Otto Jaax Portfolio by PDF Uploads

T h e

R i f t

Building Upon Building Undergraduate Portfolio 2020/21

Fig.1 Still from Lázló Moholy-Nagy, The New Architecture and the London Zoo, 1937

O T T O

J A A X

Studio 6 The Penguin’s Pond

Table of Contents

0.1

Reflective Diary

0.2

Cultural Bibliography

Framing

Testing

Synthesis

List of Figures

191

Bibliography

193

Appendix

192

The Thematic Case Study group-work and precedents are located within the appendix of the portfolio

Studio 6 The Penguin’s Pond

Reflective Diary

F R A M I N G

Subsequently, during the Theory into Practice module, I further explored the fundamentals of harmony and balance through the macro- and micro-components of architecture while gravitating towards a form of story-telling. Here I aimed to relate these elements directly into my proposal. These components have persuaded my project as the design principles were predominantly about creating an architectural narrative while attempting to maintain a degree of harmony between the macro- and micro components of design. The proposal is about setting out a journey through space while exploring key atmospheric components that bridge towards the global vision of the project. I believe that the routes through a building should be grounded into the project connecting the spaces through a meaningful experience. According to Sophia Psarra, architecture can be seen as an experience

F R A M I N G

Three years ago, I was insensible to the capabilities of architecture to coalesce with theory, science, art, or music. Since the beginning of this year, I have begun to see it as a discipline, in which anyone can attribute different knowledge, skills, and experiences. Seeing architecture as a versatile branch of knowledge rather than a solitary profession was refreshingly reassuring. I was encouraged to explore the different segments of the discipline, seeking to find my niche while developing a design methodology. This realisation came to fruition with the support of my dissertation tutor, Nathaniel. Whilst writing my paper on the relationship between music and architecture I became informed of the fine threads that interweave the arts to architecture. Readings such as Vitruvius’ Ten Books on architecture, Henry Lefebre’ Rhythmanalysis, or Le Corbusier’s Towards an Architecture were influential in defining the terms of balance, harmony, and the relationship between the macro-and microcosm of architecture.

Studio 6 The Penguin’s Pond

Reflective Diary

in which the observer follows a route within the building that unfolds in time. In these cases, the notion of architectural narrative goes beyond an interpretation of a building towards a fundamental element in the production of space (Psarra, S., 2013 pp.2). Although these theoretical principles have strongly influenced my design in the conception of an architecture narrative similar to a voyage in the deep, I was unable to successfully interpret these associations visually. A considerable dissatisfaction considering ARC3001 is the lack of representation exploring the conjunction between the macro-and micro-elements of the project.

F R A M I N G

The integration of modules within our design was a very successful part of this year. I believe that the interweaving between the segments of the discipline facilitates the perception of architectural practice when associated with a singular project. ARC3014 Professional Practice and Management has been surprisingly persuasive. Through a reflection on the relationship between the client, users, and architects within the context of the proposal, the design would adjust relevantly. For instance, both the shape and the master plan of the building have been adjusted to add value to the context within which it sits by bringing a sense of accessibility and openness to Regent’s Park. Moreover, ARC3013 Integrated Construction, although challenging, was key to the development of the project. On a critical reflection, I misjudged the structural integrity of the proposal during the early stages of design. This became an issue, as I had to re-adapt the structure of the building to be realistic considering the large scale of the building. Although I was happy with the development of the structure and its influence on global design, I regret that my design and construction weren’t explored synchronously.

Studio 6 The Penguin’s Pond

Reflective Diary

F R A M I N G

On a side note, I would like to thank my tutors, Pep, Tom, and my colleagues for guiding me through this turbulent year. I truly enjoyed it, and in all honesty, both the dissertation and the design have given me a purpose, a possibility to focus and be absorbed. I feel like I was able to fully immerse myself within both projects and explore segments of architecture that were unprecedented to me. Looking back to the early days of first year, I feel like the school has not only shaped my education but has increasingly influenced me as a person. Thank you.

F R A M I N G

The Building Upon Building Studio was instrumental in the study of architectural preservation in designing upon an iconic project; the Penguin Pond. What was once conceived as a whole project, became the key micro-component within our design proposal. In this context, I aimed to develop a scheme that envelops the modernist landmark, while exploring their exchange. The revival of the circus-like architectural setting of the Penguin Pond and the relationship between the display of animals and the observer became fundamental in framing my proposal. I aimed to reflect on the Iconic elliptic ramps by incorporating a dynamic set of ramps that act as a central spine throughout the building and interlacing the spaces through its circulation. Thus, I aimed to ground the Penguin Pond in my proposal through its physical presence while its perished architectural setting reverberates via the revival of the theatrical setting in the relationship between animals and visitors. I would like to believe that my project explores a framework within which preservation can be echoed through a more abstract juxtaposition between the existing and the new. A proposal that embeds itself with a reflection on the ephemeral qualities of the Penguin Pond.

Studio 6 The Penguin’s Pond

Cultural Bibliography The Deep

Novels

F R A M I N G

Fig2. Blue Planet II: A New World of Hidden Depths, 2021

Fig3. Screenshots from the Blue Planet series, Episode the Deep

Fig4. Murakami book covers, Vintage

For the brief of the project, I was inspired by the BBC series Blue Planet and the episode The Deep. The deep-sea exploration captured the essence of what I wanted to represent architecturally. Whilst floating 4000 meters deep, the submarine is submerged in darkness amidst alien-like creatures, some unidentified by humans. Within this alienating ecosystem lie ctenophores, a species similar to jellyfish, that create bioluminescence in the obscure environment. These comb-jellies may be little, but when illuminated, the bioluminescent reflections are exposed and leave a spectacular display of light.

During the past year, I came across Murakami and after reading Sputnik Sweetheart I was hooked. Although these readings have not directly influenced my project, the modern surrealist style, and the complexity of narration within which Murakami describes the world have been meaningful to me. In retrospect, I believe that these books influenced me in designing a proposal that had a degree of fantasy and complexity to it, which may be interpreted through my style of representation.

Studio 6 The Penguin’s Pond

Cultural Bibliography Cité de l’Océan et du Surf

F R A M I N G

The Chamber

I painted The Chamber during the Christmas break, and it was my first attempt at oil painting. I was influenced by László Moholy-Nagy’s work while exploring a composition in which abstracted rooms overlap. Overall this painting was a good exercise and just plainly fun. The only element that bridges into the academic portfolio is its use in my style of representation, noticeably in the collages.

I visited la Cité de I was inspired by be floating. What structure, a sharp

l’Océan et du Surf by Holl and Fabião whilst in Biarritz during the summer. its volumetric language and its exposed concrete form that seemed to I found most compelling where the composition of shadows within the contrast that brings depth to the volumes.

Studio 6 The Penguin’s Pond

Framing

F R A M I N G

This Symbol marks additional work that was produced post-framing review.

F R A M I N G

The Framing stage started out with the unraveling of the wider context within which the Penguin Pond was conceived. Whilst the group work is presented via four distinct chapters; the Park, The Zoo, Tecton, and the Pond, the presentation aims to reveal the links between these segments and display how each element has influenced one another. Moreover, through a historical analysis of the development of zoos, one can identify changes in the purpose and ethical uses of displaying animals. Here emerges a question; how is our perception of Zoos going to change in the future? What will be the new way to design animal habitats within an urban environment? These questions framed my line of inquiry in designing a habitat that would be deeply embedded with scientific research, which could be seen as a prototype for the future purpose of zoos. Through an analysis of the interconnections between these segments and the perception of the Penguin Pond as creating an atmospheric setting similar to a circus, my proposal arose. Ultimately, the scientific aspect, intermeshed with the perished, theatrical setting of the pond, was fundamental in the unraveling of my proposal.

Studio 6 The Penguin’s Pond

F R A M I N G

Site Location

Fig7. Aerial view of Regent’s Park, 2012 (edited by author)

Fig6. London Road Map Illustrations, iStock, 2021 (edited by author)

Fig5. Satellite Image - Great Britain and Ireland, 2021 (edited by author)

Part I - Regent’s Park

F R A M I N G

Studio 6 The Penguin’s Pond

Context Site Plan

Polarity

F R A M I N G

4 6 5

7 8

Vehicular Circulation

0 50

300m

Pedestrian Circulation Outter Circle

1: Primrose hill 2: The Hub Cafe 3: Boating area 4: Office park

5: Queen Mary’s Garden 6: Open air theatre 7:Regent’s university 8: Park Square Garden 9: Zoo

Fig8. Aerial photograph of Regent’s Park (Martin, H., 2018)

Located in central London, the Regent’s park allows respite to its visitors, a space that contrasts with the chaotic and polluted urban environment of the metropole. Its outer circle acts as a central roundabout connecting Regent’s street while it is designed as a grand promenade, enveloping the park, and connecting the terrace houses (Longstaffe-Gowan and Lambert, 2017 p.2).

Studio 6 The Penguin’s Pond

Context The Picturesque

The park was designed by John Nash as a bourgeois estate development during the start of the 19th century. It is a composition of 21 individual luxury housing estates, a picturesque landscape as a private garden, and institutions such as the London Zoo, located on its northern edge. The dynamic sprawl of London through the underground development led to the opening of the park to the public in 1940 (Longstaffe-Gowan and Lambert, 2017 p.11). Throughout the years, we can identify a rising in penetrability in the park through the additional paths and infrastructure, developed in accordance with a sharp rise in visitors.

The Picturesque can be described by its scenographic irregularity, the beauty of the setting, and framing views. In other words, to imitate the natural landscape. This strategy was also used in urban planning. The Regent’s street connecting Regent’s Park to St James’ Park visually connects the park and the city by long views (St James’s to Regent’s Park Picturesque Route, 2021).

F R A M I N G

Development

Part II - The Zoo

22 Fig9. Photograph of the hippopotamus at the London Zoo, circa1855

F R A M I N G

Studio 6 The Penguin’s Pond

Context Site Plan

Snowden Aviary

Gorilla House

ENTRANCE

F R A M I N G

Clock tower & Raven’s Cage

Elephant and Rhino House

Penguin Pond

0 10

Entrance

60m

Penguin Pond Fence

THE PARK

THE ZOO

Grade I & II listed buildings

Located in Regents Park, the London Zoo is enclosed through a picturesque set of trees and fences in the northern corner of the park. There exists only one entrance to the northern perimeter of the zoo. Thus, the zoo can be seen as conflicting with the park, in which visitors must walk along its enclosed perimeter while its entrance may be difficult to find.

Studio 6 The Penguin’s Pond

Periods of Development Fig10. Development of the London Zoo map

The development of zoos follows a similar path to the Regent’s Park. Both were exclusive, focusing on a picturesque setting, leisure for nobility, and display of the animals. The Zoological Society London, founded in 1826 by Sir Stamford Raffles, focused on science, technology, in the making of habitats more suited to the animals (Stevens, McAlister, 2003 p.3). Today the Zoo is mostly for educational purposes, a place of family leisure, and for children to learn about animals.

A Leisure for Nobility

The First 10 years Enlightment

Science

19th Century

Commerce

Nobility

The Zoo today

20th Century

21st Century

1826: ZSL

Leisure

Education

Commerce Gorilla House

Clock tower & Raven’s Cage

Prison-like cages

1932: Penguin Pond

Science

Picturesque habitat Exclusive

A New Century

Temple-like cages

Penguin Pond

Elephant and Rhino House

Laboratory-like cages

Habitat immersion

Inclusive

Fig11. Development of the London Zoo

Snowden Aviary

F R A M I N G

Pre-Enlightment

Nobility

The Victorian years

Part III - Tecton Group

Fig12. Photograph of the Tecton GroupZ(Architectuul.com, 2021)emeoo

F R A M I N G

Studio 6 The Penguin’s Pond

Tecton Timeline

Collage

Lubetkin departs to Berlin and Paris in search for Utopia

RUSSIAN CONSTRUCTIVISM

MODERNISM

H A B I T A T

Lubetkin founds TECTON group “Architecture cried for a new world ... Nothing is too good for ordinary people”

THE SPECTACLE

Tecton Group was co-founded by Berthold Lubetkin in 1932. The name of the group Tecton derives from the Latin (by way of Greek) word “architecton,” meaning carpenter or builder, though certainly for Lubetkin, the name held additional significance. “Tektonika” was used by Russian Constructivists to refer to a merging of the ideological tenets of communism with the proper and functional use of industrial materials (Architectuul, 2021).

The very first design of the group was the gorilla house in 1932, in Regent’s park. After a successful project, they designed the penguin pond for the Zoo in 1934. The visions expressed by the building-as, a new abstract aesthetic universal language, a slight detachment from the British Culture to a modernistic habitat in which science plays a key role (Hogan, J., 2014).

F R A M I N G

October Bolshevik Revolution

Part IV - The Penguin Pond

32 Fig13. Photograph of the Penguin Pond model (RIBA, 2021)

F R A M I N G

Studio 6 The Penguin’s Pond

The Pond The Spectacle

F R A M I N G

A Modernist Landmark

Fig14. Aerial photograph of the Penguin Pond (World Architecture Community. 2019)

Fig15. Photograph of the Penguin Pond eliptic ramps (ArchEyes. 2021)

The highly modernistic design would prove to be a landmark project, both in terms of design and engineering. The interlocking of the curving ramps above the pool used as a playground for penguins was a successful theatrical display for the visitors (Allan, 2012 p199).

Instead of reproducing a common design for cages, the Penguin pond blends nature, technology, and modernism to create the ideal habitat for the species. The design represents an abstracted topography of Antarctica with its ramps as its central element (ArchEyes, 2021).

Studio 6 The Penguin’s Pond

Representation

Ground Floor Plan

Section AA

Exploded Isometric

6 7 4

2 Section BB

3 F R A M I N G

Basement Floor Plan

F R A M I N G

5 9

9 B

Section CC

8 A

3 C

Tree function

Springs for nest Atmoshpheric shadows

Sunlight protection

1. Entrance Gate 2. Reinforced Concrete rammps 3. Diving Tank

4. Stairs (penguins) 5. Maintained tree 6. Pre-existing tree

7. Access to esting Boxes 8. Penguin pool 9. Nesting Boxes

Studio 6 The Penguin’s Pond

Th ity

Part V - The Cross-over

e h T

o o Z

F R A M I N G

ark

Studio 6 The Penguin’s Pond

Nature

F R A M I N G

pre-existing tree

existing tree The sharp geometry of the pond and its exposed concrete language may seem to contrast with nature and its surrounding context. However, the pool was placed between two existing trees, which were incorporated in the design and the function of the pond. By blocking sunlight for the penguins while casting atmospheric shadows on the white concrete surfaces these trees reveal a dialogue between nature and architecture. The viewer’s experience was also influential in the making of an architectural setting, presenting animals to the public in an atmosphere comparable to a circus; the pond is a stage for penguins and a stage for structure (Hornsey, 2021). Within the context of a theatrical spectacle, interwoven with nature, the pond can be closely related to the picturesque which is central to both the park and the zoo. It can be argued that Lubetkin’s implementation of nature in the pool is an indirect criticism of the growing, chaotic and alienating, urban landscapes surrounding the park.

Studio 6 The Penguin’s Pond Studio 6 The Penguin’s Pond

The 20th century saw a rise in the density of infrastructure. The sprawl of London due to the Underground system and later, vehicular travel drastically changed urban landscapes. This led to a tension between the changing conditions of circulation and the durability of the infrastructure necessary to accommodate it. Both Regents Park and the Zoo adapted to a growing demand of visitors, the picturesque, meandering pathways would need to be changed to straight walks to accommodate more people.

F R A M I N G

Circulation

Fig16. Photograph of the Penguins circulating on the ramps (the Guardian. 2021)

The Penguin Pond revealed a demonstration of a harmonious circulation, contrasting the urban environment. The Punch magazine suggested that the pool offered a model of traffic management (Hogan, J., 2014). The growing problem of overburdened traffic routes made travelers wish daily for infrastructure more quickly responsive to changing, even unanticipated, needs. The whole exercise is a platform for circulatory spectacle, and the ramps are such a spectacle themselves. One ramp leading to the nesting boxes, the other to the diving tank, facing the public, all to reveal the circulation of the exotic species. It can be seen as opposed to habitat, and more a setting, where the penguins ritual was in plain view of spectators in a repeated loop (Hogan, J., 2014).

Fig17. Punch magazine caricature (Hogan, J., 2014)

Studio 6 The Penguin’s Pond

Preservation Experimental Preservation

F R A M I N G

Dissolution

“It was designed as a showcase and playground of captive penguins, and I can’t see that it would be suited to anything else. Perhaps it’s time to blow it to smithereens.” -Sasha Lubetkin Fig18. Photograph of the empty pond (World Architecture Community. 2020)

In 2004 the penguins would be moved out of the pond because of contracting bacterial infections to their feet while walking on the concrete. Since then, the pool would no longer be a habitat for animals and remains empty to this day. Thus, one can ask himself, what were the most valuable intentions or elements it possessed and how can we preserve its ideas in engaging the visitors to reflect on the modernistic artifact?

For my design, the intention is to reflect on the notion of the pond’s circus-like “architectural setting.” Although the Penguin Pond was ultimately flawed in its function as a habitat, it remains a very influential design that gives one an extensive scope to incorporate its vision and ideals into our designs. Therefore, the notion of the spectacle in the relationship between the animals and spectators will be adapted in a new architectural setting. Thus this project aims to preserve the iconic artifact both physically and conceptually through a symbiosis between the existing and the new.

Framing - Design

F R A M I N G

Studio 6 The Penguin’s Pond

The Brief Habitat & Research

Bioluminescence is produced by a myriad of species. Biotechnology could be acquired in the use of a new source of sustainable light for the built environment. Start-up companies such as Glowee are developing a micro-organism-based material that produces bioluminescence by mimicking organisms such as planktons, mushrooms, or jellyfish (Glowee.2021).

The proposal aims to bring back a scientific purpose to zoos. The project would encompass a research laboratory for bioluminescence while displaying Ctenophores. These deep-sea creatures create bioluminescence in the dark environment. Thus, the aim of this project is to merge science with the hypnotic display of ctenophores.

Education Science Nobility

F R A M I N G

Commerce

Precedents

Fig19. architecture (EcoLogicStudio, 2021)

Fig20. Glowee (2021)

Studio 6 The Penguin’s Pond

Concept Collage

F R A M I N G

RESE

F R A M I N G

Y A L ARC

T TA

Studio 6 The Penguin’s Pond

Design Process Reshaping the Zoo’s Boundary

F R A M I N G

Initiative Massing Sketches

Since the earliest stages of design, the proposal aimed to break the boundary between the zoo and the park. This would be achieved by reshaping the boundary of the zoo and creating a new opening for the visitors walking along the park.

Studio 6 The Penguin’s Pond

Design Process Massing

ing

t xis

E F R A M I N G

F R A M I N G

The massing proposal highlight how the design would fully encompass the Penguin Pond, the volume extrudes into the park, breaking the zoo’s barrier. The volume is composed of opening which facilitate circulation through the building while allowing a new connection between the park and the zoo.

The four volumes gradually descend towards the park to create a fluid transition. A shallow pool interconnects the volumes to create a sub-aquatic atmosphere throughout the building.

Studio 6 The Penguin’s Pond

Design Process Exploration in Plans & Sections

Ground floor plan 2

First floor plan

Basement floor plan

Basement -1 floor plan

F R A M I N G

Ground floor plan 1

First section

Itterated section

The first sketches in plan and section explore the enclosure of the pond and its relationship with the other spaces within the building. The section studies the depth of subterranean spaces and the vertical circulation through a composition of ramps.

I then explored the aquarium spaces in the conception of a maze-like tunnel which would fully immerse the spectators in the marine habitat. A set of vertical light tunnels would remind the observer that they are in the underground, amongst the deep-sea ctenophores that surround them.

Studio 6 The Penguin’s Pond

Design Process Programme

Circulation

Public spaces Private spaces Mixed spaces 1 2

1.The pond 3

2.Cafe 3.The Deep aquarium

4.Display of Lab equipment

F R A M I N G

5.Main laboratory (spawing of ctenophora)

6.Research lab into bioluminescence

8.Reception and Exhibition space

Ground Floor plan

Basement

Basement -1

7.Private dwelling

Ground Floor plan

Basement Floor plan

Basement -1 Floor plan

Section

The programme diagram displays the rhythm of private and public spaces. The public spaces are located towards the zoo, encompassing aquariums, exhibition spaces, and galleries. The private spaces are situated towards the park, enclosing the laboratories and dwelling spaces for the scientists. A cafe, located at the center of the building would merge both occupancies along with the visitors approaching the building from the park.

The circulation diagrams explored the vertical movement which meanders the pond and the movement from the pond to the other spaces within the building. On the macro-scale, the visitors would descend deep into the building before ascending back to the surface, creating a subterranean atmospherics journey.

F R A M I N G

Studio 6 The Penguin’s Pond

Design Process Site Plan

F R A M I N G

Ground Floor Plan

0 10 20

50m

0 10 20

50m

Studio 6 The Penguin’s Pond

Design Process

F R A M I N G

Section Collage

The section collage explored light penetration and the atmospheric qualities of the water reflections within the building.

Studio 6 The Penguin’s Pond

Exploring The Pond Process Plan & Section

F R A M I N G

Atmosphere

Atmospheric exploration of key spaces studying the Pond alterations, framing views, and vertical light shafts within main aquarium spaces.

Intial exploration of the dimension of the new spaces that would enclose the Penguin Pond. During this stage of the project, my intention was to transform the Pond into an aquarium.

Studio 6 The Penguin’s Pond

Exploring The Pond Section & Views

I explored the composition of spaces that would be juxtaposed to the modernistic landmark and their potential atmospheric qualities.

I further studied the vertical spaces and circulation surrounding the pond. The composition of spaces would expose the existing structure from multiple directions. This comes back to the notion of the “architectural setting” by increasing the amounts of views into the pond within the new atmospheric spaces.

F R A M I N G

Process Section

Studio 6 The Penguin’s Pond

Framing Celebration The Architectural Setting

The massing proposal shows additional openings, circulation ramps, and vertical light tunnels that are located in the main aquarium space.

During the final stage of framing, I reflected on the circus-like atmosphere of the existing structure whilst it was inhabited by the penguins. The new architectural setting would preserve the lost quality of the pond in the making of a new theatrical setting, in which the ramps are a central source of light which is reflected on the ctenophores in a hypnotic spectacle for the viewers.

F R A M I N G

Massing Proposal

Studio 6 The Penguin’s Pond

Testing

T E S T I N G

Subsequently to the Framing review I received some criticism about the changes to the Penguin Pond. Whilst transforming the existing structure into an aquarium, I began to render it beyond recognition. Therefore, I attempted to create a vertical set of aquariums that would envelop it while keeping the existing structure intact. Thus, the observer would move between the water tanks and the pond in a dialogue between the existing and the new. During this point of the project, I was working on Theory Into Practice. I wrote my essay on the relationship between the macro-and microelements of architecture and the notion of an architectural narrative. Throughout the design process, I was going back and forward between all scales of design. Having refined my global strategy, I began to refine the micro-components of design. Ultimately, the design is about a subaquatic atmosphere that would bridge towards the theatrical setting in the display of the animals while seeking harmony between its macro-and micro parts; it is a journey through the deep.

T E S T I N G

Whilst researching the wider context of the Penguin Pond and applying my brief to the proposal, I began to refine my overall design strategy. During this stage, it became manifest that the building should break the boundaries between the zoo and the park and defy the friction between both spaces. Moreover, the fundamental aspect of the narrative arose. The proposal is about the deep. From this point on, my design decisions should exercise a consistent reflection upon a sub-aquatic atmosphere. Thus, I began testing the micro-elements of design such as vertical light shafts, dark underground tunnels, and the void below the Penguin Pond to remind the observer that they are submerged within the building. This would reinforce the relationship between the visitors and the ctenophores by associating the habitat of the species to the architectural setting of the proposal. In other words, through the affiliation between display and habitat, the design would reflect upon the Penguin Pond in the conception of a new theatrical setting.

Studio 6 The Penguin’s Pond

The Micro-elements of Design

T E S T I N G

Atmosphere

These sketches were key in exploring the atmospheric qualities of the building on a microscale while allowing me to have a basis that could be applied on the macro-level of the proposal. The shallow pool would cast water reflection throughout the surface level of the building, suggesting a sub-aquatic quality to the observer. The second sketch explores the Penguin Pond within the envelope of aquarium spaces.

Studio 6 The Penguin’s Pond

The Micro-elements of Design Pond Plan Itterations A

1st Floor

Pond Section Itterations

Ground Floor

Section BB

-1 Floor

T E S T I N G

A -2 Floor

Section AA

Iterations regarding the placement of aquariums around the Penguin Pond. I explored the connections between the circulation, the pond, and the water tanks in maintaining a dialogue between the existing and the new.

The sections further studies the spatial composition of the Pond Exhibit while exploring the key views onto the existing structure.

Studio 6 The Penguin’s Pond

The Micro-elements of Design Exploratory Collage

Consequently, the spaces which encompass the pond were furtherly developed. Four aquarium tanks would envelop the pond as a set of vertical walls. The route is also developed via a continuous ramp that floats within the void spaces.

A large void sits around the perimeter of the pond while the ramp would meander downwards within the void, allowing multiple views onto the existing and new structures as the observer gradually descends.

T E S T I N G

Exploratory Sketches

Studio 6 The Penguin’s Pond

T E S T I N G

The Micro-elements of Design

Axonometric section This sketch was crucial to the development of the exhibition space enclosing the pond. The form of the ramp became more unique, as a prominent component of the space. The existing tree roots would be left exposed below the pond to remind the observer that they are underground. The void below the pond has an opening directly beneath the elliptic ramps, framing a view onto the existing structure while allowing water reflection from the pond to penetrate the space. Here the observer is in the deepest part of the building, and a tunnel would lead the visitor to the main aquarium.

Studio 6 The Penguin’s Pond

The Micro-elements of Design Penguin Pond Section

Ground Floor plan

T E S T I N G

Penguin Pond Plans

20m

Floor -1

Iterated floor plans of the Penguin Pond exhibition space. The ground-floor slab is cut through to reveal to void beneath it. These plans also explore the vertical circulation through the ramp. The idea was to create a path that meanders the pond in the void while also penetrayting intoentering the earth. Thus, these next pages examine the relationship between the display tanks, the pond, the ground, the trees, and the void, which amalgamate in the journey through space.

The iterated section reveals the composition of void spaces surrounding the pond. The overall dimensions of the new space are enlarged to give more breathing room to the Penguin Pond.

Studio 6 The Penguin’s Pond

The Micro-elements of Design Penguin Pond Section

Floor -2

T E S T I N G

Penguin Pond Plans

20m

Floor -3

Sub-terranean floor plans showing circulation via the main ramp and its association with the void below the pond which is then connected to the main aquarium spaces via an underground tunnel.

The longitudinal section further reveals the excavated spaces concerning the Penguin Pond. The existing structure is left virtually untouched except for the opening below the elliptic ramps.

Studio 6 The Penguin’s Pond

The Micro-elements of Design Exhibition spaces

T E S T I N G

Central Aquarium Plans

Exhibition spaces

Cafe

Ground Floor plan

-2 Floor plan

The floor plans highlight the maze-like tunnels within the main aquarium space. Here the vertical light shaft extrudes towards the roof of the building to allow a minimal amount of natural light penetration. This space further connects to the galleries and exhibition spaces.

The aquarium connects to the galleries and exhibition spaces where bioluminescent light shows are displayed onwards to the large acrylic surface which is inhabited by Ctenophores.

Studio 6 The Penguin’s Pond

The Micro-elements of Design Global Circulation Diagram

In the context of my Theory Into Practice essay, I experimented in applying changes to the micro-components of the building which could bridge towards the global vision of the project. For instance, the conception of the ramp that envelops the Penguin Pond could be the beginning of a central spine that runs throughout the building, leading the observer on a dynamic journey through its spaces.

The axonometric circulation diagram highlights the central spine which would act as an architectural promenade while interconnecting the spaces.

T E S T I N G

Pond Circulation Sketch

Studio 6 The Penguin’s Pond

The Macro-elements of Design

Ground Floor

-1 Floor

-2 Floor

-3 Floor

T E S T I N G

1st Floor

Diagramatic floor plans The diagrammatic floor plans further reveal the route through the building and the global composition of spaces.

Studio 6 The Penguin’s Pond

The Macro-elements of Design

T E S T I N G

Exploring the Journey Through the Building

The section shows the central set of ramps in the global circulation through the building. The path reiterates the idea that the journey through the building starts from the surface and goes through the depth of the underground before gradually ascending back to the surface. Moreover, the drawings locate the key spaces within the route.

Studio 6 The Penguin’s Pond

The Macro-elements of Design Floor Plans

T E S T I N G

2 3

1.The pond 7

2.The Deep aquarium & Exhibition space

3. Cafe 4.Display of Lab equipment 5.Main laboratory (spawing of ctenophora)

10 20

50m

First Floor plan

Ground Floor plan

-1 Floor plan

-2 Floor plan

6.Research lab into bioluminescence 7.Private dwelling 8.Reception

-3 Floor plan

Testing Celebration

Studio 6 The Penguin’s Pond

Synthesis

S Y N T H E S I S

The Synthesis chapter begins by presenting my research. Consequently, it aims to ground the studies, and the elements explored in the previous chapters by interpreting them through key visualisations within both the macro-and micro-scales of the design.

This symbol marks additional work that was produced postSynthesis review

S Y N T H E S I S

The synthesis stage was principally about refining my design in consonance with the key intentions that developed through the Framing and Testing chapters. Subsequently to the Testing review, I was challenged to break the horizontal geometry of the scheme which appeared to be too linear. Moreover, due to the elongated size of the proposal, I was invited to further explore the internal atmospheric spaces concerning the journey through the building. At this stage, I was working on ARC3013 Integrated Construction and explored the sustainable energy delivery strategy. I looked into biofuel power plants and the use of algae as the primary source of combustion. This would prove instrumental in the design of the chimney, which would act as a landmark amidst the picturesque landscape of the park while breaking the horizontality of the building. The area enveloping the Penguin Pond would store algae tanks as this space would be too bright for the display of ctenophores. Moreover, I researched the process of culturing and displaying ctenophores. This investigation led to a major modification of the aquarium spaces and the configuration of the laboratories. Coming back to ARC3013, my structural strategy was criticised as being unrealistic during the Integrated Construction review. Finding an appropriate structure that wouldn’t require internal columns while spanning over 50 meters was challenging. I began exploring different structural systems that proved to change my design drastically. During this troubled investigation, I was led by Maggs to look into bridge structures. This was valuable feedback as I could maintain the minimalistic cubic form on the exterior while the bridge-like steel structure, along with the services, would be left exposed internally.

Studio 6 The Penguin’s Pond

The Crossing

S Y N T H E S I S

During the Easter break, I took the overnight ferry from Amsterdam on my journey back to Newcastle. As I was sitting outside, I began to notice the elegance of the naval architecture. The white-coated steel superstructure contrasted appealingly with the extensive blue sea. Features such as the safety boat cranes, chimney, or air ducts influenced me in designing my proposal. Having started with a volumetric concrete, form, the design gradually started replicating naval-like characteristics to reinforce the sub-aquatic aspect.

100

Studio 6 The Penguin’s Pond

S Y N T H E S I S

Thinking Through Making

101

102

Studio 6 The Penguin’s Pond

S Y N T H E S I S

Thinking Through Making

I began by testing a variety of concrete mixes before starting the exploratory model. The model itself consisted of creating a cube, in which a composition of voids would be sculpted within it. These voids act as rooms and a sculptural set of tunnels that were shaped in clay. Once the voids were set within the mold, I poured the seventh mix of concrete. It was an interesting process to make a negative version of the final output without planning it in advance. The aim of the TTM was to create a simple box from the exterior, while the internal qualities explored the atmosphere through sculptural voids which would distort light while allowing water to flow in it.

103

104

Studio 6 The Penguin’s Pond

S Y N T H E S I S

Thinking Through Making

These pictures highlight the internal atmosphere of the voids. Above the cubic void lies a sheet of acrylic which allows the water reelections to enter the dark space.

105

106

Studio 6 The Penguin’s Pond

Culturing Ctenophores

S Y N T H E S I S

Joan Josep Soto Angel

Ctenophore Species

Fig22. Pleurobrachia pileus (Sea Gooseberry, 2021) Fig23. Mnemiopsis leidyi (Sea Gooseberry, 2021)

Fig24. Pleurobrachia pileus (Sea Gooseberry, 2021)

Fig21. Photograph of Joan, edited by author

Joan Josep Soto Angel is a doctor in marine molecular biology and senior staff member at Bukhart Group, Bergen University. This group studies the evolutionary origin of synapses and neurons through ctenophores, which are amongst the oldest species on the planet. I met Joan on a zoom call on the 3rd of march, where he talked about his research on ctenophores and gave me advice on the process of culturing Ctenophores. The next pages will present his advice and how I incorporate it into the design.

The first question he asked was what species of ctenophores I wanted to culture. Joan informed me that the Pleurobrachia Pileus and Mnemiopsis Leidyi would be the most suitable as they are large (1.5-12cm in length) which makes them easier to be seen. These species are also very well researched, they are enduring, and can coexist as they feed on plankton and larvae.

107

108

Studio 6 The Penguin’s Pond

Culturing Ctenophores Kreisel Tank

Kreisel Mechanism

Inlet outlet

Kreisal tank

Fig25. Kreisel Tank (Aquarium Works, 2021)

Reservoir

air inlet

UV steriliser

Filter sock

Heating

outflow Screen

Protein skimmer Pump

Plastic vinyl

Pump Solid silicone

Joan quickly explained the use of Kreisel tanks, a circular tank designed to create a constant water current, the only appropriate tank for the habitat of Ctenophores. Kreisel tanks are designed to create a consistent rotary flow of water replicating natural sea currents.

These tanks must be applied for both the large, display aquarium but also in the laboratories for the culturing of Ctenophores. Both the eggs, larvae, and adult ctenophores would require the circular water current to swim and would descend towards the bottom of the tanks and eventually die if not placed in a Kreisel tank (Courtney, Merces and Pickering, 2020).

109

110

S Y N T H E S I S

Bench

Studio 6 The Penguin’s Pond

Culturing Ctenophores Diffusion Tubes

The Cycle of Life

Display tanks

Reproduction

600K LED white light source on larvae from above

Larvae

Isolation of eggs

INCUBATION Tube to Display tanks

0.9 m long acrylic tubes 35 L and 28 L with inner diameters of 21.59 cm and 20 cm

Juveniles

Rigid PVC tubing, 0.635 cm inner diameter (located between tubes, providing water flow near the bottom)

Transport to isolated Kreisal tank until adulthood

3 cm tall riser made of rigid plastic mesh

NURSERY

15 cm square acrylic baseplate

Culturing Ctenophores consists of creating a life cycle in which one can efficiently reproduce offsprings to maintain a large ecosystem of Ctenophores without catching them in nature. The paper: Diffusion tubes: a method for the mass culture of ctenophores and other pelagic marine invertebrates, published in 2020, found a method of reliably and cost-effectively mass culturing several genera of ctenophores via a pair of acrylic tubes. This method consists of creating a water current that flows from beneath the inner tube, it flows upwards until it floods into the outer tube (Patry, Bubel, Hansen, and Knowles, 2020).

Here the water flow descends, is filtered, and comes back through the center of the inner tube. These “Cteno-tubes”, are highly effective for reproduction in which one isolates adults together, then transports them out to isolate their eggs. These eggs are carefully exposed to light while transforming into larvae. After 24 hours the larvae become juveniles which need to be nurtured before adulthood and then be transferred to the display tanks (Patry, Bubel, Hansen, and Knowles, 2020).

111

112

S Y N T H E S I S

Fig.26 Diffusion Tubes (Patry, Bubel, Hansen and Knowles, 2020)

Studio 6 The Penguin’s Pond

Culturing Ctenophores Joan’s Laboratory Plan

Joan’s Laboratory Model

4.3m

5.8m

Auxilary Cultures

Sink

Light Bench

Drain

Bench

Fridge

Air vent

Incubator

S Y N T H E S I S

Microscope bench

Dehumidifier

S Y N T H E S I S

Cteno-tanks

Sponges

Water purifier outflow

outflow

Joan shared the plan of his laboratory which became the basis in designing the laboratories within my proposal. The ctenophores are kept inside a series of Kreisel tanks so that they can be analysed separately. Drainage and sinks are important for these laboratories as they require a lot of water exchange and washing of the tanks.

Light benches and incubator spaces are necessary for the process of reproduction. However, these won’t be necessary as diffusion tubes will replace these elements. Subsequently, I asked Joan if there was anything he would change in his laboratory and how I could design a more convenient one. For Joan, the principal factor was to incorporate a separate room for the auxiliary cultures (growth of ctenophore fodder) as they require maintenance and are an important part of the culturing process.

113

114

Studio 6 The Penguin’s Pond

Culturing Ctenophores Laboratory Location

Ctenophore Laboratory Plan

Auxilary Cultures Room

Drainage Diffusion Tubes S Y N T H E S I S

S Y N T H E S I S

Kreisel Tanks

Public Route

Microscopes

Incubation Room

Nursery Room

0 1

In relation to my discussion with Joan, I compartmented the laboratory into 3 main rooms. The auxiliary culture room, the nursery room, and the incubation room. These spaces possess Kreisel tanks, drains, sinks, and microscopes. The incubation room is adjacent to the public route, allowing views into the laboratory and onto the diffusion tubes.

115

116

Studio 6 The Penguin’s Pond

Displaying Ctenophores Conventional Display Diagram

Ctenophores can only create bioluminescence in dark spaces. Therefore, the display aquariums need to be carefully lit and relatively somber. Moreover, the hypnotic display of flashing colours is due to light reflecting onto the ctenophores. According to Joan, a thin curtain of light would be suitable in reflecting upon the ctenophores without creating excess light.

The diagram highlights the conventional method of displaying ctenophores. Principally, these spaces require a hidden service room behind the tanks to control the lighting, the inlet/outlet flow of water, and the transportation of ctenophores. However, I wanted to follow a different method. Rather than displaying a window onto these species, I aimed to conceptualise a system in which the observer is fully submerged within the ctenophore habitat.

117

118

S Y N T H E S I S

Curtain of Light

Studio 6 The Penguin’s Pond

Displaying Ctenophores Display Tanks Exploratory Model

Once I was aware of Kreisel tanks I had to re-design the aquariums to create the circular water flow. Therefore, the central aquarium would be compartmented into four large Kreisel tanks while a system of acrylic tunnels would immerse the observer deep within the tanks.

Each Kreisel tank is connected to the outlet and inlet tubes which lead to a reservoir while creating the rotary water flow.

119

120

S Y N T H E S I S

Research Application

Studio 6 The Penguin’s Pond

Displaying Ctenophores Research Application

The vertical light shafts are now cylindrical to avoid blocking the ctenophores within the artificial current.

The section through the central aquarium demonstrates the influence of the research on the design. The large Kreisel tanks are composed of voids, allowing the observer to be fully submerged within the space. A curtain of light reflects on the ctenophores allowing them to expose their spectacular display of bioluminescence. The robotic arm would act as a ctenophore transportation device by extracting ctenophores into a tube, which is then connected to the laboratories.

121

122

S Y N T H E S I S

Central Aquarium Location

Studio 6 The Penguin’s Pond

Environmental & energy study Axonometric Model

S Y N T H E S I S

Algae Tanks

Fig.27 Photograph of The Penguin Pond sowing tree shadows

The diagram highlights the composition of algae tanks that envelop the Penguin Pond. Along with algae, the trees within the space require sunlight for both their survival and the atmospheric shadows onto the pond. Thus, this space would be a lighter room, creating a contrast with the more somber aquarium exhibits below it.

The axonometric model informs the global form of the building during the early stages of Synthesis while exploring the composition of skylights within the proposal.

ARC3013 IC 123

124

Studio 6 The Penguin’s Pond

Environmental & energy Overall Energy & Heating Strategy

Energy & Water Delivery

Rainwater collected in gutters

erm

Gr ow

Water pool

Th Ta n

Steam boiler

Aquarium tanks

Al g co ae nt tra ain ns er po r

Generator Turbine Reservoir Water tank

Hot water boiler

Pump

Storage

ll h

tin

W Ex ater ch H an ea ge t

Tu r

W at

ile

St Bo eam ile r Ge n nv era er tor te r

Boiler

Water Heat Exchangers are used to heat up the water in both the boiler and reservoir via hot steam

The building uses a biomass powerplant as a central source of energy delivery. Not only does this method provide a sustainable source of electricity, but the excess heat from the turbine can be reused for heating throughout the building. Some of the displayed water tanks grow algae which is the primary source of biomass.

tr lec

Water

p om

ici

Heating network

Ash

Floor and wall heating + Hot water

S Y N T H E S I S

Filter

Pump

m al

Fi W ltere at er d R Ta ain nk

ain

irin

Int

w nal

The water-pool connecting the four main cores collects rainwater which is filtered and reused throughout the building. Some of this water is salinated within the reservoir before it is heated by the hot steam from the turbine. The temperate reservoir water can then be pumped into the aquariums.

ARC3013 IC 125

126

Studio 6 The Penguin’s Pond

Structure Structure Development

Concluding Structural Strategy Exploded axonometric of key junction

Fig28. Photograph of steelbridge (Steel Bridge, 2021)

Ste

lu co

late

Ste

Intergrated Construction Review

lts

Fig27. Photograph of steel bridge (Steel Bridge, 2021)

b el

Ste

e ret

Co Development in a tension system steel structure

Intergrated Construction Review Detail

For aesthetic qualities, I wanted the interior spaces to be vast and completely open. Thus, I came up with the idea of using a steel structure in which its columns are embedded in the concrete walls, extrude from the roof, and hold up the roof from above using another set of centralised columns. However, I was criticised for mixing two structures while the scheme would also be unrealistic. Subsequently, I was inspired by the St James’Park football stadium tension structure. However, when applied to my design, I sacrificed the aesthetic integrity of my minimalistic design.

Structural Diagram

1:20 Detail (junction between concrete and steel)

My research expanded into bridges, which would offer a possibility in designing a structure that could span 50 meters without central vertical support. After seeing pictures of railway bridges, I became aware of both the dimensions of beams and trusses and the connections between the concrete base and steel structure which inspired my design.

ARC3013 IC 127

128

S Y N T H E S I S

p el

Studio 6 The Penguin’s Pond

Programme

Reception (Public) 740 m/sq

Laboratories (Private) 1500 m/sq

S Y N T H E S I S

Dwelling (Private) 1985 m/sq

Cafe (Public) 450 m/sq

Aquarium Tanks (Public) 10900 m3

W.C 346 m/sq

Penguin Pond Power Plant (Private) 578 m/sq

Reservoir 3680 m3

Exhibition Spaces (Public) 930 m/sq

129

130

Synthesis

Final Outputs

Studio 6 The Penguin’s Pond

S Y N T H E S I S

Site plans

0 100

600m

0 30

133

180m

134

Site sections & roof plan Section AA

Section BB C

C Section CC

0 135

136

10 20

50m

Studio 6 The Penguin’s Pond

Ground floor plan

S Y N T H E S I S

Ground Floor Plan Development

The main iterations to the ground floor plan during the final stages of synthesis were the additional excavations on the rim of the building and the addition of the pond. The excavation created a closer relationship between the building and the ground while the meandering would end its journey by cascading into the pond.

0 10 20 137

138

50m

Studio 6 The Penguin’s Pond

Basement -1 Floor Plan

S Y N T H E S I S

Basement -1 Plan Development

The rim excavation would also act as a fire escape for the sub-terranean floors. Thus, the basement plan went through a process of experimentation in allowing a safe passage outside, without conflicting with the linear form of the global design. Moreover, the final iteration would provide more natural light into the dwelling spaces, located in the basement.

0 10 20 139

140

50m

Studio 6 The Penguin’s Pond

1:50 Ground Floor Plan

1:50 Basement -1 Floor Plan

16 3

T E S T I N G

7 14

10 13

1. The Penguin Pond 2. Pond Exhhib 3. Central Aquarium 4. Gallery Spaces 5. Cafe 6. Powerplant 7. W.C 8. Ctenophore Laboratory 9. Bioluminescence Laboratory 10. Private commual workspace 11. Reception 12. Dwelling 13. Communal Kitchen 14. Communal Storage Space 15. Plant Rooms 16. Reservoir

12 15

0 141

50m 142

Studio 6 The Penguin’s Pond

1:50 Basement -2 Floor Plan

1:50 Basement -3 Floor Plan

T E S T I N G

1. The Penguin Pond Void 2. Pond Exhhib 3. Central Aquarium 4. Gallery Spaces 5. Reservoir

0 143

50m 144

Section

0 145

146

25m

Eastern elevation

0 147

148

25m

S Y N T H E S I S

Studio 6 The Penguin’s Pond

Section

Penguin Pond 149

150

Section

S Y N T H E S I S

Studio 6 The Penguin’s Pond

Central Aquarium 151

152

Studio 6 The Penguin’s Pond

Macro Structure

Primary Structure

ing

Secondary Structure

m Fra

Ste

ind

g cin

bra

f roo

w me

Terciary Structure

lF tee

t cre

c situ

n Pe

s lab

re nc

ram

alls

ure

r l st

w ted

ri fab

Pre

lls

a gw

in tain

ri ua

ing

z Gla

S Y N T H E S I S

o nP

re nc

ate

lo ef

o dc

c bri

Pre

res

r ete

S Y N T H E S I S

c bra

tan

tio da

ARC3013 IC 153

154

Studio 6 The Penguin’s Pond

Micro Structure Exploded Axonometric

Primary Structure Junction

ret

o bc

tic

s Pla

ort

p up

sta

e ed

pre

a ep

n bra

m er

ath

bre

l ma

d ate

ins

ste

ere

y l la

S Y N T H E S I S

m 00

ice

rv Se

lati

rm the 1

m 0m

u ins

ra mb

e ath

Bre

S Y N T H E S I S

g rru co te m re 0m nc 20 h co wit

Ste

on lati

b el

air

ac ef

ret

c fab

Pre

p ga

olu

c el

Ste

lt bo & l n we tio Do nnec co

l tee

pla

S s olt

l tee

e ret

ARC3013 IC 155

156

1:20

Technical section & part elevation study 11

1:30 mm double glazing roof window 10mm toughened glass + 10mm air cavity + 10mm float glass (sloped drainage) 100mm hollow stainless steel section 200mm stainless steel profile section aluminium mechanical sheeting louvres 2: Sheet metal roof capping alluminium window frame fitted with 150mm mineral wool thermal insulation. stainless steel glazing shoe

3: Metal grating concealed gutter for drainage vapour control layer 50mm thermal insulation 4: 100mm prefabricated roof pannels 2000 x 2000mm ARECO plastic paving support pedestals vapour control layer (sloped drainage) 300mm mineral wool thermal insulation 200mm reinforced precast concrete + corrugated aluminium sheeting 300 x 200 mm steel I beam

5: 200mm prefabricated concrete external wall 10mm air cavity vapour control layer 200mm mineral wool thermal insulation 580mm reinforced insitu concrete wall 40mm copper water heating pipe within concrete wall

157

Connection: the primary structure (insitu conrete and steel frame is connected via steel plates which are bolted to a base and placed within the concrete during the casting process. Dowels connect the Insitu concrete to the secondary, pre fabricated exterior wall pannel. 6: metal grating ACO drainage channel 7: Stainless steel glazing shoe silicone sealant 300mm aquarium window (non roof load-baring) 20mm toughened glass + 20mm cavity + 100mm acrylic panel + 10mm air cavity + 130mm acrylic panel 8: 50mm concrete pavement 170mm floor screed 340mm mineral wool thermal insulation vapour control layer 9: Existing structure foundation underpinned new concrete foundation 10: stainless steel aquarium inflow pipe 11: Galvanised steel air duct 12: 600mm reinforced insitu concrete floorslab bares the load form the water tanks and transfers them to the foundations 13: vapour control layer 350 mineral wool thermal insulation 500mm reinforced concrete retaining walls

S Y N T H E S I S

Studio 6 The Penguin’s Pond

S Y N T H E S I S

Story Board

Process story board exploring the narrative of the proposal. These sketches informed the sequence in visualising the journey through the building.

167

168

S Y N T H E S I S

The journey from the park

169

170

The Approach

S Y N T H E S I S

Ground Floor

171

Ground Floor

Cafe

S Y N T H E S I S

Ground Floor

The journey from the zoo

175

Pond Exhibit Ground Floor

Submersion Basement -2

S Y N T H E S I S

The Void

181

Basement -2

S Y N T H E S I S

Central Aquarium Threshold

183

Basement -1

S Y N T H E S I S

Central Aquarium

185

Basement -1

S Y N T H E S I S

Ascension

Ground Floor

Studio 6 The Penguin’s Pond

List of Figures Fig11. Photograph by Count Montizon of the hippopotamus at the London Zoo, 1855

online source: George Eastman Museum, Flickr. n.d. The Hippopotamus at the Zoological Gardens, Regent’s Park, London. [online] Available at: <https://www.flickr.com/photos/george_eastman_

Fig1. Still from Lázló Moholy-Nagy, The New Architecture and the London Zoo, 1937 [online] Available at: < http://www.bauhaus-imaginista.org/articles/6215/penguin-s-eye-view > [Accessed 29 May 2021]. Fig2. BBC Shop US. 2021. Blue Planet II: A New World of Hidden Depths. [online] Available at: <https://shop.bbc.com/products/blue-planet-ii-a-new-world-of-hidden-depths-21384> [Accessed 29 May 2021].

oeK9WX-xBrjWA-xDSgPB-xnrgtj-xmD5sq-xptqaS> [Accessed 7 April 2021]. Fig12. Photograph of the Tecton GroupZ online source: Architectuul.com. 2021. Tecton. [online] Available at: <http://architectuul.com/architect/tecton> [Accessed 7 April 2021].

Fig3. Screenshots from the Blue Planet series, Episode the Deep

Fig13. Photograph of the Penguin Pond model

The Blue Planet, 2001, BBC, broadcasted 12 September 2001

online source: RIBA, 2021. Penguin Pool, London Zoo, Regent’s Park, London: model of the pool with penguins | RIBA. [online] RIBApix. Available at: <https://www.architecture.com/image-library/ ribapix/image-information/poster/penguin-pool-london-zoo-regents-park-london-model-of-the-pool-with-penguins/posterid/RIBA2844-23.html> [Accessed 7 April 2021].

Fig4. Murakami Book covers, Vintage Reddit.com. 2021. [online] Available at: <https://www.reddit.com/r/minimalism/comments/3qbz80/haruki_murakami_book_covers_in_the_uk/> [Accessed 29 May 2021].

Fig14. Aerial photograph of the Penguin Pond online source: World Architecture Community. 2019. Berthold Lubetkin’s poetic Penguin Pool may be demolished at London Zoo. [online] Available at: <https://worldarchitecture.org/architecture-news/

Fig5. Satellite Photograph - Great Britain and Ireland, 2021 (edited by author) Canadianmysteries.ca. 2021. Satellite Photograph - Great Britain and Ireland. [online] Available at: <https://canadianmysteries.ca/sites/franklin/archive/image/GreatBritain2012_en.htm> [Accessed 29 May 2021].

epvhc/berthold-lubetkins-poetic-penguin-pool-may-be-demolished-at-london-zoo.html> [Accessed 26 March 2021]. Fig15. Photograph of the Penguin Pond eliptic ramps online source: ArchEyes. 2021. Penguin Pool in the London Zoo / Berthold Lubetkin | ArchEyes. [online] Available at: <https://archeyes.com/penguin-pool-london-berthold-lubetkin/> [Accessed 7 April

Fig6. London Road Map Illustrations, iStock, 2021 (edited by author) Istockphoto.com. 2021. London Road Map Illustrations, Royalty-Free Vector Graphics & Clip Art - iStock. [online] Available at: <https://www.istockphoto.com/illustrations/london-road-map> [Accessed 29 May 2021].

2021]. Fig16. Photograph of the Penguins circulating on the ramps online source: the Guardian. 2021. Zoo architecture that’s full of animal magic – in pictures. [online] Available at: <https://www.theguardian.com/artanddesign/gallery/2013/mar/20/zoo-architecture-

Fig7. Aerial view of Regent’s Park, 2012 (edited by author) Longstaffe-Gowan, T. and Lambert, D., 2017. A Total Work of Architectural and Landscape Art. [ebook] London: CROWN ESTATE PAVING COMMISSION. Available at: <http://file:///C:/Users/ otto%20jaax/Downloads/CEPC-Vision-for-Regents-Park-C.pdf> [Accessed 29 May 2021].

animal-in-pictures> [Accessed 7 April 2021]. Fig17. Punch magazine caricature souce: Hogan, J., 2014. For the Birds. AJ Architect’s Journal,.

Fig8. Aerial photograph of Regent’s Park by Jason Hawkes/Getty Images online source: Martin, H., 2018. 11 Stunning Aerial Photographs of Gardens. [online] Architectural Digest. Available at: <https://www.architecturaldigest.com/gallery/aerial-photographs-of-gardens#10> [Accessed 7 April 2021].

Fig18. Photograph of the empty pond online source: World Architecture Community. 2021. Berthold Lubetkin’s poetic Penguin Pool may be demolished at London Zoo. [online] Available at: <https://worldarchitecture.org/article-links/epvhc/ berthold_lubetkins_poetic_penguin_pool_may_be_demolished_at_london_zoo.html> [Accessed 7 April 2021].

Fig9. Development of the London Zoo map Sources From Left to right images: 1. En.wikipedia.org. 2021. File:A Bird’s Eye View of the Zoological Gardens, Regent’s Park.jpg - Wikipedia. [online] Available at: <https://en.wikipedia.org/wiki/File:A_Bird%27s_Eye_View_of_ the_Zoological_Gardens,_Regent%27s_Park.jpg> [Accessed 30 May 2021]. 2. Limited, A., 2021. Stock Photo - London ZOOLOGICAL GARDENS ground plan. Regent’s Park. ZSL London Zoo, 1905 map. [online] Alamy. Available at: <https://www.alamy.com/stock-photolondon-zoological-gardens-ground-plan-regents-park-zsl-london-zoo-108072024.html> [Accessed 30 May 2021]. 3. Beard, P., Beard, P. and profile, V., 2021. To the Zoo – with Edward Bawden and Clifford Webb. [online] Buttes-chaumont.blogspot.com. Available at: <http://buttes-chaumont.blogspot. com/2011/12/to-zoo-with-edward-bawden-and-clifford.html> [Accessed 30 May 2021]. 4. Zoological Society of London (ZSL). 2021. Map of ZSL London Zoo. [online] Available at: <https://www.zsl.org/zsl-london-zoo/visitor-information/map-of-zsl-london-zoo> [Accessed 30 May

Fig19. Ecologic Studio (:: architecture - EcoLogicStudio ::, 2021) Ecologicstudio.com. 2021. :: architecture - EcoLogicStudio ::. [online] Available at: <http://www.ecologicstudio.com/v2/projects.php?idsubcat=4> [Accessed 30 May 2021]. Fig20. Glowee Glowee. n.d. a living raw material that produces light. [online] Available at: <https://www.glowee.com/> [Accessed 19 May 2021]. Fig21. Photograph of Joan, edited by author Twitter. 2021. [online] Available at: <https://twitter.com/pawel_burkhardt/status/1044926168187760640> [Accessed 30 May 2021].

2021]. Fig22-24 Seawater.no. 2021. Sea Gooseberry - Pleurobrachia pileus. [online] Available at: <http://www.seawater.no/fauna/ctenophora/pileus.html> [Accessed 30 May 2021]. Fig10. Development of the London Zoo Fig25 Kreisel Tank (Aquarium Works, 2021)

Sources From Left to right images: 1.Why Animals Do The Thing. 2021. “Menagerie” - A Proposal for Replacing the Term Roadside Zoo — Why Animals Do The Thing. [online] Available at: <https://www.whyanimalsdothething. com/menagerie-roadside-zoo> [Accessed 30 May 2021]. 2. Zoological Society of London (ZSL). 2021. Map of ZSL London Zoo. [online] Available at: <https://www.zsl.org/zsl-london-zoo/visitor-information/map-of-zsl-london-zoo> [Accessed 30 May 2021]. 3. the police magistrate. 2021. Preying on unwary visitors to the Zoological Gardens. [online] Available at: <https://thepolicemagistrate.blog/2017/05/24/14458/> [Accessed 30 May 2021]. 4. ArchEyes. 2021. Penguin Pool in the London Zoo / Berthold Lubetkin | ArchEyes. [online] Available at: <https://archeyes.com/penguin-pool-london-berthold-lubetkin/> [Accessed 29 May 2021]. 5. Zoological Society of London (ZSL). 2021. Penguin Beach. [online] Available at: <https://www.zsl.org/zsl-london-zoo/exhibits/penguin-beach> [Accessed 30 May 2021].

189

Aquarium Works. 2021. jellyfish lifecycle – Aquarium Works. [online] Available at: <https://aquariumworks.org/tag/jellyfish-lifecycle/> [Accessed 30 May 2021]. Fig.26 Diffusion Tubes (Patry, Bubel, Hansen and Knowles, 2020) Patry, W., Bubel, M., Hansen, C. and Knowles, T., 2020. Diffusion tubes: a method for the mass culture of ctenophores and other pelagic marine invertebrates. PeerJ, 8, p.e8938. Fig.27 Photograph of The Penguin Pond sowing tree shadows online source: ArchEyes. 2021. Penguin Pool in the London Zoo / Berthold Lubetkin | ArchEyes. [online] Available at: <https://archeyes.com/penguin-pool-london-berthold-lubetkin/> [Accessed 7 April 2021]. Fig28. Photograph of steel bridge (Steel Bridge, 2021) indiamart.com. 2021. Steel Bridge. [online] Available at: <https://www.indiamart.com/proddetail/steel-bridge-15937385548.html> [Accessed 26 April 2021].

190

F R A M I N G

house/5229063953/in/photolist-8Y5jx4-odwqMA-xhnGfL-odwqXL-of2dFN-oweDG2-owewKM-y4J2pW-x9mhZU-ou3EcE-owggqZ-xiNt6n-wPpQ6k-wPn9sM-ovKtsm-oetoBx-xpiG6E-oezoDB-oesiz3-

Studio 6 The Penguin’s Pond

Bibliography

Allan, J., 2012. Berthold Lubetkin : architecture and the tradition of progress. London: Artifice. ArchEyes. 2021. Penguin Pool in the London Zoo / Berthold Lubetkin | ArchEyes. [online] Available at: <https://archeyes.com/penguin-pool-london-berthold-lubetkin/> [Accessed 29 May 2021]. Architectuul.com. 2021. Tecton. [online] Available at: <http://architectuul.com/architect/tecton> [Accessed 29 May 2021].

Glowee. n.d. a living raw material that produces light. [online] Available at: <https://www. glowee.com/> [Accessed 19 May 2021]. Hornsey, R., 2021. Penguin’s-Eye View Lázló Moholy-Nagy meets Berthold Lubetkin at the London Zoo. Bauhaus-imaginista, [online] Available at: <http://www.bauhaus-imaginista. org/articles/6215/penguin-s-eye-view> [Accessed 29 May 2021].

Appendix

STEVENS, P. and McALISTER, E., 2003. Ethics in zoos. International Zoo Yearbook, 38(1), pp.94-101. Longstaffe-Gowan, T. and Lambert, D., 2017. A Total Work of Architectural and Landscape Art. [ebook] London: CROWN ESTATE PAVING COMMISSION. Available at: <http:// file:///C:/Users/otto%20jaax/Downloads/CEPC-Vision-for-Regents-Park-C.pdf> [Accessed 29 May 2021]. Psarra, S., 2013. The book and the labyrinth were one of the same - Narrative and Architecture in Borges’ Fiction e. The Journal of Architecture, [online] 3, pp.1-2. Courtney, A., Merces, G. and Pickering, M., 2020. Characterising the Behaviour of the Ctenophore Pleurobrachia pileus in a Laboratory Aquaculture System. Patry, W., Bubel, M., Hansen, C. and Knowles, T., 2020. Diffusion tubes: a method for the mass culture of ctenophores and other pelagic marine invertebrates. PeerJ, 8, p.e8938.

191

192

F R A M I N G

Gardenvisit.com. 2021. St James’s to Regent’s Park Nash Picturesque Route. [online] Available at: <https://www.gardenvisit.com/gardens/st_james_regents_park_ceremonial_route> [Accessed 29 May 2021].

Studio 6 The Penguin’s Pond

Hill House S.6

Granby Four Streets S.7

Interesting way of creating a breathing space envelopping the existing building. Circulation is a central componment of the building and meanders around the existing building, offering

Think Corner S.4

Delicate method for preserving existing structure and re-using materilaity from the existing build-

The existing steel structure is kept and re-coated

Interesting volumetric forms that frame the views

ing.

in white, offering a nice contrast with the timber.

towards the exterior.

different views.

Nantes School of Architecture S.7

CMIT Furniture College S.8

Similarly to the Seona Reid Building by Holl, the school in Nantes displays an interesting juxtaposition between the old and the new. Additional

Nice aesthetic qualities of exposed services. Interesting contrast between the exposed concrete and the framal timber structure.

skylights improve the existing space.

Fondaco dei Tedeschi S.6

Port House S.6

Tai Kwun Heritage S.8

A stark contrast between the existing and the new while avoiding an opposition by leaving

Compeling range of circulation through the building which highlight the hierarchy of spaces.

breathing room between them.

193

194

F R A M I N G

Thematic Case Studies

T H E M A T I C C A S E

T E S T I N G

S T U D Y

Thematic case study Carlo Scarpa & the Castelvecchio

This symbol marks author’s work

195

196

Studio 6 The Penguin’s Pond

T H E M A T I C C A S E

T E S T I N G

S T U D Y

Context

Studio Criteria n°1

197

198

Studio 6 The Penguin’s Pond

T H E M A T I C C A S E

T E S T I N G

S T U D Y

Studio Criteria n°2

Theoretical overview

199

200

Studio 6 The Penguin’s Pond

T H E M A T I C C A S E

T E S T I N G

S T U D Y

Studio Criteria n°3

Studio Criteria n°4

201

202

Studio 6 The Penguin’s Pond

T H E M A T I C C A S E

T E S T I N G

Studio 6 The Penguin’s Pond

S T U D Y

Studio Criteria n°5

References LIST OF FIGURES N.B. All images which do not appear in list of figures are produced by author Cover : Image source: (online) https://www.archdaily.com/638534/spotlight-carlo-scarpa (Accessed 12.12.2020) Figure 1: Image source: Google Earth image download annotated by author (Accessed 12.12.2020) Figure 2: Image source: Google Earth image download annotated by author (Accessed 12.12.2020) Figure 3: Photograph of Scaligero bridge by Ilya Burlak image source: (online) -https://www.italianways.com/the-scaliger-bridge-in-verona-majestic-past-and-present/ Figure 4: Photograph of Scaligero bridge by Ilya Burlak image source: (online) -https://www.italianways.com/the-scaliger-bridge-in-verona-majestic-past-and-present/ Figure 5: Bird-eye elevation and diagram traced by author Figure 6: Verona’s fortification walls layers, image source: Google Earth image download annotated by author (Accessed 12.12.2020) Figure 7: Plans of medival Castlevecchio, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 8: Napoleon troops barracks as left by Italian Army, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 9: Facade of French barracks transformed into a musuem (imitation of a gothic palace), image source: https://www. youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 10: Section discovered by Scarpa, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 11: Scarpa’s ciculation strategy diagram, image source: Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) annotated by author Figure 12: Excavated approach, image source: Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) annotated by author Figure 13: Different layers of histroy, image source: Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) annotated by author Figure 14: Barracks north wing elevation, image source: Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) annotated by author Figure 15: Panel contrasting with logia, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 16: Panels highlighitng facade, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 17: Panels geometry creating tension with facade, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 18: Exposed fragment of masonry structure, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 19: Cangrande space, preservation through staircase demolition, image source: https://www.youtube.com/ watch?v=-UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign annotated by author Figure 20: Preservation results, moat excavation, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign annotated by author Figure 21: Cut in the facade highlighting tower (Scaligeri) and barracks (French troops), see roof tiles cut, image source: Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, 2017 annotated by author Figure 22: Ground floor plan , image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign annotated by author Figure 23: New floor geometry highlighting old wall angle , image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign annotated by author Figure 24: Ground floor section , image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign annotated by author Figure 25: Ground floor section , image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 26: Exposed fragment of structure, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign annotated by author Figure 27: Cangrande exhibition section, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign annotated by author Figure 28: Roof framing tower, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign

BIBLIOGRAPHY 1. Italian Ways. 2020. The Scaliger Bridge In Verona, Majestic Past And Present - Italian Ways. [online] Available at: <https:// www.italianways.com/the-scaliger-bridge-in-verona-majestic-past-and-present/> [Accessed 12 December 2020]. 2. Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 10 December 2020] 3. Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 10 December 2020] 4. Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 10 December 2020] 5. Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 10 December 2020] 6. Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) 7. Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) 8. Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) 9: Coleman, N. (2013). Recovering Utopia. Journal of Architectural Education, 67(1), pp.24-26 10: Frascari, M. (1999). A Heroic and Admirable Machine: The Theater of the Architecture of Carlo Scarpa, Architetto Veneto. [ebook] Duke University Press. Available at: https://www.jstor.org/stable/1772557?seq=3#metadata_info_tab_contents [Accessed 3 Mar. 2020]. 11: Coleman, N. (2020). Materials and meaning in architecture. Bloomsbury, p.73 12: Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 14 December 2020] 13: Ibid 14: Murphy, R., 2020. CARLO SCARPA AND CASTELVECCHIO REVISITED. [online] Breakfastmissionpublishing.com. Available at: <http://www.breakfastmissionpublishing.com/> [Accessed 14 December 2020]. 15: Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 14 December 2020] 16: Murphy, Richard, and Carlo Scarpa. Carlo Scarpa and Castelvecchio Revisited. 2017. Print. 17. Murphy, Richard, and Carlo Scarpa. Carlo Scarpa and Castelvecchio Revisited. 2017. Print. 18. Melbourne School of Design. 2017. Carlo Scarpa: Remodelling the Castelvecchio Museum. Available from: https://www. youtube.com/watch?v=-UmJi0Ws-Yo&ab_channel=MelbourneSchoolofDesign[Accessed 7 December 2020] 19. Murphy, Richard, and Carlo Scarpa. Carlo Scarpa and Castelvecchio Revisited. 2017. Print. 20. Sheffield School of Architecture. 2014. Richard Murphy lecture about the work of Carlo Scarpa. Available from: https:// www.youtube.com/watch?v=v_78_KQZiP8&t=3995s [Accessed 7 December 2020] 21. Jonathan, Levi, (2011), Difference and deference, rethinking architectural conservation, [Online], Available at: https:// cargocollective.com/jihoonkim/DIFFERENCE-DEFERENCE (Accessed: 8 Dec 2020) 22. Jonathan, Levi, (2011), Difference and Deference, Rethinking Architectural Conservation, [Online], Available at: https:// cargocollective.com/jihoonkim/DIFFERENCE-DEFERENCE (Accessed: 8 Dec 2020) 23. Ghirardi, Giulio, (2013), The Poetry of Castelvecchi, [Online], The Blogazine, Available at: http://www.theblogazine. com/2013/10/the-poetry-of-castelvecchio/ (Accessed: 8 Dec 2020) 24. Senthil, M., (2018), Kolumba Museum Presentation, [Online], Slide Share, Available at: https://www.slideshare.net/ senshots/kolumba-museum-presentation-by-m-senthil (Accessed: 8 Dec 2020) 25. De Linares, Jaime, The Unrecordable Form, [Online], Available at: https://1159designsite.files.wordpress.com/2018/03/ k1106950_-jaime_de_linares_tectonics_chapter_disseration.pdf (Accessed: 8 Dec 2020) 26. Ghirardi, Giulio, (2013), The Poetry of Castelvecchi, [Online], The Blogazine, Available at: http://www.theblogazine. com/2013/10/the-poetry-of-castelvecchio/ (Accessed: 8 Dec 2020) 27. Murphy, Richard, (2017), Carlo Scarpa: Remodelling the Castelvecchio Museum, [Online], Melbourne School of Design, Available at: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&ab_channel=MelbourneSchoolofDesign (Accessed: 8 Dec 2020) 28. De Linares, Jaime, The Unrecordable Form, [Online], Available at: https://1159designsite.files.wordpress.com/2018/03/ k1106950_-jaime_de_linares_tectonics_chapter_disseration.pdf (Accessed: 8 Dec 2020) 29. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 9 Dec 2020) 30. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www.

203

Bibilography | page 25

Figure 29: Roof from the ground floor, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 30: Stairs leading to battlements , image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 31: Window connecting with river and Scaligeri bridge, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 32: Bridge over space demolished for Cangrande, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 33: Roof framing tower, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 34: Geometry of roof contrasting wall geometry, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 35: Sculpture framed by roof, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 36: View from commune wall, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign annotated by author Figure 37: Photograph by FEDERICO PUGGIONI of prune stone Sarcophagus, image source: https://divisare.com/ projects/332703-carlo-scarpa-federico-puggioni-museo-di-castelvecchio Figure 38: Photograph by FEDERICO PUGGIONI of prune stone Sarcophagus, image source: https://divisare.com/ projects/332703-carlo-scarpa-federico-puggioni-museo-di-castelvecchio Figure.39: Detail drawing of the box by Scarpa image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.40: Photograph of floor tiles by Richard Murphy image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.41: Photograph of fountain by FEDERICO PUGGIONI image source: https://divisare.com/projects/332703-carlo-scarpafederico-puggioni-museo-di-castelvecchio Figure.42: Close up Photograph by Richard Murphy of fountain image source: https://www.youtube.com/watch?v=UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.43: Photograph by Richard Murphy of Gallery corridor image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.44: Photograph of floating stairs image source: https://www.pinterest.at/pin/159174168057214929/ Figure.45: Photograph by Richard Murphy of handrail, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.46: Detail section of railing by Scarpa, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure.47: Section, plan & axonometric drawings of handrail traced by author, image source: Murphy, R., 2020. CARLO SCARPA AND CASTELVECCHIO REVISITED. [online] Breakfastmissionpublishing.com. Available at: <http://www. breakfastmissionpublishing.com/> [Accessed 14 December 2020]. Figure.48: Photograph by Richard Murphy of handrail, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.49: Photograph by Richar Murphy of main gallery, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.50: Photograph by Richar Murphy of St Cecilia, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.51: Photograph by Richar Murphy of St Bartholomew, St Martha & St Catherina, image source: https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.52: Photograph by Richar Murphy of St John & St Zeno , image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.53 Photograph of Environmental Reaction, Photograph by Richar Murphy , image source: https://www.youtube.com/ watch?v=-UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.54 Photograph of Window Pattern Figure.55 Photograph of Indoor Space annotated by author Figure.56 Photograph of Window Pattern Figure.57 Diagram of sunlights . Figure.58 Photograph of Indoor Space Figure.59 Photograph of lights and statue ,Photograph by FEDERICO PUGGIONI, image source: https://divisare.com/

List of Figures | page 27

academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 9 Dec 2020) 31. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 9 Dec 2020) 32. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 9 Dec 2020) 33. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 9 Dec 2020) 34. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 10 Dec 2020) 35. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 10 Dec 2020) 36. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 10 Dec 2020) 37. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 10 Dec 2020) 38. Meeuse, M.G.H., (2018), Learning from a building, Hedmark Museum, [Online], Available at: https://pure.tue.nl/ws/portalfiles/ portal/97347958/Meeuse_0806803.pdf (Accessed: 10 Dec 2020) 39. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 10 Dec 2020) 40. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 11 Dec 2020) 41. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 11 Dec 2020) 42. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 11 Dec 2020) 43. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 11 Dec 2020) 44. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 11 Dec 2020) 45. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 11 Dec 2020)

204

List of Figures | page 26 projects/332703-carlo-scarpa-federico-puggioni-museo-di-castelvecchio Figure.60 Photograph of Statue, Photograph by Richar Murphy , image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.61 Diagram of Light and Shadow, Photograph by Richar Murphy , image source: https://www.youtube.com/watch?v=UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign Annotated by Author Figure.62 Photograph of Statue, Photograph by Richar Murphy , image source: https://www.youtube.com/watch?v=v_78_ KQZiP8&t=3995s Figure.63. Photograph of Indoor Space, Photograph by Richar Murphy , image source: https://www.youtube.com/ watch?v=v_78_KQZiP8&t=3995s Figure.64. Lights and shadows Diagram. Digital Model Made by Author Figure.65 Photograph of Museum elevation, Photograph by Richar Murphy , image source: https://www.youtube.com/ watch?v=v_78_KQZiP8&t=3995s Figure.66. Model of Vegetation walk path. Digital Model Made by Author Figure.67. Photograph of Castelvecchio Museum, Photograph by Mapcarta , image source: https://mapcarta.com/32952306 Figure.68. Hedge Walk Path, Photograph by Richar Murphy , image source: https://www.youtube.com/watch?v=v_78_ KQZiP8&t=3995s Figure.69. Spatial Sketches, Sketches made by Author Figure.70. Spatial Sketches, Sketches made by Author Figure.71. Hedge Diagram, Diagram made by Author Figure.72 Glass on river facade, image source: http://www.breakfastmissionpublishing.com/ Figure.73 Facade, image source: http://www.breakfastmissionpublishing.com/ Figure.74 Roof addition, image source: http://www.breakfastmissionpublishing.com/ Figure.75 image source: https://coastarc.com/k-o-l-u-m-b-a Figure.76 image source: https://coastarc.com/k-o-l-u-m-b-a Figure.77 image source: https://cargocollective.com/jihoonkim/DIFFERENCE-DEFERENCE Figure.78 Statue shadow, image source: https://digitalcommons.calpoly.edu/cgi/viewcontent. cgi?article=1051&context=arch_fac Figure.79 Statues and light, image source: https://digitalcommons.calpoly.edu/cgi/viewcontent. cgi?article=1051&context=arch_fac Figure.80 image source: https://www.archdaily.com/72192/kolumba-musuem-peter-zumthor Figure.81 image source: https://www.archdaily.com/72192/kolumba-musuem-peter-zumthor Figure.82 image source: https://www.archdaily.com/72192/kolumba-musuem-peter-zumthor Figure.83 Curtanins, image source: https://1159designsite.files.wordpress.com/2018/03/k1106950_-jaime_de_linares_tectonics_ chapter_disseration.pdf Figure.84 Beam crossing, image source: https-//archiobjects.org/museo-castelvecchio-verona-italy-carlo-scarpa/ Figure.85 Stairs, image source: https://www.buildingonthebuilt.org/archive-richard-murphy-and-castelvecchio Figure.86 theblogazine.com Figure.87 Kolumba stairs, image source: https://www.pinterest.co.uk/pin/481955597602315917/ Figure.88 Kolumba stairs detail, image source: https-//www.pinterest.com/pin/318911217342474161/ Figure.89 Moritzburg Plans, image source: https://www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_ Architects_Point_of_View Figure.90 Plan traced by the author Figure.91Moritzburg site plan, image source: https://www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_ Architects_Point_of_View Figure.92 Castelvecchio site plna, image source: https://twitter.com/hairy_glasses/status/949611236802646016?lang=en Figure.93 Castelvecchio, image source: https-//www.dimoreverona.com/en/verona-history Figure.94 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_ of_View facade Figure.95 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_ of_View facade Figure.96 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_ of_View facade Figure.97 Moritzburg fasade, image source: https://archello.com/project/museum-of-art-moritzburg Figure.98 image source: https-//www.ribaj.com/culture/book-review-carlo-scarpa-castelvecchio-revisited-richard-murphy Figure.99 image source: https-//www.italybyrun.com/castelvecchio-destination-verona/.jpg Figure.100 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_ Point_of_View. contuinity Figure.101 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_ Point_of_View facade Figure.102 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_ Point_of_View facade Figure.103 New exhibition, image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_ Architects_Point_of_View Figure.104 New exhibition, image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_ Architects_Point_of_View Figure.105 New exhibition, image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_ Architects_Point_of_View

Figure.106 image source: https://www.semanticscholar.org/paper/11%C2%B0-east%3A-The-intersection-of-Scarpa-and-FehnNeveu/16536dd82b938b4adbd873b9714ae33dfaeed02e Figure.107 image source: https://www.semanticscholar.org/paper/11%C2%B0-east%3A-The-intersection-of-Scarpa-and-FehnNeveu/16536dd82b938b4adbd873b9714ae33dfaeed02e Figure.108 image source: joshuamings.com/newsite/files/Mings_fellowship_lecture Figure.109 image source: https-//issuu.com/tasostheodorakakis/docs/scarpa_comp. issue already svaed in bookmarks Figure.110 image source: https-//www.atlasofplaces.com/architecture/hedmark-museum/ Figure.111 image source: https-//www.atlasofplaces.com/architecture/hedmark-museum/ Figure.112 image source: https-//www.atlasofplaces.com/architecture/hedmark-museum/ Figure.113 image source: https-//www.atlasofplaces.com/architecture/hedmark-museum/ Figure.114 image source: https-//www.atlasofplaces.com/architecture/hedmark-museum/ Figure.115 image source: https-//espaciosto.es/los-mejores-proyectos-de-arquitectura-segun-los-arquitectos-sto/hedmarkmuseum/.jpg Figure.116 carlo-scarpa-castelvecchio FEDERICO PUGGIONI divisare.com Figure.117 image source: https://www.conceptualfinearts.com/cfa/2020/03/19/museum-displays-is-now-the-time-to-rethinkthem/ Figure.118 image source: https-//baochickawowwow.wordpress.com/2011/08/26/day-o3-sweden/.jpg Figure.119 image source: https://inspiration.detail.de/report-kolumba-in-cologne-a-museum-for-art-112798.html Figure.120 image source: https://www.freecadworld.com/a-new-roof-by-nieto-sobejano-arquitectos-turned-this-ancientgerman-castle-into-an-enlarged-exhibition-space/ Figure.121 image source: https://arquiscopio.com/archivo/2013/07/27/museo-de-la-catedral-de-hedmark/?lang=en Figure.122 Moritzburg fasade at night, image source: https://archello.com/project/museum-of-art-moritzburg ___ Fig.1 - ELEVATION OF RIVER FACING FAÇADE* Fig.2 - SECTION BEHIND RIVER WALL SHOWING EXIT STAIRCASE* Fig.3 - AXONOMETRIC OF REGGIA COURTYARD STAIRCASE* Fig.4 - SECTION THROUGH REGGIA COURTYARD SHOWING SCARPA STAIRCASE* Fig.5 - PLAN OF STAIRCASE CONSTRUCTION* Fig.6 - PRE-WAR VIEW OF THE SOUTH-EAST CORNER OF THE COURTYARD AND PASSAGEWAY: Murphy, Richard. Carlo Scarpa and Castelvecchio Revisited, Pg.231 Fig.8 - SCARPA’S STAIRCASE HALF COMPLETED: Murphy, Richard. Carlo Scarpa and Castelvecchio Revisited, Pg.231 Fig.9 - VIEW OF SCARPAS STAIRCASE PROMENADE CONNECTING THE BRIDGE APPROACH ROAD TO THE REGGIA COURTYARD: Murphy, Richard. Carlo Scarpa and Castelvecchio Revisited, Pg.231 Fig.10 - SECTION OF THE CONCRETE ‘ADIGE RIVER’ STAIRCASE* Fig.11 - SECTION THROUGH THE SOUTH-WEST TOWER SHOWING THE ELEVATION OF THE METAL FRAMED STAIRCASE* Fig.12 - PLAN OF STAIRCASE CONSTRUCTION SHOWING THE 45° ANGLE IN THE STAIR CUT* Fig.13 - VIEW OF THE NARROW PASSAGEWAY WEDJEGED BETWEEN THE ADJACENT WALLS: ©Urizzato, https://commons.wikimedia.org/wiki/File:Scala_sfalsata__carlo_scarpa_in_castelvecchio.jpg Fig.14 - VIEW OF THE SUSPENDED STAIRCASE AND THE CONNECTION TO THE EXSITING TOWER WALLS: © Miguel Vigil, https://br.pinterest.com/pin/415527503088664837/ Fig.15 – AXO OF METAL STAIRCASE CONSTRUCTION* Fig.16 - GROUND LEVEL VIEW FROM THE FRENCH BARRACKS OF THE EQUESTRIAN MONUMENT TO CANGRANDE DELLA SCALA: Museo di Castelvecchio, Verona ®Prakash Patel 2017 – courtesy Archivio Carlo Scarpa – Museo di Castelvecchio – Verona Fig.17 – SECTION OF THE VIEWPOINTS TOWARDS THE MONUMENT FROM THE THEATRICAL OPENING TO THE OUTSIDE: Murphy, Richard. Carlo Scarpa and the Castelvecchio. Butterworth Architecture: London, 1990. Fig.18 – SECTION OF LUBETKIN’S PENGUIN POOL* Fig.19 – VIEW OF THE PENGUIN POND AS A ‘THEATRE’: British Cement Association April-June 1988, CONCRETE QUARTERLY 157, Pg.1 Fig.20 – PERSPECTIVE OF THE THIN PLATFORMS OF THE METAL STAIRCASE* Fig.21 &amp; 22 - IMAGES OF BOTH EXPERIMENTAL SYSTEMS OF LEVEL CHANGE: ©Luca Onniboni https://archiobjects.org/museo-castelvecchio-verona-italy-carlo-scarpa/ British Cement Association April-June 1988, CONCRETE QUARTERLY 157, Pg.4 Fig.23 – PERSPECTIVE OF THE ANGLED CONCRETE STAIRCASE* Fig.24 - VIEW OF SCARPAS ALTERNATITING CONCRETE STAIRCASES: ©Luca Onniboni https://archiobjects.org/museo-castelvecchio-verona-italy-carlo-scarpa/ Fig.25 - LUBETKIN’S OPENINGS IN THE WALLS OF THE PENGUIN POOL TO VIEW SPECTACLE: British Cement Association April-June 1988, CONCRETE QUARTERLY 157, Pg.4 Fig.26 - SIMILAR IDEA IN RIVER FAÇADE DRAWING*

T H E M A T I C C A S E

T E S T I N G

S T U D Y

Iceland Competition

From october to december, three colleagues and myself worked on an international competition. Located in Iceland, a volcanic fissure shaped natural baths within the caves of the rift. The brief of the project was to design a modest sized refuge and look-out space that sits in juxtaposition with the caves. The design relfects on the three cave entrances which lead to its triangular shape. The language intended to merge volumetric and framal in the connection between the concrete cores and the charred-timber facade.

This symbol marks author’s work

205

206

Studio 6 The Penguin’s Pond

T H E M A T I C

A1 Posters

C A S E

T E S T I N G

S T U D Y

207

208

Studio 6 The Penguin’s Pond

T H E M A T I C C A S E

T E S T I N G

S T U D Y

209

210

Studio 6 The Penguin’s Pond

T H E M A T I C C A S E

T E S T I N G

S T U D Y

211

212

Studio 6 The Penguin’s Pond