers sustainable confor the industry? Major brands like Nike, ditions where the emplyees abilities Gucci, Balenciaga, and Addidas are pavare rewarded. Usually, slow fashion ing a new future for the fashion producfollows one or more of these criteria: tion. These pioneers are on their path of handmade, recycled, organic, artisan, becoming Zero-Waste. eco-friendly. Gucci: 100% Biodegradable show soles, Nowadays, new methods of re-cycling re-uses leather scraps into shoe produc- and up-cycling are invented every year. tion We are at the point where polyester can Nike: Recycled 3 billion plastic bottles be fully recycled, using 85% less enersince 2010 gy, 90%less water, and releases 50-65% Balenciaga: Recycled 3.1 tonnes of fab- less CO2 and SO2 than virgin polyester. ric Cashmere can be turned back into high Addidas: First sneaker made 100% from quality yarn without harmful chemicals. ocean plastic, their goal is to eliminate DyeCoo invented a machine to dye fabvirgin plastic from their supply chain ric using 0 water.

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Plastic and Textile Contribution to Global Waste

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There are attempts at making fast fashion more sustainable. However, taking into account the rise of the fashion industry over the years, the amount of waste that process produces is too signiﬁcant.

Rise in Modest Fashion Industry- Globally

New industrial machinnery that uses less water and energy

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Is this page too cluttered? Should I break it into more pages?

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  The idea was to continue the legacy of the textile factory with Salt’s intention to sustainability and combine it in a building. However, I found out very soon that this concept was doing the opposite of what I intended to do. Key Learnings: -Recycled plastic emits a series of harmful substances into the air, resulting in polluting the village. -Factories are known for producing a lot of waste, exploiting the workers, providing unsanitary conditions and unfair pay

Initial Massing Ideas Initial Programme Ideas

 

Kengo Kuma

Gallery of Rope Wave

Massimiliano and Doriana Fuksas

Studio Gang- Writers Theater

Shigeru Ban- Nine Bridges Golf Club

Hashimoto Yukio-Hi Lai Harbour Buffet Restaurant Tai Mall

Pompidou Centre

Hendrick Architectural

There are two types of precedents that I looked at: 1. Functional/ Sustainable Buildings 2. Artisan/ Commercial Centres

ortner + ortner baukunst: photovoltaic pavilion

Olympic Golf Course rain collection canopy

Architecture of a Modern Wind

Edgeland House Built Into a Hill By Bercy Chan Studio

THE GATE HELIOPOLIS - Vincent Callebaut Architectures

Underground house Plan B project concept by Sergey Makhno Architects

CGV Incheon Airport.

Sustainable Market Square, Estudio Lunar

 

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During the testing stage, I focused on exploring all the wrong ways to do the design instead of focusing on ﬁnding the right one. With this approach, I got to understand why the services needed to be towards the street, why using only half of the site would not interact with the landscape appropriately, and how to accentuate the location’s main characteristics- plus many more lessons that I might not have come across otherwise. In the end, I settled on the loose idea of a canopy with treelike structures to symbolize the forest surrounding the site and the protected trees while providing shelter to the visitors. Key mistakes: - The scale that I was working at was too big (many of my ﬁrst massings will look disproportionate because of this) -The building was not interacting with the landscape -The building was too open for the UK climate, which would have resulted in having a part of the building shut for most of the year Key learnings: - Working at multiple scales at once helps you resolve issues easier and spot them faster -Always check that your choices align with the context and chosen themes - Although intended to be grand, the central space was too big of an unused space which went against my intention to bring activity back to the village. If a quarter of the building had been left unused, my choices would feel contradicting.

Programme and Form Exploration

  I struggled with the canopy for the majority of the testing stage. I changed it multiple times from curve to straight and back, ﬁguring out the best functional and aesthetic way. I encountered many of these times that if it was functional, it was not aesthetic and vice-versa. To create a coherent massing, I often had to put myself in the user’s place and experience what he would experience. Key Learnings: - The curved roof is made by a series of ﬂat elements that give the illusion of a curve (with certain exceptions) -The tree structures need to be optimized within a grid for easy and cost-effective manufacturing

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Massing Exploration

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  Foundation and concrete core

Ground Floor Structure

First Floor Walls and Floors

Fixtures

Tree structure and canopy

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Heating and Cooling

West Elevation

First Floor South Elevation

Ground Floor

Fire Strategy

  After getting some elevation sketches to figure out the canopy, I began to think about the visual impact I want it to have. Because the canopy was symbolising the forest my initial thought of the elevation was a tree house. This idea developed into floating building (in the trees). To emphasise this concept, I created a dramatic cantilever with most of the first floor looking like one solid mass. Because I did not want to hide the tree structures, in the parts where you can see inside the building, you are met with a view of the structure. Key Learnings: -Due to the climate analysis, I knew that no shading would be needed 90% of the time, which allowed me to have a seamless vertical cladding on the south side of the building. When shading is required, the thickness of the wall, the interior shading system, and the triple-glazed glass should prevent overheating. If all fails, there is passive cooling and ventilation available. -To have a free-standing 5m cantilever, the floor structure thickness would have to be increased significantly- more than I was willing to increase, which meant I had to provide additional support.

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

Story: There was once a beautiful forest. One day, a man came and decided to take a part of this forest down He had made a park for kids to play in But now there’s no one who uses it from the town Another person then came and decided to put the forest back in Now nature and human live together

Development Stages

Concept Diagram

Additive

Circulation to Use

Hierarchy

Plan to Section

Structure

Symmetry and Balance

Site Plan

Programme- Key Views- User Experience

Circulation Diagram

Private/Public/Semi-Public

Activity Diagram

Light Study

Exploded Axonometry

Workshop Interior View

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Heating Diagram- Heating & Structure Research

Restaurant Interior View with View to Saltaire

Shop Interior View

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South Elevation

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West Elevation

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Section

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Central Space View from First Floor

Central Space View from Entrance

Central Space View from Ground Floor

Exhibition Space from First Floor

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South Elevation View from Saltaire (close-up)

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1:20 Detail and Part Elevation

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Summer/Winter Diagram- Sun/Night Diagram

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JOANNEUMSVIERTEL PLAZA 113

Introduction -

The Joanneumsviertal is a complex located in central Graz, Austria. The complex comprises of three museums: the Neue Galerie, the Natural History Museum, and the Multimedia Collections. These three historical buildings are connected through a beautiful underground wing, designed by the Spanish architecture ﬁrm Nieto Sobejano. Nieto Sobejano won a competition in 2006 for the redevelopment of this quarter in Graz to give proper accommodation to these three museums. Although constantly contemporary in design and choice of forms, the architecture ﬁrm have succeeded in realising an architectural language that is responsive to the historical buildings, yet in dependant of them. Located entirely underground, the new wing provides a common entrance to the three museums as well as a new public plaza where culture, art and the city embrace one another. The old town in Graz has been designated a World Heritage Site. UNESCO has protected Graz since 2004 due to being an exemplary model of living heritage. Nieto Sobejano were involved in two projects in Graz at this time; the Joanneum underground extension and the construction of a new roof scape for Kaster & Öhler. It is interesting to note the way in which these project have informed each other and embodied Nieto Sobejano’s theories and concepts as a practice. In response to the set questions we will go on to explore this in more detail.

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How does the case study elaborate on its visual, spatial and interactive relationships to its context, landmarks and landscape(s)?

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How is the case study conceptualised and framed (theorised) and communicated (verbal, graphic, tectonic), for the agenda of curating the site towards a progressive conservation & embodied reading.

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How does the case study relate to the architect’s theoretical position / how does it explore their ideas and preoccupations?

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How does the case study relate to other buildings of its type?

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Conclusion -

Analysing the Joanneumsviertel in context and comparing it to similar extensions demonstrates the innovative and sensitive approach Nieto Sobejano have worked in this design. It creates a dialogue with the existing architecture but does not alter it. Working within the strict limits of a World Heritage Site, the design respects the surrounding heritage only puncturing the surface intermittently. The architecture ﬁrm’s interest in the ground and their theories of the void are explored in this design. Pattern and geometry are represented in the cones, which function as spatial organisers bringing light into the rooms below. Due to the building being underground, designing a space that felt aired and spacious and at the same time well lit and inviting was a challenge. The variation of the size and depth of the cones works to resolve this problem. The notion of memories and child-like hidden spaces emanates from this work. It evokes our fascination of going underground when we are so used to going up. Nieto Sobejano successfully protect the heritage of the site whilst connecting the three museums in an original and creative way.

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