‘...as we choose what we preserve, we write our own histories. We select particular versions, moments in time, that will shape how we move forward.’ Jorge Otero-Palios
Academic Portfolio 2019/2020 Isabel Vile
STAGE 3 ACADEMIC PORTFOLIO DECLARATION SHEET Please complete the form below and submit along with your digital portfolio submission on blackboard.
Full Name
Isabel Vile
Studio Name
Contents
Building Upon Building
Student Number 160346541
Illustrated Reflective Report 4 You may reformat existing work into a single document / file or submit as separate documents / files. Please confirm below how many different documents / files you are submitting. Number of documents / files:
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Primer 8 Grand Tour 24 Paris - Rome - Milan - Verona Venice
Tick each box below to confirm you have included this work as part of your academic portfolio submission. Academic portfolios not containing all of the below will be considered as incomplete. ARC3001 Academic Portfolio Chapters:
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Illustrated reflective report
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Submission for ARC3013
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Charrette
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Submission for ARC3014
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Project primer
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Submission for ARC3015 Submission for ARC3060
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Stage 2 portfolio
Project synthesis
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Field trip case study
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Illustrated cultural bibliography
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Bibliography, references and image list
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Project staging Project realisation
Charrette 6
Note - project realisation and synthesis can be included as two separate chapters or combined into one.
Case Study 36 Cartier Foundation Staging 38 Thinking Though Making 60 Realisation and Synthesis 62 Illustrated Cultural Bibliography 126 Bibliography 132
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Tick to confirm that your submission includes the above elements, that each of these are entirely the product of your own work, and that all sources used (including any images that are not your own) are fully referenced.
List of Figures 133 Appendix 134
Reflecting on my body of work throughout this year, there has been consistent themes of heritage and re-use, reflecting my personal interests in both. From Charette’s ‘What Lies Behind’ where we explored the possibilities of recycling waste materials to create a garment for the live exhibition which show cased the weeks outcomes, to ARC3013: Integrated Construction where I explored the possibilities of repurposing discarded materials to create terrazzo tiles, experimenting with the technique that would be used to create my own façade. This theme of re-use is echoed within my Illustrated Cultural Bibliography where I explore the re-use of football scarves to create ladies’ tops and themes of heritage are conveyed through extra reading. As one would have hoped my recording, analysing and representational skills have improved significantly since the start of the academic year, and when accumulating this portfolio, I was able to effortlessly apply my discovered style to earlier pieces of research. The ARC3015: Theory into Practice essay allowed myself to step back and evaluate which representation skills and processes I use. Providing the opportunity to explore the technique of collaging in more depth, reflecting on how I use them and how I can manipulate them to improve my work. And so through using found images, my own photos, and general sketches I have been able to create these collages to illustrate my ideas. Within the site analysis of the Staging chapter I have employed collages to highlight different themes, for example the materiality of Île de la Cité shown through a series of collages that express the site’s physical qualities. Within the Realisation and Synthesis chapter, I have dynamically contrasted different mediums to capture my building within its three-dimensional context, inspired by Valerio Morabito’s work. As well as influencing my personal artistic style, I found these modules permitted me to consider aspects within the general project that I would have not typically contemplated. For example, in ARC3013: Integrated Construction I researched how to create a zero carbon building, subsequently considering how one can benefit off the surrounding context by either
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using the River Seine for energy or by employing trees to block noise from the busy roads. I found this aspect of the year highly influential and making me more aware of how we can as architects and designers can employ different methods to create more sustainable designs and hopefully reduce the ways in which we negatively impact the planet. The future, and how we can influence it, is a consistent theme throughout. Mirroring experimental preservation theories; ‘as we choose what we preserve, we write our own histories… that will shape how we move forward’, which consider the quasi-objects we choose to leave behind for future generations, to remember us by. To capture our history, our culture, our civilisation. This theme is highly influential to my work as I believe most efficient way to shape our future is to focus on education, whether that be our own education or the education of others. Through learning we can improve our knowledge, achieve our aspirations, and improve our civilisation, because through education of different subjects and not just heritage; we can make decisions about our future which are researched and considered in depth allowing our decision to be effective, calm, and clear. Furthermore, through my dissertation I was able to explore these themes of heritage and the future, in more depth by reading and evaluating a variety of endless articles which covered the Notre Dame’s fire of April 15th and the after mass. These discoveries sparked my interests and causing me to consider how I can create a space which will cause civilisation to flourish through my design. Really reining in on the importance of heritage and how one can celebrate the site’s own legacy within the aesthetic qualities and application of programme. Following reading multiple accounts of Parisians and others who describe their relationship with the cathedral I developed a emotive connection to my own project, due to my own connection to Notre Dame and in reflection of others. I believe this emotive connection reflects within my own design work through the representation of idyllic scenes and the general style of each collage.
Throughout the year and previous years, I have found representation an extremely difficult area, whether it is presenting my own work, or working out how to efficiently convey my ideas and concepts within different diagrams, collages, or technical drawings. To overcome this general issue, I have experimented using several techniques via a general trial and error method and partaken in conversations with both my peers and tutors. This combination of experimenting and discussions has been extremely efficient regarding my development, as through trial and error I have been able to discover which representation techniques suit and celebrate my own skills (whether that be computer aided or by hand) and conversations have allowed ideas to spark, whilst becoming exposed to different styles, theories and precedents influencing my opinions and knowledge, in turn inspiring my design. I found our international trip, following in Violletle-Duc’s footsteps around Europe, very inspirational. Accompanied by our own personal tour guide; Josep Maria Garcia-Fuentes (Pep) who provided an in detail continuous narrative of the many historical monuments we explored and visited, enhancing our experience through his personal knowledge. As well as offering his own opinions, organising an influential seminar with Jean-Francois Cabestan at Le Sorbonne in Paris, and sparking conversations within our peers. By visiting these fascinating cities, I was able to gain a first-hand account to these significant monuments and locations. Ultimately reflecting on my work regarding both the development process and the outcomes, I believe I have not represented myself as efficiently as one would hope. However, through further education and experience I believe I will be able to continuously develop these representation skills further, to present myself and my ideas more clearly and effectively. These skills will be able to prosper and grow through experience of the architectural profession and workplace. Regarding my project, I believe my design and concept provides an idyllic place for Parisians and tourist to interact in harmony as they become inspired, explore different subjects, and discover their own conclusions. A building that creates the space for us as a civilisation to shape our own history.
Illustrated Reflective Report 5
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Charrette ‘What Lies Behind’
For this Charrette project we considered themes of consumption, fashion, and re-use to curate a piece for the live catwalk during the Charrette celebration. With many tailors and seamstresses within the city centre, we went out to collate as many off-cuts and free discarded fabric as possible before creating the final design. The importance of re-using materials is highly significant, especially as the fashion industry contributes highly to global pollution. Now with the ease of ordering clothes online, fast fashion is doing more harm than good. A Royal Mess, inspired by the style of upper-class Victorians, intertwined with chaos of fast fashion. Our final piece, complete with its own crown and smudged makeup, has captured the disorder of the royal fashion industry’s destruction on the environment.
6 Photo motage of group photos.
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Primer Commencing the studio, we participated in many debates about preservation as we discussed our thoughts, talked about Jorge Otero-Palios’ ‘Experimental Preservation’, and explored the urban change of Île de la Cité. Alongside ‘Experimental Preservation’, other readings such as ‘The Secret Lives of Buildings’ and ‘The Stones of Venice’ were highly influential to my views on heritage and experimental preservation. For the Primer exhibition we created an installation piece to hang over the staircase, enticing viewers to walk within our collages, within the history of Île de la Cité. Inspired by Franz Samsa, a collage artist who has explored how one can inhabit a physical collage. Interwoven with the installation, a series of timeline maps conveyed the development of Notre Dame Cathedral throughout history, illustrating how it was affected by different events. Other elements including our 1:500 site model, a video presentation and our individual first massing concept were also displayed during the exhibition. Reflecting on my individual work, I believe I was rather overcome by the vast amount of information uncovered at this stage and feel the concept did not express all my thoughts. However, it is an interesting starting point from which my ideas prosper from.
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French Second Plan de la Ville
Louis VII Trosieme Plan de la Ville
1250 Quatrieme Plan de la Ville
1350 Cinquieme Plan de la Ville
1500 Siexieme Plan de la Ville
1600 Septieme Plan de la Ville
1700 Huitieme Plan de la Ville
Paris Urban Plans 10
Primer 11
- 1163
Early Construction Inducted bishop of Paris in 1160, Maurice de Sully decides to replace the old basilica with a building whose majesty and splendour must equal, or exceed, the Temple of Solomon or the heavenly Jerusalem described by Saint John in Revelation. Because this mythical temple remains a central reference for religious architecture. Aware of the symbolic role of a cathedral, Abbé Sully foresaw from the beginning of the construction site the location of the square, so that the spectators and the faithful could immediately feel the greatness of the place, and therefore of God. The first stone was laid in 1163 by Pope Alexander III, but it was not until 1345 that the cathedral acquired the form that is still hers today. The construction of Gothic cathedrals is a phenomenon closely linked to the development of medieval cities from the end of the twelfth century. In 1161, in fact, Paris has become the political capital of the Capetian kings since Philippe I, and it is also an important economic centre where a real city of artisans and markets is being built. The construction of a cathedral responds to this double need to welcome more faithful and to radiate the prestige of the capital. After nearly 20 years of work, in 1182, a first part of the cathedral was completed. It already allows the faithful to practice their worship because it includes a choir, with aisles, tribunes, vaults and the beginning of the transept. From 1182 to 1190, three bays of the nave are added to the choir, the aisles and the tribunes – also called triforium (open gallery, located above the aisles). The cathedral thus gains in length and height.
1163-1250
Mid-Construction From 1200 to 1250, the second phase of the work took place, marked by changes in the style of the building. The first portal built around 1200 is dedicated to Saint Anne, the mother of Mary. The second portal is that of the Virgin. It is to the left, or to the north. Dating from the years 1210-1220, it represents the death of Mary and her ascension to paradise where she is made queen of Heaven before the eyes of an assembly of angels and patriarchs. In this portal, the sculpture is no longer a body with the wall: one passes from the bas-relief to the statue. The last portal added to the centre of the façade in the 1220s is that of the Last Judgment. The original building also has a nave and buttresses in 1230. The buttresses are added to support the walls that were raised, as the first nave was considered too dark. Indeed, one of the fundamental principles of Gothic architecture is the concordance between the interior and exterior of the building. The number and size of the floors visible on the exterior must correspond perfectly to the architecture of the interior of the cathedral. Finally, a span is also added to the transept, to preserve the cross-shape of the whole. The South Tower was completed in 1240 and the North Tower in 1244. The latter is carried out under the supervision of Jean de Chelles, the first contractor whose name is known on this site.
1250 - 1345
Construction is finished The use of the warhead cross-vault allows builders to build higher, while freeing the walls from their role. They can then be drilled wide openings. The Gothic style inaugurates the rose, a large circular opening subdivided by carved stone frames, usually dressed in stained glass. The North rose of Notre-Dame has a diameter of nearly 13 m and develops 24 rays on three concentric circles. Dating from 1245, it is dedicated to the Old Testament. A Virgin in majesty, a scepter in her hand, appears in the centre. At the end of the thirteenth century, the cathedral of Notre-Dame de Paris was almost finished: the body of the nave was built, the façade and the towers were elevated. All that remains is to finish the interior fittings and the bedside, end of the nave opposite the portals (also called apse). The bedside of Notre-Dame de Paris is particularly worked and decorated. A first part of the work was started by Pierre de Chelles. The chapels were completed by his successor, Jean Ravy, at the end of the first half of the 14th century.
1600 - 1750
Catholic Reformation
1789 - 1799
French Revolution
Following the French wars of religion between 1562 and 1598, The protestant ideas of England had started to seep across the channel and in to France. The Catholic church needed to combat these ideas of reformation to secure their hold on most of Europe. This movement was called ‘the Counter Reformation’, and included a strong reconnection to Baroque art with a religious theme.
1793 and 1794 were the defining years of the French Revolution, stemming from dissatisfaction with the power-hungry Catholic Church. It was led by the Cult of Reason, an atheist group formed in 1793 by Jacques Hébert, rooted in a shared hatred for the Catholicism and believed that way of life should be governed by Enlightenment ideas – reason and rationality.
During this time, the Catholic church asserted its authority over the Notre Dame by affirming these themes in the interior decoration and spatial arragement. Under order by the ‘Batiments du Roi’, the reformations focused on the altar and the choir seat. The changes complied with the classical religious Roman characteristics, drawing influence from the Vatican and St Peter’s Basillica’. There were strong themes of geometrical lines, uniform colums and semi-circular arches. The altar of the Notre Dame had the most iconic re-design. It had four paralllel twisted columns, similar to Bernini’s sculpted bronze canopy over the altar of St Peter’s Basilica. Thus, the Gothic identity of the cathedral began to be removed and replaced with the Catholic ideas of the counter-reformation.
The anti-religious Festival of Reason (1793), manifested the cult’s beliefs by converting all churches into ‘Temples of Reason’.The Notre Dame, where many of the kings were crowned and celebrated, was a combined symbol of Catholicism and monarchy, thus became the main temple for this festival. 28 biblical kings’ statues on the Western façade, mistaken to be French kings, were destroyed and replaced by philosophers’ busts, the Goddess of Reason, worshipped atop of an artificial mountain, replaced Virgin Mary’s statues on altars, works of art were stolen, and ‘To Philosophy’ was carved over the cathedral’s doors. The Notre Dame also served non-religious purposes such as being a warehouse for storage. The deist rivalry Cult of Supreme Being emerged in 1794, and its festival was led by the arch puritan Robespierre. Similarly, an artificial mountain, constructed of timber and plaster and adorned with flowers and shrubs, was built to symbolize nature’s power and supremacy of mankind. The festival escalated and led to the Reign of Terror, where anyone who was suspected an enemy of the revolution was arrested or sentenced a death penalty. However, despite the consistent revolutions, the French held on to religion as their way of life. This strong belief in Catholicism ultimately led to Napoleon restoring the Notre Dame’s religious role in 1804.
1804-1814 Napoleon I
A Te Deum was celebrated at Notre-Dame on April 10, 1802 for the proclamation of a concordat that recognised the Catholic religion as "that of the majority of the French.” Both Napoleon and Pope Pius VII were in attendance. Napoléon Bonaparte chose the cathedral of Notre-Dame de Paris to be consecrated emperor, which was to take place on Sunday 2nd December 1804 and marked ‘the instantiation of modern empire.’ He thus broke the tradition of the Kings of France who went to Reims to be crowned. For the occasion, architects Charles Percier and François-Léonard Fontaine were tasked with refurbishments. Houses were demolished to clear surroundings of the cathedral, streets surrounding that the cortege would pass would be paved. They designed a neo-gothic style portico which was placed on the forecourt, it was made of wood, card and stucco. Another wooden gallery was built along the side of the cathedral, as far as the 'archivêché' where an enormous tent was erected to form a vestibule. It was here that the Pope and his entourage robed and where Napoleon and Josephine donned their coronation robes. The building was whitewashed with lime and the interior was hung with fabrics and silk and velvet drapes decorated with the coats of arms and insignia of the Empire. The east end of Notre-Dame was augmented with a rotunda, elaborately decorated with tapestries. Ironwork around the choir and two altars was removed. Raised seating was built at the length of the nave and in the clerestories to allow for official representatives from France. Napoleon’s throne was placed on a high platform above the nave in front of the West Door.
1830-1852
The Bourbon Restoration & Viollet le Duc In 1830, Louis Phillipe I was crowned the King of the French during the period of the Bourbon Restoration. Following the damage from the first revolution there was a national effort to restore the symbols of the monarchy in France, including restoring and preserving the many dilapidated Gothic and Romanesque Palaces and Cathedrals. The Hunchback of Notre Dame by Victor Hugo was released in 1831 and prompted a national outcry to save the Notre Dame from its ruined state. Viollet le Duc and Jean-Baptiste Lassus won the competition for the restoration of the cathedral. They believed that instead of restoring the cathedral to the exact state that it would have been when it was built, they should “re-establish it in a finished state, which may in fact never have actually existed at any given time.” It was their duty to embody the ideas of the original masons, combined with the contemporary technological innovations, to realise the original concept of the building to a greater extent than it ever could have been. They drew influence from existing Gothic architecture around France to carefully study, rebuild and replace the damaged parts of the building. They restored the 28 biblical kings that had been mistakenly destroyed during the Revolution, along with Christ above the main door and 16 other figures around the building. The decoration inside was restored to its original state, along with the windows of the galleries. A new sacristy was designed in the place of the old one, in a Neo-Gothic style entirely designed by Le Duc. Finally the central spire was redesigned loosely according to engravings from the 14th century, however the new spire was much taller and the Gothic style was greatly amplified.
1852-1870 Napoleon III
Napoleon III ousted King Louis-Philippe I and founded the Second French Empire, which was given high credit for the rebuilding of Paris. Napoleon III dreamed to create a ‘new imperial city whose very streets spoke of the glory of the French empire.’ Haussmann created a well-ordered city, based on a geometric grid with streets running north and south, east and west. Haussmann ploughed over the ancient, winding streets of the city, and in their place created broad straight boulevards that were impervious to the barricade, and they could better accommodate the free movement of troops. The new boulevards could also allow for easy flow of commerce. The design of the boulevards was particular, they isolated the iconic monuments. This urban renovation caused a percentage of the population was displaced. Haussmann forced citizens from their homes as these buildings were torn down to make way for the clean lines of the new city. The wealthy were quickly accommodated. The new boulevards were lined with fashionable apartment houses. It was, as usual, the poor that really suffered. Haussmann designed and created new parks, squares, new sewers, fountains and aqueducts. Haussmann rebuilt the labyrinth of pipes, sewers and tunnels under the streets which provided Parisians with basic services. The Ile de la Cite became an enormous construction site, with new government buildings, boulevards, bridges replacing the hundreds of medieval homesteads residing there since the 15th century.
1914 - 1942
2019
WWI & WWII
Notre Dame burns
By the first week of September 1914, the Germans had come within thirty kilometres of the Cathedral of Notre-Dame de Paris. During October, a German bomb struck nearby, however there was little to no damage to the cathedral. To ensure no further damage was caused by the war, the West façade was sealed using sandbags to protect it. To celebrate the end of WWI the two bells rang in celebration, 1918. Not only celebrating the end of the war but the fact there was no damage to the Notre Dame cathedral. In WWII Paris became occupied by Germans. Many of the stained-glass windows were removed in order to protect them bombing. During Nazi-occupied Paris German military concerts would take place outside the cathedral, however it remained open to the public as both a church and a tourist destination.
On the 15th of April 2019 at 6:20pm, a smoke alarm sounded during mass, however there were no signs of fire. At 6.43pm, a second alarm sounds and a fire is declared, located on the roof of the cathedral. It spreaded from the area covered by the scaffolding (in place for current restoration work on the cathedral) out to the whole roof, as well as the spire. The fire caused the collapse of the 19th century spire as well as major irreversible damage to the wooden roof. The remainder burnt roof lies on the floor of the nave. The stone walls and structure are undamaged by the fire, however major damage was caused by falling debris to the inside of the cathedral. Thousands of people gathered around the scene, watching as the fire consumed the cathedral’s roof. Some sang Catholic liturgies, whilst other sank to their knees and cried. An atmosphere of sorrow overwhelmed Paris as they watched their beloved cathedral burn.
Adolf Hitler had ordered that Paris to be left a “heap of burning ruins”. However, German General Dietrich von Choltitz (commander of Nazi-occupied Paris in 1944) disobeyed these orders to destroy the city, instead he surrendered it to Free French forces. He is named the “Saviour of Paris”. Although the cathedral was hit by bullets during the war (which only caused scratches to the surface), it emerged largely unscathed.
The following day at 7am, officials confirmed that the “danger of the fire had been removed” with up to a dozen firefighters still on the scene. The main structure hadbeen saved, with the bell towers intact and no major damage to the main rose windows. However, two-thirds of the roof has been destroyed with the spire among other debris fallen into the nave, as well as discolouring of the North and South facades (above the rose windows) caused by the flames and smoke.
On August 26th, Notre Dame hosted a special mass of thanksgiving to celebrate the liberation and preservation of Paris. The cathedral undamaged features as the backdrop to many post-war photos, capturing the heart of the city untouched by the threats of the war.
The damage caused by the fire has sparked major controversy about the restoration of the Cathedral. The damage to the Notre Dame may not just be caused by the fire, but by an insensitive and unthoughtful perservation project on the building.
Notre Dame Timeline 12
Primer 13
Group photos.
The History of Île de la Cité 14
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Inspired by Franz Samsa’s vast collection of collages and previous installation pieces, we created an ephemeral display that would allow one to walk inside and within it. Allowing them to become truly absorbed by the installation. Our series of collages collated into one to mimic the general form of the Arc de Triomphe.
Primer 15
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1:500 Site Model
Primer 17
Walled Garden For my initial massing concept, I wanted to explore how one could manipulate the site in order to control the circulation throughout the square. To create an anti-clockwise flow around the site I have employed a wall surrounding the square placing entrances at different intervals. Another garden will be located within the walls, similar in composition to Square Jean XXIII, as it is reflected through the Cathedrals bell towers. Replacing the ‘new’ location of the Virgin fountain with a proposed tribute to the spire designed by Viollet-le-Duc. Incorporated into the exterior walls a series of stained-glass windows will mimic the order of procession, depicting the cathedral’s history. With the fire being the last. Due to the orientation of the site this imagery will be projected into the interior courtyard as the sun shines through the glass creating a colourful scene on surfaces. The main bodies of the building will incorporate exposed steel to create a mangled matrix of steel, providing the design with the capability to become an enhanced and dramatized expression inspired by the traditional Gothic style. Reflecting on the theme of Old and New, represented through Memorabilia; interior garden that pays tribute to the lost spire, and Education; within the programme one will learn about the site and craftsmanship which created the lost ‘la fôret’ of Notre Dame Cathedral.
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Primer 19
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‘Experimental Preservation’ by Jorge Otero-Pailos In Jorge Otero-Pailos’ ‘Experimental Preservation’, he explores how our decisions construct our future; ‘as we choose what we preserve, we write our own histories. We select particular versions, moments in time, that will shape how we move forward.’ With ‘preservation’ typically seem as a method which focus’ on the past rather than the future, and the fear behind the word ‘experimental’ due to uncertainty regarding failure – reflecting the past ‘crimes’ against our culture where preservationists have destroyed artefacts rather than protect them – it is no surprise that this term is misleading to traditionalist. However, preservation is a contemporary method, like restoration. So, it is criteria must change to suit its civilisation. A criterion, that was constructed before technology had truly developed, a time before cars and mobile phones, where ‘historical
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Simon Fleury annotations of the Raphael Tapestry Cartoon captures ‘the object’s state of decay’, by ‘cast[ing] it in a new light, with the marks of decay.’ His conservation analysis exposed to the public allows one to ‘consider this technical work along with the Raphael original’, allowing us to view the object regarding its relationship with ‘environmental, social, temporal and authorial’ consequences.
significance’ was defined by its beauty and aesthetic qualities. So how can we bridge traditional values with new ones to construct our future? Our selection of quasi-objects (object which identify our culture; with no ball there is no game) allows us to define our heritage, providing us with the choice of preserving something due to its experience and narrative rather than its beauty.
‘Historical districts did not exist before preservationists conceptualized them as a new type of worthy object.’ Causing one to consider as we choose which quasi-object we want to preserve in time, what are we trying to capture? Is it a decision made at the public’s interest or the artist’s? ‘Experimental preservationists do not attempt to speak for culture but rather to solicit a cultural response’, choosing quasi-objects of ‘collective value and public significance’, rather than the with the goal ‘to consolidate and perpetuate their own power.’ Ultimately this technique is a contemporary intervention, with the 1964 Venice Charter stating that restorations ‘must integrate harmoniously with the whole, but at the same time must be distinguishable from the original’. Supporting John Ruskin’s theory ‘the thing is a Lie from the beginning to end.’ So, to ‘write our own histories’ we must imagine the future regarding what past we want to pass on. ‘To establish some historiographical relationship to it from the viewpoint of the present’ to choose objects for their narrative rather than beauty. A choose that is ‘free from institutional and state meditation.’
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the way they thought they would’, thus making ‘no building ever perfect’. Causing one to consider the how life cycles of buildings are transforming with humanity.
‘The Secret Lives of Buildings’ by Edward Hollis In Edward Hollis’ ‘Secret Lives of Buildings’ through story-telling literature, he describes the ‘Architects Dream’ and discusses what a ‘perfect’ building giving different accounts from the Parthenon to the Notre Dame de Paris. Conveying how we ultimately decide what state monuments should be left to future generations in.
‘Architecture is all too often imagined as if building do not and should not change… but change they do and have always done. Buildings are gifts and because they are, we must pass them on.’ The ‘Architects Dream’ conveys the utopian drive, with all great architectural evidence is frozen in its original perfect state of completeness. Contrasting to honest reality which falls into ‘decay and ruin.’ The ideas that when a building ‘is first built, [it] is an attempt to make a self-maintaining whole configuration’ however as time goes on and civilisations changes ‘people use buildings different from
Many describe the Parthenon as ‘perfect’ as ‘it is what architecture was, is, and should be’, with Viollet-le-Duc describing it ‘as the perfect expression of its own construction.’ But the world adapts to the changing and developing human race ‘the perfect Parthenon of architecture [has] been conjured [to] a heap of broken stone that anything but perfect’. This idea that as restoration works undergo on the Parthenon, as we try to create its original perfect beauty the idea is lost and ‘this heap of stones [now] represent[s] not an improvement of the arts…but a fool’s errand.’ A symbolism of ‘art and civilisation, liberty, and eternal fame,’ is now just a ‘shadow of an idea: a ruin.’ Man is once again portrayed as the symbolism of destruction. In Victor Hugo’s novel ‘The Hunchback of Notre Dame’, he uses the characters Quasimodo and Esmeralda as representation of the cathedral history. Quasimodo, a giant, broken and badly reassembled character reflects the characteristics of the 1830 cathedral broken and in need of help. With Esmeralda a strange and exotic beauty that captivates all, but who is ultimately led astray by men, so a reflection of the 1482 cathedral in its full glory. These metaphors are effective and capture ‘the blindness of time and the stupidity of men’, revealing the cathedral’s continuous themes of destruction.
‘The cathedral had never been perfect virgin in the first place’ With many restoration projects already undergone Notre Dame cathedral is far from its perfect virgin form, as ‘it is impossible to conserve the form of something made in one material by making it another’. However Hollis suggests that following Viollet-le-Duc’s restoration project, Notre Dame’s ‘finished’ version of 1864 was ‘an attempt to fix a moment of time’ with the ‘replaced the spire… reinforcing the symmetry of the composition and further suggesting that the building was complete and whole, a virgin.’ Fast forward to now, how can we respectfully attempt to protect Notre Dame from any more destruction from both time and man; ‘Tempus edax, homo edacior (Time is destructive, man more destructive)’ . How will we capture our civilisation for future generations? This idea of ‘writ[ing] our own histories’ (from ‘Experimental Preservation’) is continuously trailed throughout history. With each generation trying capture their society within the timeless beauty that is architecture. Timeless beauty ‘cannot be made, but only generates indirectly, by the ordinary actions of the people, just as a flower cannot be made, only generated from a seed.’
Primer 21
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The Future of Notre Dame Cathedral
Reflection: Dissertation Studies For my dissertation I explored the media’s perception of the cathedral’s future, considering how the range of different opinions regarding whether to rebuild as Viollet-le-Duc’s original, to rebuild something new or to leave it as ruin, are portrayed on a global scale. The endless stories covering these arguments painted a rash and chaotic future for the cathedral, as people’s views are exaggerated in order to sell articles.
‘A History of Architectural Conservation’ by Jukka Jokilehto There is a clear relationship between the past and the present within conservation, described as ‘material signs handed on by the past to each culture’ capturing ‘cultural identities’ and legacies which portray the histories of civilisation though this presentation of ‘cultural heritage’. Formalised into two aspects: ‘1, the control of the environment to minimise the decay of artefacts and materials, 2, their treatment to arrest decay and stabilise them where possible against further deterioration.’ This ‘modern conservation movement’ informs how ‘we shape our histories’ (Otero-Pailos) with architecture providing man with an opportunity to illustrate their society.
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Though diagrams such as these he illustrates how the Gothic roof gable (above) and arch (left) have developed from the Greek to the Gothic.
‘The Stones of Venice’ by John Ruskin Ruskin describes the ‘only two real orders’ of architecture providing his opinion and thoughts regarding the ‘convex’ styles of Doric and Norman, and the ‘concave’ styles of Corinthian, Early English, Decorated. Characterising the Gothic style in order of importance: ‘1. Savageness, 2. Changefulness, 3. Naturalism, 4. Grotesqueness, 5. Rigidity and 6. Redundence.’ Then using these terms to illustrate Gothic architecture. Celebrating both builders for their craftsmanship and designers’ interventions. For the depiction of foliation and use of pointed arches, acute angles which are the fabric of its distinctive characteristics praised ‘lands that gave him birth.’ Revolutionary regarding both design and execution.
A cathedral once described by Kenneth Clark as the definition of civilisation, now ravaged by flames created strong pathos through out Paris and the rest of the world, with many people recounting their emotive relationship with the cathedral and describing its symbolism to both France and Catholicism. Emmanuel Macron’s rash decision to push his five-year plan, left many concerned if Macrons decision was one made regarding his own ego rather than the public’s interests. With ‘1170 curators, architects, professors’ signing a petition address to Macron, ‘calling for caution’ regarding ‘decision to ‘rebuild the cathedral, even more beautiful within five years.’’ This plea of literature mirrors the incentive for Victor Hugo’s 1831 novel which prophesied a fire. Ignoring the vast quantities of both beautiful and adventurous proposals for the restoration project, the depth of opinions is obvious. All agreeing that the cathedral deserves greater than anyone ‘can possibility imagine’, making the decision process rather challenging. Through removing artistic ego, we as a civilisation will be able to ‘shape how we move forward’, a design of a ‘united nation’ will not appear overnight instead it should not be stamped with a time frame. To allow this cathedral to rise from its ashes, we must protect it from further damage, ensure disastrous events like the fire are prevented and with caution take ‘the time to diagnose’ in order to ‘write our own history’ that celebrates our civilisation.
‘Gothic architecture has external forms and internal elements. Its element are certain mental tendencies of the builders, legibly expressed in it, as fancifulness, love of variety, love of richness, and such others. Its external forms are pointed arches,[and] vaulted roof[s]’.
Primer 23
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Grand Tour
Paris - Rome - Milano - Verona - Venice Starting in Paris, we visited our site and other famous landmarks from Renzo Piano and Richard Rodgers’ Pompidou to I.M.Pei’s Louvre Pyramid. Including a visit to Le Sorbonne, where we had a seminar with Jean-Francois Sebastian, discussing the history of Île de la Cité and providing a Parisian account regarding their aspirations towards the cathedral’s future. Following France, we visited Italy, starting in Rome, and ending in Venice. As we walked through the winding streets of Rome I was captivated by the ancient beauty of the city, with each cobbled street winding around and leading you to another momentous location, I was truly mesmerised. The fashion capital Milan shocked my previous opinions. Overpopulated by tourist and pigeons the city submerged in smog, needs a break to allow its individual qualities to flourish. In fair Verona where we lay our scene… informed by Shakespeare’s poetic language which describes Verona I was original unsure to what this city which provides the scene for Romeo and Juliet’s tragic love story would hold. But after visiting Carlo Scarpa’s inventions at Castelvecchio I was inspired by how he captures both Old and New within his designs. Venice once again a city heavily effected by tourism, with St Mark’s Square overflowing with people avoiding the ever-growing puddles. However I truly understand why many visit this ancient city, as I was fascinated by meandering streets leading you over bridges along the many canals, that capture the charm of Venice.
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Diary Entries
During the trip I kept a diary including sketches, notes and general comments influenced from each location. I found this note taking extremely useful.
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Le Sorbonne Seminar
Grand Tour 27
Île de la Cité During my visit to the site, I conducted extensive research on many different aspects from how people inhabit the site, to materiality, to landscaping. Finding film photography, note taking and sketches most beneficial as I tried to capture every detail. Watching people around the site was rather interesting as their habits differed depending on each location. Directly in front of the cathedral crowds swarmed to get their photo with the cathedral, whereas at the South side of Île de la Cité a combination of tourists and Parisians were both captivated and unaware of their famous surroundings. The busy island was an eventful mixture of school children, dog walkers, runners, and tourists.
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Seeing the current state of the Notre Dame Cathedral in person was moving, the mangled steel frame which once supported the restoration process hanging over the open roof, burnt from the flames. However seeing the famous flying buttresses already supported by wooden frames was encouraging regarding the cathedrals future: there is hope.
Grand Tour 29
All images from ‘Trees’.
‘I want to build a treehouse. A floating treehouse...’ - Foundation Cartier pour l’art contemporain ‘Trees’
Sebastian Mejia series of Gelatin silver prints capture these Topophilia scenes, where the urban landscape closely co-inhabits with the trees, and in some cases a rather awkward placement.
Botanist Francis Halle continuous studies of native forests around the globe vibrantly capture the characteristics of each plant, tree, and scene. His style of documenting trees inspired how I depicted both the site plan and section for our Case Study Project (later illustrated).
‘Planning with Trees’ this series of images and drawings created by Cesare Leonardi and Franca Stagi, again was influential regarding my attitudes towards trees, landscaping, and their importance. Finding their representational methods interesting and effective regarding how they represent their discoveries. From colour studies to mapping their architectural and botanical research are charismatic.
Cartier Foundation 30
I have chosen to highlight our visit to Jean Nouvel’s Cartier Foundation because I was heavily influenced by the integration of trees within the design and the exhibition ‘Trees’. Nature is provided as a continuous theme within both the art and the architecture of Cartier Foundation. The artists, scientists, and philosophers all individually capture how they have become inspired by trees and nature. This is enhanced by the glass body that Jean Nouvel has created which captures the ‘impressions and reflections’ of the submerged trees, putting ‘into practice [the] simple principle that consists [of] superimposing the object and its reflection’ (Jean Nouvel).
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‘provoke[s] a profound reflection on the relationship between ancient and modern and their coexistence...’ - Guido Beltramini
Continuous juxtapositions can be found inside and outside, from gaps within the exhibition floor and walls contrasting the new flooring and old original walls to the South façade of sculpture gallery, a composition of old and new materiality captured at intervals.
The relationship between architecture and staging/processions is evident throughout as you are lead through different gallery spaces which are joined between an overlapping series of pathway that frame the statue of Cangrande I.
Themes of New and Old are captured further within the upper gallery where pieces of art work are dynamically arranged to reveal the colourful detailing of antique murals which would have once vibrantly captivated the rooms.
Museo di Castelvecchio
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I found our visit to Museo di Castelvecchio highly influential due to how it portrays themes of New and Old through its own structure and aesthetic qualities. Similar themes of Old and New were conveyed throughout the trip. The cleaning of Duomo di Milano’s white marble creates visible contrasts within the different hues it illustrates. This composition of shades of white and beige provide the cathedral with its famous imagery.
Grand Tour 33
In an Anthropocene era how will we shape our future? Ideas on Heritage Throughout the trip we visited many different architectural monuments, including many UNESCO Heritage Sites. As our cities are ever changing it is important that we value and respect our history: ‘as we choose what we preserve, we write our own histories.’ With many different sides to preservation theories, I must consider how each attitude reflects each building. I.M.Pei’s Louvre Pyramid, originally disliked by many, for his remarkable contemporary use of glass and steel frame, yet within the Napoleon Courtyard it is framed beautifully by the French Renaissance architecture. Conveying how contemporary juxtapositions can enhance the site. Whereas in the heart of Paris, Île de la Cité little contemporary interventions have been employed, with the busy streets echoing its heritage through the traditional Lutetian Limestone of the façades. Does this mean regarding Notre Dame, it should be preserved to its last known state? But then is this state a true representation of its original form as it already has undergone multiple restoration projects that have altered its appearance. On a historical island with little contemporary interventions could this restoration project surrounding Notre Dame convey the modern styles of the 21st century? The Colosseum represents a monument that has endured multiple different restoration projects with each scheme visible due to the slight alterations within the materiality. However, many believe this adds to its charm, with the possibility of this ruin being fully restored to its original state quite unfeasible. So, could a fourth restoration project for Notre Dame, further add to its charm? In the wake of the fire, the media has covered the many different proposals provided by architects that capture their suggestions to how we can shape the Notre Dame’s future. However, amidst all this chaos and uncertainty I believe some have lost sight of the importance behind the cathedral’s heritage. And so, to construct a future that reflects the 21st century we must ‘choose what we [want to] preserve’ in order to ‘write our own histories’. With the cathedral’s restoration project being the perfect baseline to elaborate this
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Piazzo San Marco, this vast square was busy with tourists queuing on wooden platforms protecting their feet from the puddles as Venice’s recovers from its highest tide in 50 years. As numbers of tourists fluctuate dependant on the seasons, I am scared to think what this picturesque city would be like in spring or even summer. The 2019 flood can not be directly blamed on climate change as with Venice slowly sinking the combination is catastrophic.
Following a report from the World Health Organisation Milan is one of the top three European cities with the worst levels of air pollution. Due to high industrialization and lack of wind. This thick layer of smog lies gloomy above the city’s skyline, clearly evident as the afternoon passed into the evening.
Tourism and Climate Reflecting on the trip I could not help but comment on the impact mass tourism and climate change has on these mesmerising cities. From flooding to air pollution, COVID-19 has really come at an opportune time. The right images from webcams convey Venice and Milan’s typically busy squares almost empty, and blue sky’s shine through the clouds. Prevention on travel and human interaction has allowed these cities to replenish, a quick fix. As COVID-19 eases, we will be able to improve our attitudes towards climate change and fight for a better future.
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Cartier Foundation 36
For this group project we looked at the Cartier Foundation by Jean Nouvel. It was built in 1994 in Paris, France. Nouvel pushed architectural boundaries through the use of materiality and structure which created dynamic spaces that blur what is real and what is virtual. I covered the Site and Environmental Strategy.
Case Study 37
Staging Within this Staging segment of my work I have developed and assembled various themes of interests sparked from the Grand Tour and Primer project. Reflecting on studio themes visually through collages and considering how I can apply my ideas stimulated from the studio readings to the initial massing process. Leading to accumulating my declared brief, expressing both end user requirements and overall programme required. A series of site analysis diagrams are employed to vibrantly illustrate key aspects from the site: circulation, landscaping, and materiality. As the people inhabiting, the ecosystem, and the heritage of Île de la Cité is highly important to my design concept. My concluding massing proposal of this chapter represents both the site analysis and concepts from the studio readings. As I apply theoretical attributes within the site’s context to provide a visual representation of my initial ideas.
The People of Île de la Cité 38
National Geographic, all people from Île de la Cité article and own photo of people looking at Notre Dame.
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The Fire of April 15th.
National Geographic, own film, phone and tabloid images.
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Flowers of Île de la Cité.
National Geographic, from segment on Île de la Cité and flower farming.
Staging 41
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New and Old.
National Geographic, 1968, and own film, 2019.
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ĂŽle de la CitĂŠ.
National Geographic and own film (centre).
Staging 43
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Viollet-le-Duc: Restoration The idea of restoring Notre Dame Cathedral to its original state is not possible as any restoration would be a lie to its original form. However, the cathedral was never in its perfect virginal state in the first place as Viollet-le-Duc’s restoration project was the third since the cathedral was fully built. So therefore, to restore the Notre Dame it would ‘reinstate it in a condition of completeness which could never have exited at any given time.’ Viollet-le-Duc describes restoration to be modern, as in Latin it would be described as ‘to make anew’ - restoration does not directly translate in Latin, this is in its modern sense. Jorge Otero-Pailos argues ‘as we choose what we preserve, we write our own histories’. This idea of shaping our future through what we leave behind, in this case architecture, is conveyed through Viollet-le-Duc’s writings where he discusses how we are continuously aware of past we are constructing and portraying. Believing that we must be honest about it and not mimic the past. If one is faced with the opportunity of improving a defective system during a restoration project, then they should. To ‘suppose one’s self in the position of the original architect, and to imagine what he would do’ if he had the same programme and technology available.’ One can conclude that Viollet-le-Duc, given the circumstances of the present Notre Dame Cathedral, he would build better, anew. Using the technology, we have today to improve defective systems within the structure which could in turn prevent another disastrous events, like the fire of April 15th. What would this look like? You would not want to mimic the traditional aesthetic qualities of the Gothic design but reinterpret them using contemporary methods; an outcome that will take many years and millions of euros to create. So, should we pay huge amounts of euros, dollars, and pounds into this project? Or should we consider how that money -with already €600m pledged toward the restoration project- can be spent on different issues?
Viollet-le-Duc: Notre Dame * 44
Series of found images and own photo showing the light filtering through the stained glass windows.
‘The term Restoration and the thing itself are both modern. To restore a building is not to preserve it, to repair, or to rebuild it; it is to reinstate it in a condition of completeness which could never have existed at any given time.’ - Viollet-le-Duc
Staging 45
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‘Leave Notre Dame open, unfinished. Invest those funds in the future. Invest in the youth.’ - Sebastian Ezzazuriz
Private: Grey Public: Opaque
National Centre of Heritage and Preservation. Within Building Upon Building we have been tasked to create a new building that will host the centre national du patrimoine et de la preservation (National Centre of Heritage and Preservation of France), a design that should respond to both the building typology of Notre Dame Cathedral as well as Viollet-le-Duc’s work. To be able to host the Heritage Centre, it must include spaces such as offices, a lab, a public auditorium for public lectures, a hall for temporary exhibitions, a library, a research centre, and a cafeteria. Focusing on themes of Old and New, the programme integrates memorabilia and education into the functions, with the flow through mirroring the relationship between the past and present. Celebrated through symbolism within the processions between functions and spaces these ideas are represented through inspire, explore, and discover. As one subject feeds into another it seamlessly explores the possibilities of Old and New, memorabilia and education; how the past informs the present. The design should also cover ideas relating to experimental preservation; ‘as we chose what we preserve, we write our own histories. We select particular versions, moments in time, that will shape how we move forward’. It is about looking to the future rather than the past, as ‘we will probably be judged not by the monuments we build but by those we have destroyed’. So how can my design proposal shape a better future?
The Future of Notre Dame
To shape a better future for Île de la Cité, I must consider how I can influence the site’s fabric to create a hub of creativity which encourages this ‘no man’s land of tourists’ to return to the Parisians. Therefore, focusing on how one can manipulate a site through a new-build project to enhance civilisation. Through integration of both landscaping and people, it will not only ecologically benefit the site, but create a place that highlights a developed civilisation. A quasi-object that portrays a ‘united nation’.
In order to select our future we must ‘choose what we preserve... select particular versions, moments in time, that will shape how we move forward.’ Jorge Otero-Palios expressed the need to choose these quasi-objects that will capture in time our culture. But what future do we want to convey? Sebastian Errazuriz comments; ‘leave Notre Dame open, unfinished. Invest those funds in the future. Invest in the youth.’ He believes we must sacrifice our artistic ego before we make any decisions regarding the cathedral’s future, as Notre Dame “deserves better”. In order to capture the a vision ‘of the millions whose heart shrunk with the flames’ . Leave the cathedral open to elements, ‘a shadow of an idea: a ruin’, use this as an example so we can learn and develop as a civilisation. Let it be a warning to future generations of dangers that can occur if we don’t take better care of our monuments.
Then by integrating education into the site it will stimulate a hub of creativity, flowing with inspiration; a place which will cause civilisation to flourish. Where many will learn and reflect on heritage and the surrounding environment. As through reflection within a design that also enhances the ecosystem of the site and to respond to the current climate crisis encourages awareness toward protecting planet.
By leaving the cathedral as a ruin its timeless beauty can be overcome by nature and the divinity in natural forms. With the Gothic architecture of the cathedral original influenced by foliage it seems fitting, for its life cycle to regenerate and become immersed in its creative invention. A true metaphor that captures the cathedral once again ruined by time and men.
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Ultimately, the integration of civilisation, landscape, and education, will provide us with capability to shape our histories, and create a better future.
Staging 47
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4 Place de la Concorde
Site Analysis
Sainte-Chapelle
Notre Dame Cathedral
UNESCO World Heritage Centre Headquarters 48
The microclimate of Paris see the temperature range from 25oC -2oc (July/August – January/February), with average rainfall between 40 – 65mm. Snow and frost is common in the winter months from North and North-East currents and thunderstorm can occur in summer following fluctuations in the high temperatures. However, it is typically described as pleasantly warm. With no neighbouring buildings on the South, the orientation of the site will benefit fully from the sun light hours, with breezes entering from the river. In January of 2018, the Seine’s water levels rose to 5.84m only 3m less than the memorable 1910 flooding that reached 8.62m. It is typical for the Seine’s water levels to rise around this time of the year, as general water levels rise from 1 – 2m each year, caused by climate change.
Catacombs of Paris Staging 49
Circulation 50
Notre Dame “an isolated monument in the no man’s land invaded by tourists” - Jean-François Cabestan.
Focusing on the variety of people throughout the site, and how they inhabit it. Tourists can be categorised for their continuous photographing of the Cathedral and sometimes with them in the foreground of the shot. Parisians, seen running, and walking through their typical route. Homeless people dotted around the site at intervals. School children, and tour guide are also scattered around.
Pre fire the site was easily accessed from all boulevards. With multiple access points to the site, the progression around the site flows steadily, both clockwise and anti-clockwise, with climax points directly in front of the cathedral and on the bridge behind (both circled above).
Staging 51
A ‘place of reflection’.
Champ de Mars
The city’s ‘imaginary countryside’. Total absorption in nature, to help the spirit and soul.
Trees
Well-being
Create
metaphors
Landscaped park with an arrangement of paths leading off from the main central axis joining the Eiffel Tower (1) and the Ecole Militaire (2). This view is iconic of Paris with the lawns lined by tres framing the Eiffel Tower. The UNESCO World Heritage Centre is situated directly behind 2.
‘Evoking emotion, evoking the curious frame of mind. Memories and poetry expressed through landscapes and nature.’
Public space
Sense of being, ‘our existence is nothing, but a succession of moments precede through the senses. I feel so therefore I am.’
Paesaggio ‘Landscape is a depiction of a dream... of what is beautiful.’
Routes
‘The importance surrounding the ritual of arriving at a building, in this case a walk through a garden.’
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‘The beauty of logic is the magic in mathematics’.
Jardin des Tuileries
Formilated gardens celebrate the passageway joining focal points Place de la Concorde (1) and Musee du Louvre (2) with the Carrousel Arc de Triomphe directly infront. Trees line individual squares within the main body providing shade and place of reflection to inhabitors.
Jardin du Luxembourg
Landscaped gardens create an idylic foreground fitting for royaltiy, with the former royal residence as the backdrop Palais du Luxembourg (1). Trees planted in patterns and series of statues on pedestals. I concentrated on the geometry and axes of the landscaping of Île de la Cité and parks within Paris. A traditional Parisian park will have a series of Plain trees arranged to create shaped that form the pathways. If not lawns sections, the concrete ground is covered in a sand like gravel providing its neutral yellow beige colour. With metal chairs provided, it encourages people to rest under the trees and around water features. Creating a space for civilisation to blossom through social interactions. All examples above convey how landscaping is used to emphasise the monument they are connecting and framing. Highlighting the importance surrounding the ritual of arriving at a building, in this case a walk through its gardens.
Île de la Cité
Staging 53
Building Typography 54
To understand the setting surrounding the Notre Dame, I have explored the different attributes of the neighbouring buildings. All the buildings neighbouring the square were typically made of Lutetian Limestone: ‘Paris Stone’, providing the unified yellow beige tones. Small contrasts within this materiality can be seen throughout, for example most of the cafes have accents of colour, boldly distinguishing them from the next. Hotel Dieu has contemporary interventions of glass within its main entrance, this will be enhanced as it is soon to be renovated.
Staging 55
Routes within the site.
Mirroring Square Jean XXIII.
Massing Reflecting on site analysis to capture different elements. Influencing the flow around the site by placing the main body on the perimeter. Location of the two wings is influenced by Square Jean XXIII. To highlight the importance of the central axis only the nave of the cathedral is kept. Then reversing the characteristics: landscape influence becomes a building and the cathedral’s influence become the landscaping.
Central axis of the square
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Mirroring Notre Dame.
Staging 57
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Vallette City Gate by Renzo Piano
Materiality of Île de la Cité
The two limestone boxes sit just inside the city’s walls. On the ground level the façade is glazed, allowing visitors to view into the entrance foyers behind the steel column porticoes. These ‘ornamental stone façade’ capture the Renaissance spirit of Europe’s first planned city: Vallette. The materiality of the local limestone ‘evokes the city’s heritage’, with the stonework of the cladding composed of blocks, cut at angles to create sharp yet subtle juxtapositions to the surrounding buildings. This project captures its relationship within its urban strategy, complimenting the neighbouring city walls, gates, and ruins of the opera house.
Reflecting on the site, I think it is highly important to acknowledge its materiality heritage. Lutetian Limestone otherwise known as ‘Paris stone’ can be found within the catacombs which lie below the city. The entry is located south from the former city gate otherwise known as the ‘Gate of Hell’ (Barriere d’Enfer), containing the remains of >6 million people as well as the stone quarries.
I have chosen to include this precedent due to its relationship to its surrounding, the application of local limestone with slight alterations provide it with a dynamic yet sensitive connection to the city.
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During Haussmann’s grand renovation of Paris, he continuously employed Lutetian Limestone throughout the city, providing it with its distinctive hue of yellow beige, causing Paris to commonly be referred as the ‘city of light’. This type of Limestone was also used for the construction of Notre Dame Cathedral.
Staging 59
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The past is not dead, it is living in us, and will be alive in the future which we are now helping to make’ - William Morris
Thinking Through Making For this week we were tasked to ‘produce a model which further explores the themes from your design project’. Following my interesting in landscaping and how it creates metaphor I wanted to explore how nature can be portrayed through different mediums. Inspired by the renowned William Morris, the 19th century patten design, because of his continuous depiction of nature through forms and colour. These motifs are created by pressing carved woodblocks onto materials, a technique I will try to recreate using found materials from the workshop.
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Realisation and Synthesis Within this realisation and synthesis chapter of my project, I use the previous analysis and research of the inhabitants, landscaping and experimental preservation to portray my ideas within a design that illustrates Île de la Cité, ‘a no man’s land invaded by tourists’ now a hub of creativity as both ‘the people’ and tourists interact in harmony. This centre of national heritage and preservation permits us, as a civilisation to ‘write our own histories’ and decide which quasi-objects we will choose to illustrate the collective value of Île de la Cité’s heritage and culture. I have expressed through technical and artistic methods to convey how the design concept creates a space where civilisation can thrive. Through the integration of the landscaping interwoven within the developed programme which focuses on education, the outcome provides an insight to an idyllic future. A place captivated in reflection, learning and positivity.
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Robert de Cotte Influence. Wanting to reflect geometry and sequences within the design, I chose to use the repetitive structure of Robert de Cotte’s choir restoration from the 18th century, which was the first of the three restoration projects of the cathedral. By simplifying the choir’s forms, I integrated into the cathedral’s plan as well as the square before selecting elements to preserve. I used symmetry integrated with processions within the building to create its final form. The procession within the ground floor is inspired by the golden ratio’s spiral effect, which will lead the inhabitant from the entrance to the focal point, on this floor it would lead to the en plein air auditorium of the central courtyard.
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Stage 1: Shape Integrated with Notre Dame
‘The beauty of logic is the magic in mathematics’
Graduation Project 65
Stage 2: Preserving Key Elements
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Stage 3: Refining Original Routes
Stage 4: Using Geometry to Define Shape
Stage 5: Ground Floor Procession
Graduation Project 67
Initial massing model in context.
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Views: entering the site.
Views: rooftop garden.
Graduation Project 69
Masterplan To bring life back into the island, I have enhanced the ecosystem by incorporating a landscaping scheme into the square in front of the cathedral. A combination of new native trees and flower beds, will seamlessly fall into Square Jean XXIII, located behind the cathedral. 1 Place Dauphine: a typical Parisian square, with symmetrical arrangement of trees, and a sand finish. Enclosed by houses.
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2 Rue de Lutece: this promenade leads to the Palais de Justice de Paris, arranged within a grid, it was employed to widened the pavement for pedestrian movement.
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3 Marché aux fleurs: a collection of multiple vendors selling plants and live birds (on Sundays). 4 Square Jean XXIII: features the ‘virgin fountain’, a series of native and non-native trees, a small playground and flowerbeds filled with pansies and tulips 5 The Rose Garden: my own intervention. 9 4
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6 Henri IV statue. 7 Charlemagne et ses Leudes sculpture. 8 John Paul II statue. 9 The Virgin Fountain.
Graduation Project 71
Landscaping Shown Through Paintings Using collages to illustrate the importance of landscaping. Left, features the range of gardens I have commented on throughout, showing their abstracted geometry and how they are inhabited creating a picturesque atmosphere. Right, conveys how Notre Dame Cathedral is portrayed absorbed in nature and its contribution to the revealed traditional Parisian life.
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Graduation Project 73
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Labyrinth 74
To incorporate the flow exterior to the building. This idea of leading someone to a focal point is reflected through the arrangement of the trees, influencing the movement around the site. A labyrinth drawing one past the market stalls, and through the pathway under the trees to arrive at the main entrance, framed by its own rose garden. The trees are arranged to appear irregular and I have created a paving which is also irregular so that this procession appears wild and chaotic, yet it is structures and ordered to heighten the symbolism.
Graduation Project 75
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During the ARC3013: Integrated Technology module I was able to explore further the benefits within an enhanced ecosystem. How the trees employed within the landscape labyrinth can reduce the noise of the busy surrounding roads and provide solar shade, especially significant within the warmer months of the year. As well as the addition of new native trees, I have chosen to use a rainwater harvesting system and occupied the roof of the south wing with a roof garden. The roof garden will provide a place for perennials, grass, and shrubs to grow, which will in turn naturally cool during warmer months through evapotranspiration.
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Integrated Landscape
Labyrinth in Section
These two section convey the relationship between the trees and the surrounding buildings. Showing how they provide both shelter from noise traffic and solar shade.
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Graduation Project 77
Public Private
Workspace including labs
Offices
Atrium
Library
Plant
Market Stalls
Green Roof
Auditoriums
Cafe
Programme
Exhibition Halls
The range of different functions encourages a fluid interaction between the people that work their every day and those who are simply just visiting fro the day, or even the house. There is endless activities.
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Horizontal and Vertical Travel
Above shows the public and private routes within the ground floor, with the shaded spaces being public. Three staircases allow seamless flow through out the floors, the functions will become privatised as you ascend the floors. However, it is fully open to the public.
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Atrium,
open to the skylights above, is filled with natural light. Installation pieces will inhabit the space.
The cafe,
orientated to capture the opposite building within its wide windows. Inspired by traditional cafĂŠs around Paris, it will have accents of bright colours and lots of outdoor seating.
Market stalls,
independent vendors selling a range of different items encourage people to stop.
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The South Entrance,
inspired by the Parisian Arcades, the entrance provides views into the central walkway open to the skylights above.
Graduation Project 81
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What’s On 82
Using posters to illustrate how the spaces could be used during Spring and Summer of 2021.
Inspire, Explore, Discover.
Using the idea that through the programme within the design the movement through each space and function feeds into one another, mirroring how one flows from memorabilia to education, from old to new. I have found the words inspire, explore, and discover represent this effectively.
Graduation Project 83
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‘Cavea’ by Renzo Piano
Cartier Foundation by Jean Nouvel
Located in the Flamingo district, North of Rome, this open air amphitheatre can seat up to 3000 people. Providing a city square to the district. Positioned in the heart of the Auditorium Parco Della Musica it visually provides urban dimensions to site and surrounding buildings.
Nouvel uses glass to influence the interior and exterior spaces, by using reflections to create an inside out experience. I have chosen to include his use glass to highlight how materials can convey the possibilities of an integrated work place. The contrast of opaque glass against transparent, mirrors how the spaces could become public or private. As well as controlling the exposure to the surrounding nature
Its flexibility to be both an auditorium and a public square highlights its commitment as a public space regarding the urban development on the area, which was original a void. A contrast to the densely packet historic city centre.
To expose visually the juxtaposition of spaces I will use transparent materials within my design to convey public and private spaces, whilst also contrasting them on themselves to expose private functions, hoping that it will encourage others to get involved and use the more private spaces.
A limited ranged of materials were used for this project, with Roman brick used on the vertical layers. I have chosen to include this diverse space because it provides both location for musically performances and a place to meet. This flexible nature of an open air auditorium is one I would like to integrate into my own design.
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‘Today this model of architecture is that a phantom of a shadow of an idea: a ruin’ Angkor Wat
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Located in Siem Reap region of Cambodia, this Buddhist temple is a hub of tourism, with many villagers inhabiting the surrounding site which also features many other temples and monuments intertwined with nature.
million per year
- Edward Hollis
Notre Dame
78 %
Following the fire of April 15th 2019, it has been uncertain to how or if the Cathedral will be restored. With three previous restoration projects already conducted in its past.
50
million dollars
1,626,000
The French Government have confirmed a five year plan has been put in place, with the first stage which will protect it from further damage already under way.
m2
This UNESCO World Heritage Site is protected by the Royal Decree on the Zoning of the Region of Siem Reap/Angkor. It’s individual integration of heritage, ecosystem, and inhabitants (the Khmer people) provides a sustainable development to the population living in and around the site.
13 million per year
>1
billion dollars
6144
13 million people visit Notre Dame on Île de la Cité every year. >99% of Parisians are literate. So far over 1 billion dollars has been donated to the restoration project. The Cathedral covers 6144m2.
2.6 million people visit Angkor Wat and the surrounding monuments each year. 78% of Cambodians are literate. 50 million dollars has been put into its restoration projects. The site covers 1,626,000m2.
99 %
m2
xix
Own photos.
Parthenon
7.2
Located within the Acropolis in Athens, Greece, this temple illustrates the brilliance of the Ancient Greeks.
million per year
m2
The restoration projects categorise the process within three pillars; mechanical, focusing on the damages caused by earthquakes and fires, chemical occurrences such as a erosion, and biological damages caused by natural sources including mold, animal waste and plant roots. 7.2 million people visit the Parthenon and the Acropolis every year. 98% of Greeks are literate. 35 million dollars has been spent on the restoration projects so far. The temple covers 2147.55m2.
* 86
35
million dollars
2147.55
Since 1975 it has endured continuous restoration projects, with the current aiming to finish in 2020.
xvii
98 %
xviii
The Future? To illustrate the relationship between the UNESCO World Heritage Sites, and education, I have responded to the famous ruins of Cambodia and Greece, highlighting the importance of education. Karl Friedrich Schinkel’s 1833 project to renovate the ruins of the Acropolis into a ‘Royal Palace’ creates a picturesque scene. This project did not take place because of Greece’s economic position. Would this ‘Royal Palace’ have been a better future for the Acropolis or is the site more iconic as it is now; a ruin? Does the Notre Dame Cathedral need to be restored to its original state, or would leaving it open to the elements (to focus on funding education) be a better representation of the cathedral as ‘a shadow of an idea: a ruin’.
xx
Graduation Project 87
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xxi
xxii
Terrazzo Tiles The facade is composed of a series of terrazzo tiles, custom made by re purposing Lutetian Limestone from both local demolition sites and the Catacombs. Within Integrated Construction I explored the process of making pro-types using locally sourced tiles and bricks (Hampshire, UK). These terrazzo tiles allow me to explore both new and old within one medium.
Informed by ARC3013: Integrated Construction 88
I believe there is importance within combining modern and traditional material aspects, because not only does it reflect Viollet-leDuc’s design principles, but it allows us to develop as designers by exploring methods which are more sustainable, whilst preserving the materialistic heritage.
Inspired by Anna Saint Pierre’s ‘Granito’ project with SCAU. A process can be considered as material preservation, by preserving the cultural characteristics of its materiality. Through “in situ recycling” Saint Pierre dismantles the grey granite panels of Le Parissy, using them to create the new terrazzo flooring of the new build.
Graduation Project 89
‘Traditional’ Windows Continuing the theme of New and Old into the design of the individual windows to create two juxtaposing window types; ‘traditional’ and ‘modern’. Employed to create dynamic contrasts.
Informed by ARC3013: Integrated Construction 90
The symmetry and balance of the windows depends on function within and flow around. On the South facade the spacing between each window slowly reduces as one reaches the focal point: the main entrance. Using the same principles as the Parthenon frieze, the narrow formulated ‘traditional’ windows are regularly placed to mimic the exterior flow of people.
91
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Viewpoints from the glass pathway and through the South entrance.
‘Modern’ Flush Windows Contrasting against the ‘traditional’ long windows, the large almost square shape of these ‘modern’ flush windows are employed at moments of pause and reflection. These flush windows will fit smoothly onto the façade’s grid.
Informed by ARC3013: Integrated Construction 92
Inspired by David Chipperfield’s Hepworth Wakefield Gallery where he uses these flush windows complimenting the entities monolithic form. The glass pathway used to connect the two entities also contains similar windows, allowing the pathway to appear floating as one is able to view directly through into the courtyard with the Cathedral in the background. Illustrated above.
xxiv Exterior and interior views of the windows at Hepworth Wakefield.
Graduation Project 93
*
xxv
xxvi
Crypte Archeologique de l’Île de la Cité Located below the public square in front of the Notre Dame, it portray the architectural evolution of Île de la Cité, thus highly significant to a proposed Centre of National Heritage and Preservation. Interactive slide shows, models and guided tours allow visitors to learn about the history of the island.
Incorporating the Crypts 94
To incorporate it into my design, I have created a new entrance point hidden within the labyrinth, a pathway between interrupted walls lead you down into the entrance. Once you inhabit and experience the crypt you can exit directly in front of the cathedral. Providing this journey with a symbolic start, middle, and end. Above the crypt and in front of the en plein air auditorium there is a glass section in the paving allowing you to view down into the crypts or look out into the courtyard.
xxvii
Graduation Project 95
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8
4
8
2 3
1
5 6 7
7
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Ground Floor Plan 1 2 3 4 5 6 7 8 9
0
96
Market Stalls Atrium Auditorium Offices Plant Exhibition Halls Bathroom Reception Cafe
10m
Graduation Project 97
2
4
1
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6 6
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5 3
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First Floor Plan 1 2 3 4 5 6 7
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98
Open Workspace Shared Kitchen Auditorium Offices Plant Education Centre Bathroom
10m
Graduation Project 99
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2
1
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Second Floor Plan 1 2 3 4 5 6 7
0
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Open Workspace Private Labs Library Private Offices Open Workshops Meeting Rooms Bathroom
10m
Graduation Project 101
1
7 5
2 4 6 3
2
Third Floor Plan 1 2 3 4 5 6 7
0
102
Open Workspace Roof Garden Library Roof Terrace Private Workshop Skylight Bathroom
10m
Graduation Project 103
1
2 1 2
Roof Plan 1 Skylights 2 Roof Garden
0
*
104
10m
Graduation Project 105
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dwgmodels.com
* AA Section
O
1Om A
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dwgmodels.com
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1Om
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CC Section
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* Elevation: Now
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Axonometric View *116
Capturing the design integrated within the context.
Entering the site from the West. As you approach the site the busy intermingled community is revealed.
Graduation Project 117
*
Entrance to Crypt *118
Ramp allows access for all, and trees provide sheltered from the sun and noise of the busy roads..
Footpath between the South facade and Seine. Notre Dame is revealed at intervals as the trees cover the view.
*
Graduation Project 119
Ground Floor Procession: Viewpoints.
As highlighted in the key provided, this series of viewpoint captures the edifice at individual moments throughout this sequence. From the view through showing the translucency of the glass path way, to the main entrance framed by single trees and the Rose Garden and finally the view from the en plein air auditorium with Notre Dame as the backdrop.
120
Graduation Project 121
Inspire 122
Explore
Discover Graduation Project 123
The Pinnacle Landing 124
The Roof Garden Graduation Project 125
Illustrated Cultural Bibliography Throughout the year I have attempted to extend my knowledge within the field of architecture and art through further readings, visiting both galleries and architecture. Mainly regarding my interests of themes such as heritage and preservation, but also experimenting with small projects that explore the possibilities of re-purposing materials. Re-purposing Football Scarves, inspired by @ruacarlota and @lois1xblue I used re-owned football scarves to creates ladies tops. Over the summer I plan on exploring further possibilities of re-purposing different materials (once ‘second hand’ shops are re-opened) within fashion, experimenting how I can bridge the relationship between fashion and furniture but incorporating fabrics such as cushion covers and tapestries into clothes and accessories. Whilst raising awareness to the negatives surrounding fast fashion and challenging waste culture During fundraising for our 2020 Degree Show, Lanna de BuitlĂŠar and I designed t-shirts. Featuring captivating graphics inspired by the degree show logo.
Repurposing Football Scarves 126
127
Quotes that have influential to my studies:
From newest to oldest.
“Original ideas are not important: actually original ideas don’t exist. Ideas are recieved and re-expressed.” Gio Ponti “The most resistant material in construction is art.” Gio Ponti ‘Landscape is a depiction of a dream, a dream that travellers would keep looking for. From that dream, we have designed a vision of nature, of what is beautiful.’ ‘What is the relationship between heritage and identity?’
‘What is left is a void of knowledge, and the image of a building burning.’ “All space is public. The only private space... is in the human mind.” Rowland de Winton Aldridge on Kettle’s Yard The ‘built environment is central to our imagination of culture purpose and human meaning.’
‘To return heritage to its experimental sources, to the work of gathering objects that question our illusions and thus sharpen our understanding of our inherited past, contemporary present and collective future.’ ‘For him restoration was not simply a means of fastidiously preserving an unyielding and unchanging icon it was a means of appreciating how the traces of the old can interact with the new.’ Regarding Renzo Piano’s interventions at Valletta.
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(Parks) ‘places of reconciliation between man and nature.’
‘Place for reflection.’ ‘The city’s imaginary countryside.’ ‘The essence of landscape architecture is that, through arrangement and design, an illusion of something else can be created: a metaphor.’ ‘The park compliments the city.’ ‘Parks are works of Art, rather than Nature.’
‘parete interrotta’ (interrupted wall) used ‘whenever he attempted to either invoke the idea of, or open a view to, a landscape or garden.’
‘Any Architect who aspires to greatness must learn to exploit and propagate metaphor.’
paesaggio: Italian definition of landscape referring to the framing of the view.
“Geometry is the language of men.” Le Corbusier
“A walk in the garden would literally take one through extensions of [his] building, just as for those arriving by boat the casino served as a propylaeum to the estate.” Karl Friedrihch Schinkel
‘Shakespeare uses architectural metaphors for characters’ objects of their love.’
‘Without the aid of the imagination, no part of nature is beautiful.’
The pathway of trees; the cathedral procession.
‘Ionic columns metaphors of the female; delicate and elegant.’
‘We cannot bring back the past, but we can learn from it.’ “Scenographic: Pienza is a theatre, the plaza is its stage and the cathedral is the garden outside.” Murray Kempton. ‘A theatre for dramatic and glorious events… the last, largest and most beautiful of royal squares’ Jacques Chirac, on Place de la Concorde. ‘Emphasising the straight line as an expression of human reason and will, with a statue of the ruler at the centre as a symbol of his authority and to terminate the axial vistas. These royal squares were a creation of 17th century France’
‘Heritage signifies the politicization of culture and the mobilisation of cultural forms of ideological ends.’ ‘The effort of conservation is in the first place directed towards the authenticity and individual originality of the monument.’
‘We must sell our past to other nations as their future.’
‘A monument is not an isolated element: it is part of its setting not only from an aesthetic point of view but also as regards its cultural or functional significance.’
‘Three theories... of the First... only the memory remains; of the Second, the ruin; the Third, which inherits their greatness... maybe led through ponder eminence to less pitied destruction. ‘Heritage does not offer autopsy, but rather it opens a space for imagination.’
‘Just as great trees die, civilisations themselves die often withered from within by lack of culture.’ ‘All civilisation insists upon and strives to perfect culture, in order that is may survive. By increasing happiness.’ ‘In order to become organic we will learn to understand that form and function are as one.’ ‘Organic architecture is an alone entity; the sole of an civilisation.’
Illustrated Cultural Bibliography 129
Inspiration from current street-ware trends (images from Instagram).
130
Exploring graphic abbreviations.
Initial ideas and concepts, using black, white and a vivid pink as our colour palette.
Final Design Front and back graphics.
Illustrated Cultural Bibliography 131
Bibliography
List of Figures
Books
i. Samsa, F. (2020). Untitled. [Mixed media on paper]. Milan <https://www.instagram.com/p/CA3NjlnlY6a/> ii. Samsa, F. (2020). Sad Summer. [Collage]. Milan <https://www.instagram.com/p/CALUMyrlo9d/> iii. Fleury, S. (1996). The Conversion of the Proconsul. [Silver gelatin prints with annotated acetate overlay]. Online <https://placesjournal.org/article/experimental-preservation/> iv. Cole, T. (1840). Architect’s Dream. [Oil on canvas]. Online <https://commons.wikimedia.org/wiki/File:Thomas_Cole_-_Architect’s_Dream_-_Google_Art_Project.jpg> v. Errazuriz. S. A call to stop new proposals for Notre Dame. [Print]. Online <https://meetsebastian.com/notre-dame> vi. Denancé, M. (2015). Vallette City Gates. [Photograph]. Online <https://www.archdaily.com/632066/valletta-city-gate-renzo-piano> vii. Ibid viii. Ibid ix. Lepautre, P. Plan of Choir, work of Robert de Cotte. [Image]. Online <https://gallica.bnf.fr/blog/18042019/notre-dame-de-paris-fluctuat-nec-mergitur?mode=desktop> x. Unknown. (2019). Appunti di un giornalista. [Image]. Online <https://www.timeout.com/rome/things-to-do/auditorium-parco-della-musica> xi. Unknown. Cavea at night. [Image]. Online <http://195.78.211.104/en/auditorium/cavea.html> xii. Unknown. (2013). Dettaglio della Cavea. [Image]. Online <http://www.archidiap.com/opera/auditorium-parco-della-musica/> xiii. Unknown. (2013). Planimetria livello coperture. [JPG]. Online <https://supersamik.files.wordpress.com/2013/11/9268b-07.jpg> xiv. Nouvel, J. Cariter Foundation. [Image]. Online <http://www.jeannouvel.com/en/projects/fondation-cartier-2/> xv. ibid xvi. ibid xvii. Unknown. (2016). The Parthenon Restoration Project. [Image]. Online <https://www.archaeology.wiki/blog/agenta/parthenon-restoration-project/> xviii. YSMA. (2018). Parthenon Restoration an Ongoing Project. [Image]. Online <https://archaeologynewsnetwork.blogspot.com/2018/11/parthenon-restoration-ongoing-project.html> xix. Zachmann, P. (2019). The Roof’s Frame. [Image]. Online <https://time.com/longform/inside-notre-dame-exclusive-photos/> xx. Schinkel, K. (1834) Views on the Akropolis toward East and North. [Image]. Online <https://www.art-prints-on-demand.com/a/karl-friedrich-schinkel/views-on-the-akropolis-to.html> xxi. SCAU. Co-working et Granito. [Image]. Online <http://www.scau.com/fr/explorecase/co-working-et-granito> xxii. ibid xxiii. ibid xxiv. Unknown. (2011). Art creates more Art. [Image]. Online <http://www.tymchak.com/blog/?p=550> xxv. Unknown. (2015). The Hepworth Wakefield. [Image]. Online <http://apropos-site.com/blog/culture/the-hepworth-wakefield> xxvi. Dalbera, J-P. (2012). La crypte archéologique du Parvis de Notre-Dame. [Image]. Online <https://www.flickr.com/photos/dalbera/8274683584/in/photostream/> xxvii. Ladet, P. (2017). La Crypte Archéologique. [Image]. Online <https://www.timeout.com/paris/en/things-to-do/attractions/la-crypte-archeologique> xxviii. Unknown. Model of Île de la Cité. [Image]. Online <https://www.crypte.paris.fr/>
2019. Trees. Paris: EBS, pp.32, 84, 174-191, 201, 252, 316, 358. Bailley, G., 1975. The Architectural Heritage: Local Authorities And The Policy Of Integrated Conservation. Baljon, L., 1992. Designing Parks. Amsterdam: Architectura en Natura. Beltramini, G. and Scarpa, C., 2010. Carlo Scarpa: Architecture And Design. New York, NY: Rizzoli, p.144. Dodds, G., n.d. A Transparent Mirror Landscape And Garden In The Work Of Carlo Scarpa. [ebook] Available at: <https://www.academia.edu/32878398/The_Landscape_Dimension_in_the_Architectural_Production_of_Carlo_Scarpa> [Accessed 13 June 2020]. Hollis, E., 2010. The Secret Lives Of Buildings. New York: Picador. Hugo, V., 2020. The Hunchback Of Notre Dame. [S.l.]: Canterbury Classics. Jokilehto, J., n.d. A History Of Architectural Conservation. Peckham, R., 2003. Rethinking Heritage Cultures And Politics In Europe. 1st ed. BLOOMSBURY ACADEMIC. Ruskin, J., 2007. The Stones Of Venice. New York: Cosimo Classics. Unwin, S., 2019. Metaphor: An Exploration Of The Metaphorical Dimensions And Potential Of Architecture. Webb, M., 1990. The City Square. London: Thomas and Hudson Ltd. Wright, F., 1970. The Living City. New York: New American Library.
Magazine Mollard, M., 2015, 2019-2020. The Architectural Review.
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Appendix: Case Study 135