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ACADEMIC PORTFOLIO HARRY GOACHER

STAGE 3 Newcastle University

School of Architecture Planning and Landscape

BUILDING UPON BUILDING 2019 - 20

ILLUSTRATIVE REFLECTIVE REPORT Throughout the year of the graduate design project, I have been able to both extensively learn and develop concepts around the subject of preservation and restoration though the Building upon Building studio. An initial intrigue for historical architecture prompted the decision for this specific studio brief, giving the opportunity to research historical progresses for both significant structures and their surrounding urban contexts. In turn, understanding the importance of a historical site and therefore providing me with a number of new perspectives for the way buildings and spaces can be preserved, as well as a number of opinions and personal perspectives on how structures both could and should be restored in order to preserve it. The grand tour [field trip] to Paris for the Notre Dame cathedral and then to a number of Italian cities [Rome, Milan, Verona, and Venice] gave a brief but informative outlook on a handful of locations that architect Viollet-le-Duc travelled to prior to winning the design competition to restore the Notre Dame in 1844. The field trip was one of the most influential aspects for the studio in which we could both research and experience the historical architecture from an architectural point of view which included; a long list of historical buildings, some of which had been restored, some new, and some having critical relations to architects that the studio was studying. Having the opportunity to see the ruins in Rome and how modern-day society has adapted around the substantial amounts of ancient artefacts within the city continues to amaze me as to how by simply leaving the ruins, they can be preserved in their true state even if a number of walls and buildings are not whole. To me, this highlighted the importance of the surrounding urban context and how building or developing the landscape either on or in close proximity to a significant structure can dramatically impact the site.

Reflecting on the key stages throughout the year [Primer, Staging, Realisation, and Synthesis], I have concluded that architectural design is not a linear process as one might think. In the sense that in the latter stages of my project I returned to the earlier phases of the design process so that I could completely, and confidently establish what it was that I wanted to achieve in my building’s proposal. Since receiving the studio brief, I wanted to focus on the aspects of reflection through the use of materials and how this would be considered a form of preservation of the Notre Dame. Along with the reflection aspect, another key element of the design was regarding the urban context. Throughout the Primer stage we, as a studio, looked at a number of historical maps of the site and how they had dramatically changed over centuries. The way I wanted to preserve elements of buildings that once stood in the square was by proposing outlines of the buildings with the use of different coloured stone to indicate where they once were.

These were always key elements to my design proposal, but the large scale of the building footprint was an area that I continued to struggle with throughout the project. The requirements for the building that we were designing [National Heritage and Preservation Centre of France] included a substantial list in terms of needing to facilitate a number of different programmes. I found that to be able to have an effective reflection of the Notre Dame from a distance, the angled East façade would need to have a substantial span, thus naturally settling for a large building footprint. Effectively, with such an overwhelming floor span of what was initially ten floors, I was not utilising the space, simply because I did not know how.

Originally, I was reluctant to reduce the scale of the East façade as the whole design concept was about the reflection, but after revisiting the initial design later on in my project, as well as receiving the advice of tutors and review feedback, I began to redevelop the floor plans more specifically for a much better use of the space such as merging various programme’s spaces rather than having a different floor for each programme. I personally believe that by studying in this studio it has not only dramatically increased my knowledge and understanding for the importance of the surround context to a site, but also the development of my design methodology for perspectives on the number of ways that preservation and restoration can be considered. I would like to think that the experience of this project and studio brief will continue to influence and further develop future design projects on my path to becoming an architect.

CONTENTS REFLECTIVE REPORT

06 - 07

CHARRETTE

10 - 13

PRIMER

14 - 25

PRIMER EXHIBITION

26 - 33

STAGING

34 - 59

THE GRAND TOUR - FIELD TRIP 06

CASE STUDY [INDIVIDUAL] APPENDIX A

38 - 45 46 - 49

THINKING THROUGH MAKING WEEK

60 - 63

REALISATION

64 - 81

SYNTHESIS

82 - 99

CULTURAL BIBLIOGRAPHY BIBLIOGRAPHY & REFERENCE LIST

100 - 101 102

New work

Developed work

Marked work represents that of the whole page.

CHARRETTE “MADE (NOT) FOR INSTAGRAM”

The theme of my Charette studio this year was “Made (Not) For Instagram”, which focused on the way the online retailers present and advertise thier clothing. Looking at big luxary brands such as Off-White and one-off vintage items, we made a collection of outfits from a vintage clothing seller and curated a ‘shop window’ style experience for our exhibition. The one-week project made us look at how we can design a heightened experience for the consumer at the very first frontier of consumer interaction: the shop window. Combining traditional features of window dressing and modern consumer behaviour studies, we intended to study how smartphone consumerism flips between the tangible experinece of physical space and the intangible experience of virtual space.

- CHARETTE -

PRIMER VIOLLETE-LE-DUC

As a studio group during Primer, we researched in depth Viollet-le-Ducâ&#x20AC;&#x2122;s written, built and designed works on architecture and preservation. We split the studio into two groups which consisted of a Mapping and Modeling group. The Mapping group focued on the historical mapping and development of both theNotre Dame de Paris and the surrounding cite of Ile de la Cite. As well as the Modelling group curating the large site model with surrounding massings, and smaller scale wire models to interpret the structure of the Notre Dame de Paris. I was apart of the Modelling group, focuing on the Notre Dame models where I helped with the decisions of the aesthetics on the lasercut model as well as producing the wire model of a section of the structure internally. This studio was largely based on group work and collective participation with only an initial massing proposal for our individual work. The massing proposals were to give a brief indication as to where we want to situate our buildings along with the size and scale.

- STUDIO 6 - BUILDING UPON BUILDING -

- MAPPING -

1163 - 1190 Early Construction

1190 - 1250 Mid-Construction

1250 - 1345 Construction Completed

1600 - 1750 Catholic Reformation

Inducted as bishop of Paris in 1160, Maurice de Sully replaces the old basilica. Awear 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 to greatness of the place, and therefore of God.

From 1200 to 1250, the second phase of the work took place, marked by changes in the style of the building. The first portal was built around 1200 and is dedicated to Saint Anne, the mother of Mary. The second portal is that of the Virgin which is facing North. The last portal added to the centre of the façade in the 1220s is that of the Last Judgment.

The use of the warhead corss-vault allows builders to build higher, while freeing the walls of the Notre Dame from thier role. They can be drilled to create wide openings. The Gothic style inaugurates the rose window, a large circular opening subdivided by carved stone frames, usually dressed in spectacular stained glass.

In 1230 a nave and butresses were added to the original building where they supported the walls that were raised.

The North rose of Notre Dame has a diameter of nearly 13m and expands to 24 rays in three concentric circles. Dating from 1245, it is dedicated to the Old Testament.

Following the French wars of religion between 1562 and 1598, the protestant ideas of England had started to seep across the channel and into 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’, which included a strong reconnection to Baroque art with a religious theme.

The first stone was laid in 1163 by Pope Alexander III, but it was not until 1345 that the cathedral aquired the form that still stands today. After nearly 20 years of work, the first part of the cathedral was completed.

Finally, a span is also added to the transept, to preserve the cross-shape of the building. The South Tower was completed in 1240 and the North Tower in 1244.

At the end of the 13th century, the cathedral was almost complete. The body of the nave was built and the façade and the towers were elevated.

During this time, the Catholic church asserted its authority over Notre Dame by affirming these themes in the interior decoration and spatial arrangement. Under order by the ‘Batiments du Roi’, the reformations focused on the altar and the chior seat in which they complied with classical religious Roman characteristics.

- PRESENTED WORK PRODUCED BY MAPPING GROUP -

- PRIMER -

- STUDIO 6 - BUILDING UPON BUILDING -

- MAPPING -

1789 - 1799 French Revolution

1804 - 1814 Napleon I

1830 - 1852 The Bourbon Restoration & Viollet le Duc

1852 - 1870 Napoleon III

1793 ans 1794 were the defining years of the French Revolution, which stemmed from the dissatisfaction with the power-hungry Catholic church.

Napoleon Bonaparte chose the cathedral of Notre Dame 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.

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.

Napoleon III ousted King Louis-Philippe I and founded the Second French Empire, which was given high credit for the rebuilding of Paris.

The anti-religious Festival of Reason, in 1793, manifested beliefs by converting all churches unto ‘Temple of Reason’. The Notre Dame was a combined symbol of Catholicism and monarchy, thus becoming the main temple for the festival. There were 28 biblical kings’ statues on the Western façade, mistaken to be French kings, that were destroyed and replaced by philosophers’ busts. The Goddess of Reason was worshipped atop of an artificial mountain, replacing Virgin Mary’s statues on altars.

For the occasion, architects Charles Percier and François-Léonard Fontaine were tasked with refurbishments. Houses were demolished to slear surroundings of the cathedral, streets surrounding that the cortege would pass would be paved. They designed a non-gothic style portico which was placed on the forecourt.

Viollet le Duc and Jean-Baptiste Lassus won the competition for the restoration of the cathedral. They drew influence from existing Gothic architecture around France to carefully study, rebuild and replace the damaged parts of the building. The 28 biblical kings were restored and a new sacristy was designed in place of the old one in a Neo-gothic style. 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.

Haussmann created a well-ordered city, based on a geometric grid with streets running north and south, east and west. He ploughed over the ancient, winding streets of the city, and in their place created broad straight boulevards. He designed and created new parks, squares, new sewers, fountains and aqueducts. The Ile de la Cite became an enormous construction site, with new government buildings, boulevards, bridges replacing hundreds of medievil homesteads residing there since the 15th century.

- PRESENTED WORK PRODUCED BY MAPPING GROUP -

- PRIMER -

- STUDIO 6 - BUILDING UPON BUILDING -

- MAPPING -

- SITE MODEL -

1914 - 1942 WWI & WWII

2019 Notre Dame Burns

During WWI the cathedral sustained minimal damage having the West facade sealed by sandbags to protect it.

On April 15 2019 at 18:20, a smoke alarm sounded during mass but there were no signs of fire. At 18:43, a second alarm sounded and a fire was declared on the roof of the cathedral. The roof was covered in scaffolding for current restoration on the cathedra;. The fire spread from the scaffolding, out to the whole roof, as well as the spire. It caused the collapse of the Viollet le Duc sprie as well as major irreversible damage to the wooden roof.

In WWII Paris became occupied by Germans. Many of the stained-glass windows were removed in order to protect them from bombing. Hitler had ordered that Paris to be left a “heap of burning ruins”, but German General Dietrich von Choltitz disobayed these orders to destroy the city and instead he surrendered it to Free French forces. Subsequently, he was named the ‘Saviour of Paris’. Although the cathedral was hit by bullets during the war, fortunately only causing scratches to the surface, it emerged largely unscathed.

Two-thirds of the roof has been destroyed with the spire among other debris fallen into the nave. The damage caused by the fire has sparked major controversy about the restoration of the Cathedral.

- PRESENTED WORK PRODUCED BY MAPPING GROUP 20

- PRIMER -

- STUDIO 6 - BUILDING UPON BUILDING -

- INDIVIDUAL MODEL CONSTRUCTION -

- PRIMER INSTALLATION -

Photography: Yew Zhi Xuan

- PRIMER -

- STUDIO 6 - BUILDING UPON BUILDING -

- PRIMER INSTALLATION -

- PRIMER EXHIBITION - STRUCTURAL MODEL -

Photography: Yew Zhi Xuan

The wire models were constructed to visualise the structure of the Notre Dame in its current state [produced at a 1:500 scale]. After serveal initial attempts at this model we decided to not show the cross arches due to how many there were and how difficult it was to represent sufficiently at this scale. As a result of this, we then went on to create a larger wire model of a section of the structure at a scale of 1:200.

Photography: Yew Zhi Xuan

- PRIMER -

- STUDIO 6 - BUILDING UPON BUILDING - PRIMER EXHIBITION -

PRIMER EXHIBITION VIOLLETE-LE-DUC

The Primer Exhibition consisted of the whole studio coming together to both present the collated work and curating our studio space. Our chosen exhibition space was on the staircase, this was because we wanted to enhance the experience for the audience. As parts of our exhibition was positioned on the stairs, viewers tended to pass through the work at a slower pace in order to understand and appreciate it to a higher degree. Along with the collage pieces trailing up the stairs, we also had our video presentation on show which was accompanied by the 1:500 scale site model, multiple wire structures of the Notre Dame and historical mappings ranging from the twelfth century to the 2019 fire. Our individual massing proposals for the current stage in our projects were presented also, which included initial simple sketches and a brief overview of our individual concepts and ideas.

- PRIMER -

- STUDIO 6 - BUILDING UPON BUILDING -

- PRIMER EXHIBITION SHOW -

Photography: Yew Zhi Xuan

- PRIMER -

Photography: Yew Zhi Xuan

- PRIMER -

- STUDIO 6 - BUILDING UPON BUILDING -

- PRIMER EXHIBITION SHOW -

- PRIMER -

- STUDIO 6 - BUILDING UPON BUILDING -

- PRIMER EXHIBITION SHOW -

- INDIVIDUAL MASSINGS - PRIMER EXHIBITION SHOW -

These are the initial developments for the footprint of my proposed massing. The positioning of the massing sits to the back corner of the Square for the purpose of both sitting in line with the current urban context; the roads and paths, as well as presenting the angle to reflect the facade of the Notre Dame across the River Seine.

A skeletal wire model of a cross section from the Notre Dame and further wire scale models of the cathedralâ&#x20AC;&#x2122;s structure were part of my contribution to the group work throughout the Primer stage. This final model was scaled at 1:200, but with multiple attempts for it to be at 1:500, the intricacy needed to produce a realistic, readable model at this scale [to match the site model scale], proved to be immensely difficult. Thus producing a smaller section of the structure at a slightly larger scale.

Advancing on the massing design 4, this initial massing proposal presents the concept of one specific viewing point from across the River Seine and how the reflection of the Notre Dame is seen through the materials of the inital massing proposal and placement.

- PRIMER -

STAGING “HISTORICAL ANALYSIS AND CONCEPTUAL APPROACH”

The Staging section of the project allowed me to integrate the previous historical research of the site from Primer which initiated the first conceptual ideas of my design. By analysing the cathedral through various historical events, starting with its early construction in the mid-twelfth century, through to Viollet le Duc’s renovation in the early nineteenth century, to the current day, I was not only able to understand the cathedrals development, but also the importance of the surrounding urban context and how this evolved to emphasis the superiority of the cathedral on the site. From the conducted research on le Duc and Haussmann’s developments of both the cathedral and the surrounding site, this in turn both highlighted and inspired aspects of my design concept which started the initial development for the later stages of my project.

- STUDIO 6 - BUILDING UPON BUILDING -

My personal interpretation of experimental preservation takes note from various readings from a number of perspectives on heritage and preservation around architecture. From this I have been able to acknowledge that architectural heritage and preservation is a dynamic process rather than simply restoring to either former states or slight modifications but still with the original aesthetic firmly intact. “The term Restoration and the thing itself are both modern. To restore a building is not to preserve it, to repair, or rebuild it; it is to reinstate it in a condition of completeness which could never have existed at any given time. It is only since the first quarter of the present century that the idea of restoring buildings of another age has been entertained; and we are not aware that a clear definition of architectural restoration has as yet been given.”

Viollet-le-Duc, E. (1854 - 1868). Dictionnaire raisonné de l’architecture française du XIe au XVIe siècle. Paris: Ve A. Morel & Cie. (1875). English edition On Restoration. London.

Preservation can be a form of reinterpretation to find new layers and theories in the way that buildings can be conserved and preserved. This is the concept that I can relate to the understanding of how le Duc managed to both restore and modify aspects of the Notre Dame. This theory allows for the unconventional approach to design and preservation, leading away from the traditional theories that preservation is simply to restore to its original state. Thus, having the ‘freedom’ to propose more radical design visions and interpretations of architectural heritage conservation and preservation.

- STAGING -

THE GRAND TOUR PARIS | ROME | MILAN | VENICE

PARIS:

ROME:

- Notre Dame - Foundation Cartier - Saint-Chapelle - Louvre - Pompidou - Les Halles - Grande Arche - Arc de Triomphe

- Pantheon - Saint-Ignatius - Santa Maris della Pace - Piazza Navona - Hertziana Library - San Carlo alle Quattro fontane - Colosseum - Ara Pacis - MAXXI - Saint Peter’s Basilica

MILAN:

VENICE:

- Piazza Duomo - Santa Maria Presso San Satrio - Torre Velasca - Caccia Dominioni - Politecnico di Milano - Foundazione Prada - Hangar Bicocca

- Piazza San Marco - Olivetti - Fondaco dei Tedeschi - Querini Stampalia - Ca d’Oro - Universita luav di Venezia - Punta della Dogana - Guggenheim - Pinault Foundation - Palazzo Fortuny

- STUDIO 6 - BUILDING UPON BUILDING -

- FIELDTRIP - THE GRAND TOUR -

- STAGING -

- STUDIO 6 - BUILDING UPON BUILDING -

- FIELDTRIP - THE GRAND TOUR -

- NOTRE DAME CATHEDRAL, PARIS -

- HERTZIAN LIBRARY, ROME -

With Notre Dame being a main point of focus within this project, from the multiple additions to its structure and status within the architectural world for preservation, the cathedral and its urban context prove to be prime examples of both how buildings and spaces change in order to be preserved.

Looking up through the Hertzian Libraryâ&#x20AC;&#x2122;s lobby, it presents connections between interior and exterior with the need of keeping access to the courtyard. What was an ancient garden, now turned contemporary courtyard allows a tremendous amount of light into all levels of the building. Each level presents a balcony over the central atrium, in turn creating new relationships between spaces and the buildings history for anyone that visits the library.

- STAGING -

- STUDIO 6 - BUILDING UPON BUILDING -

- FIELDTRIP - THE GRAND TOUR -

- POLITECNICO DI MILANO, MILAN -

- ST MARK’S SQUARE, VENICE -

The Politecnico di Milano is a university building for architectural studies in Milan. It comprises a mixture of small intimate spaces, larger desk areas and studio spaces, as well as covered external areas in which you can get some fresh air but still remain ‘inside’ the building. The vast use of industrial materials makes for it to be an interesting building to experience given its occupation, with the primary steel structure on show, glass curtain walls and heavy concrete fixtures, they seemingly complement each other making it a very successful building – in my opinion.

St Mark’s Basilica, known for its Italo-Byzantine architecture, boasts an impressive Italian Gothic origin. Much like many religious buildings around central Europe, a large square sits before the structure, creating an extensive opening which in turn emphasises its importance. This, now like many other historical monuments, they have become almost ‘tourist hubs’ and to an extent making the square more important than ever as this is where everyone comes to stand, admire and capture the Basilica.

- STAGING -

- STUDIO 6 - BUILDING UPON BUILDING -

- CASE STUDY - PUNTA DELLA DOGANA -

In a sub-group within our studio we focused our case study report on that of the Punta Della Dogana in Venice. In 2008 – 09 Tadao Ando was commissioned to convert one of Venice’s old custom houses into a modern art museum. The building had been abandoned for decades, with various failed attempts at rejuvenation.

The programme of the building consists of various spaces, with a large proportion of the space being for art installations and exhibitions. From both the fieldtrip and research, a collation of examples shows how certain spaces have been used in different exhibitions.

Punta della Dogana has only one entrance from the square in front of the Basilica di Santa Maria della Salute. The building promotes a large area of exhibition space along with entrance hall, ticket office, lockers and toilets, a café and a bookshop.

On the ground floor the larger windows running from the floor to the ceiling allow for extra light in the exhibition space. Some spaces also open up to a double-height space, emphasising the scale of the building and also allows for larger pieces of work to be installed.

- STAGING -

- STUDIO 6 - BUILDING UPON BUILDING -

- CASE STUDY - PUNTA DELLA DOGANA -

Internal windows and viewpoints promote the connection between glass and the concrete walls. The staircase both links separate floors and different materials such as the bare-brick faรงade to the internal concrete wals and floors.

Within a central space boasts a double-height exhibition room where from the first-floor people can look down and into the space through large openings. These openings can have their lintels removed in order to insert and remove larger pieces of art.

The displayed photographs suggest the different ways in which the building can be experienced. A variety of materials coherently connect at these intervals and there seemed to be a minimal attempt by Ando to disguise these factors.

- STAGING -

- STUDIO 6 - BUILDING UPON BUILDING -

Initial sketches of a viewing point location from across the river Seine noting that of key areas within the surrounding context (Paris’s oldest tree - highlighted).

Quick sketches of programme ideas and first thoughts on the structural side of the design. Interest in the potential use of a bamboo structure.

Experimenting with the pinpoint location of the best view point from across the river, as well as thinking about the angles for the reflections.

Building 2 initial proposal on the East side of Notre Dame. Experimenting with a different way of ‘framing’ the cathedral by creating a tunnel through the building as there was a main entrance to the park.

- STAGING -

- STUDIO 6 - BUILDING UPON BUILDING -

Brief ideas for the potential programme of Building 2, also starting to think about the structural elements.

Going into more detail about the construction ideas and trying to avoid the use of steel. Bamboo seemed the most interesting as an alternative.

Initial sketches of how the Viewing Tower could develop. Looking at both programme and structure in its initial stages.

Developing more on the idea of a bamboo structure. This material gave a strong connection visually to that of the Notre Dames â&#x20AC;&#x2DC;forestâ&#x20AC;&#x2122; roof structure.

- STAGING -

- STUDIO 6 - BUILDING UPON BUILDING -

Variations of the main building in massing form and starting to focus more on the angles of the front faรงade to get the best reflection.

Variations of the Viewing Tower also in massing form at its current stage in the process. I tried forms that would mark similarities to the main building.

Connecting the final massing form at this stage to the surrounding context of the site. This is by matching the building heights at certain points.

Visually connecting the Viewing Tower to its surrounding context in a 3D model. Again, matching heights of the surrounding buildings to my proposal.

- STAGING -

- STUDIO 6 - BUILDING UPON BUILDING -

Final massing site plan initialling the locations of both the main building unit and the Viewing Tower. Deciding to facilitate a large proportion of the programmes in the main building, and only the lecture halls in the tower as its main function would be as a viewing point for the reflection of the cathedral. Deciding to no longer pursue the building to the rear of the cathedral due to a multiple of reasons, the main factor including the visual restrictions from the park (view point) due to the length of the cathedral as well as the initial proposed vast gentrification of the park to the rear of the Notre Dame.

- STAGING -

Showing the initial massing models and the first thoughts of materiality for the best use for reflection, in which a darker tinted glass seemed best. I have included a scale massing model on an early stage model but due to timing for the laser cutter I was unable to finish the site model at this time.

- STAGING -

- STUDIO 6 - BUILDING UPON BUILDING -

Figure 1. Bilbao Metro | Foster + Partners

Figure 2. Centre de Cultura Contempoània de Barcelona | Albert Viaplana

- STUDIO 6 - BUILDING UPON BUILDING -

With reference to the studio readings, although some of them I found difficult to follow, they provided a number of perspectives for how restoration and preservation have been considered throughout history. Cultural stances also proved to be a dominant factor when studying the practise of preservation and restoration for historical buildings around Europe, and the modern-day proposal for restoring and preserving a historical building will always emit controversy to a degree. The reading that I found most interesting was the Experimental Preservation by J. Otero-Pailos, E. Langdalen, and T. Arrhenius as it states clearly that the perspective of the word ‘experimental’ is the key factor that makes designers, architects, artists, engineers, etc almost reluctant to preserve a building, structure or artefact. And when a name is accountable for a high-risk process on a piece of history, the smallest details are examined by everyone. On the other hand, the book also highlights the advantages of the experimental side of preservation, indicating the need for this process in order to develop our understanding of new ways to preserve. From this particular reading, along with various others, I was able to further progress my own understanding of the terms ‘experimental’ and ‘preservation’ combined, and to utilise a variety of different perspectives in which I developed my own design project.

Figure 3. Bilbao Metro | Foster + Partners

Figure 4. Carré d’Art | Foster + Partners

The key architectural precedents that I have both been taking influence from and continuously referencing throughout my design development stages are; Foster + Partners’ Bilbao Metro station, Foster + Partners’ Carré d’Art in Nimes, and Albert Viaplana’s Centre de Cultura Contemporania de Barcelona. All three of these buildings emit elements of my design concept, from the material use and reflection in the CCCB, to the deep basement levels in the Carré d’Art in Nimes, and the Metro station connection in Bilbao. Aspects of all of these architectural precedents helped to better visualise and to a certain degree be more creative with my initial design concept.

- STAGING -

THINKING THROUGH MAKING WEEK Thinking through making week is a specifically allocated week in order to experiment with any number of materials that you feel would benefit your design process. As it is driven more towards the materiality of the design, it accelerates the process of finalising certain materials within each proposal. Although the initial timing of this week seemed difficult, the outcomes only strengthened the design alternations and further developments for the finalising process.

- STUDIO 6 - BUILDING UPON BUILDING -

Throughout the thinking through making week I wanted to experiment with the use of specific materials and how they would reflect an image. The main material that I was focusing on was glass, simply because this was the material that I knew would have good qualities for reflections. I started with a clear pane of glass which gave a relatively accurate reflection. Then I went on to experiment with different films that would give the effect of a tinted glass pane. The first film I used on the glass was clear but it still gave a noticeable difference to that of the glass with no film. The covered glass gave the slight effect of a blur as well as a difference in the softness of light levels in the reflection [film covered pane to the right, clear pane shown above].

- THINKING THROUGH MAKING -

- STUDIO 6 - BUILDING UPON BUILDING -

The next film that I covered the glass pane in was a very high tinted black. Even in the process of applying the film I could already see that the reflections would be stronger to that of the clear glass. However, when the glass was moved in order to photograph the process, the darkness of the tint lowered due to the transparency of the pane. To further experiment with the darkness levels and the reflections, I could have applied additional layers of the film to see hoe this would affect both the level of reflection and the transparency of the glass. Having the glass too dark would affect the lighting levels inside the building. An additional film that I would have liked to experiment with would have been a specifically mirrored film however I am not entirely sure that this would have been a strong choice for the final material options of the building for both aesthetic and practical reasons.

- THINKING THROUGH MAKING -

REALISATION “Contextual Landscape Approach”

Throughout the realisation phase of the project, a dominate factor at this stage was the connection between the site and the building. Finalising a proposed new metro station as an access route into the building slightly altered the original floor plans for the basement and the ground level. However, I was aware of the potential changes that this could have caused to the immediate surrounding context, predominantly the square and the access routes around the building at ground level such as footpaths and roads. Still including the outlines of buildings that once stood in the square, slight landscape alterations were changed and developed, such as making the whole square pedestrian access only and closing the road to the underground parking on the north façade due to the building footprint bordering the original road boundary line.

- STUDIO 6 - BUILDING UPON BUILDING -

Overlaying of key historical maps for the basis of plotting the prior existing buildings on the square.

Experimenting with the angle of reflections from the view point location.

Mapping of the current metro system with the addition of a new metro station nearer to the cathedral that would provide as an access route from the metro into the basement level of the building.

Angle of reflection in a diagrammatic form.

- REALISATION -

- STUDIO 6 - BUILDING UPON BUILDING -

Colour coded programmatic diagram of the original main building, showing that each floor facilitates a singular function.

Basement floor plan with access from the new metro station, entering through the covered â&#x20AC;&#x2DC;green areaâ&#x20AC;&#x2122; before fully entering the building.

Colour coded programmatic diagram of the original Viewing Tower proposal. Showing a much smaller.

Ground floor plan includes the two grand staircases from the basement level from which people emerge to the ground level facing the Notre Dame.

- REALISATION -

- STUDIO 6 - BUILDING UPON BUILDING -

Level 1 facilitating lecture theatres and large open spaces to facilitate high numbers of public and tourists.

Level 3 is again a large open span of studio desks along the west faรงade and more communal spaces towards the east faรงade.

Level 2 and above starts to become more of a private space as you go up the building. This floor focuses on a library and small learning rooms.

Level 4 prioritises that of the floor for the archives, as well as showing the area decreasing due to the height of the building matching that of the police station and hospital.

- REALISATION -

- STUDIO 6 - BUILDING UPON BUILDING -

Level 5 show the individual rooms for the labs and large open spaces.

Level 7 has slight alterations for the office floor plan.

Level 6 and above all facilitate offices and again this level being slightly decreased for the sloping roof.

Level 8, again slight changes in the floor plan for the office space from the previous level of offices.

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- STUDIO 6 - BUILDING UPON BUILDING -

The tower’s ground floor plan facilitating a café space. Initially I wanted this have a similar feel to that of the main building but on a much smaller scale.

Level 2 was for a small exhibition space as well as space on the north and north east facing facades to see across to the main building and the cathedral.

Level 1 of the tower was completely for extra seating of the café.

Level 3 provides a larger open space for higher numbers of people accessing the same space.

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The scale site plan indicates the landscaping of the square as well as continuing around the cathedral. This was initially proposed as a grass area but was made clear that as a substantial amount of foot traffic would continuously be on the site, the grass would be very impractical for a number of reasons. 76

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With the original section I attempted to show the materiality of the buildingâ&#x20AC;&#x2122;s facades, highlighting the use of where the clear glass and tinted glass would appear of the building. Areas of matte glass were also tested with the intention of further distorting the reflection of the cathedral. 78

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Throughout the realisation stage I was struggling with the scale of the building and in turn how I would fill the spaces efficiently. Additionally, I lost access to certain programs that I was originally using for 3D modelling. As a result, I had to quickly produce a massing model to help visualise the concept at this stage.

Here I also tried to show clearly an internal view point from the ground floor looking out to the cathedral (also without the original 3D modelling software and rendering programs).

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I have included a key section of the technical detail highlighting the connection between the basement level â&#x20AC;&#x2DC;green spaceâ&#x20AC;&#x2122; and the building as a whole.

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SYNTHESIS “THE REFLECTION”

The synthesis stage was where I felt I really started to finalise key areas within the buildings as well as accurately demonstrating the visual concept of the reflection. Stating briefly before, towards the end of the realisation stage I was no longer able to access specific programs and software’s in which I originally started the design process, thus temporarily presenting issues for how I would be able to present and demonstrate the main aspect of the reflection. Development and finalising of the floor plans also dramatically progressed at this stage after becoming aware of the consistent struggles due to the scale of the buildings footprint as well as the shape outline.

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Developing all the initial floor plans to a more realistic and practical layout which includes a decrease in surface areas, as well as properly demonstrating the use of fire evacuation points that present safety zones in the fire protected staircases.

The remaining floors follow the core staircases and service areas, then ground floor remains as a large open space to be able to facilitate high levels of pedestrian movement as well as making the void over the basement green space smaller. 84

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The first floor is the first to facilitate multiple spaces for different functions, from lecture halls on the west faĂ§ade, to a larger library and studio space. Paths have been specifically made wider in front of the stair accessâ&#x20AC;&#x2122;s as well as waiting areas outside lecture theatres.

Following a similar floor plan to that of the first floor, the second floor provides a smaller library space but more studio desks as well as a sectioned area specifically for the archives.

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The third and fourth floors are solely occupied by office spaces, including individual offices along the west faรงade and a large open office space with selected areas for small group collaboration.

Final developments of the Viewing Tower allowed me to use the space in its simplest form and to solely be used as that. Providing an information desk with a connecting staff room and space to leave push chairs and bags if needed.

The final floor is again similar to its lower level, but the top office floor includes a void running across part of the east faรงade to connect the office space below.

From the first to the fourth floor the footprint remains identical. Providing a primary access staircase, lift access and a protected fire escape staircase.

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Second and third floor plans [identical].

Fire escape routes from the development of the floor plans in the main building of the Heritage Centre. The key indicates areas and routes for the escape route proposal.

Fourth floor plans with the prime access point for viewing the Heritage Centre building as well as the Notre Dame cathedral and its reflection.

Fire escape routes from the development of the floor plans in the Viewing Tower. The key indicates areas and routes for the escape route proposal.

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The final site plan proposal including the changes to the square landscape and focusing only on the square for the historical building outlines instead of the entire way around the cathedral.

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Additional developments were also made to the site section as the size and shape of the building proposal progressed at a later stage to better connect to both the brief and the surrounding urban context of the site. 92

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North elevation.

West elevation.

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A key axonometric drawing of the site, again demonstrating the reflective concept as well as an indication to the site materials.

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Visual from the Viewing Tower top floor.

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ILLUSTRATED CULTURAL BIBLIOGRAPHY

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By attending a couple of the ‘thinking through making workshops’, I gained an insight into the use of various materials – mainly in terms of model making, but these still stimulated a level of interest. The first that I attended was a clay workshop where we were experimenting with the connection between a narrative and a form. Creating almost a story for which the clay form would relate to.

Many buildings and structures were visited when on the field trip, but I felt that Hertzian Library in Rome, the Politecnico Di Milano in Milan, and the St Mark’s Square in Venice provided me with the most inspiration in relation to my design project, along-side the site visit to the Notre Dame in Paris. They each presented a different aspect as individual buildings and spaces, but they all also connect to my own design concept to a degree.

The second workshop which I found very interesting was 3D printing and how it is used as a material for both models and art forms. We were briefly told about the programs that would be compatible for drawing a design to be printed, but the workshop was predominantly focused on the effects and level of detail that you can achieve with a 3D printed form.

Finally, I attended the Gingerbread City exhibition in London over the Christmas period. This was an exhibition where a large number of architectural practices from across the country design and bake their own gingerbread structure in relation to a theme. The 2019 Gingerbread City theme was based on ‘transport’ and the exhibition had a huge range of different interpretations. Ranging from a Harry Potter themed platform, to a bee hive, boats on the Thames, hot air balloons and cars, all based around architectural structures. It was one of the best exhibitions I have visited, maybe due to the gimmick aspects of it, but none the less it was amazing to see how many practices take part in the exhibition every year.

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Cammen, H., 1988. Four Metropolises In Western Europe. Assen, Pays-Bas: Van Gorcum. Barcelonaturisme.com.n.d.Centre De Cultura Contemporània De Barcelona - CCCB - Visit Barcelona. [online] Available at: <https://www.barcelonaturisme.com/ wv3/en/page/1344/centre-de-cultura-contemporania-de-barcelona.html> [Accessed 22 February 2020]. Encyclopedia Britannica. 2020. Eugène-Emmanuel Viollet-Le-Duc | French Architect. [online] Available at: <https://www. britannica.com/biography/Eugene-Emmanuel-Viollet-le-Duc> [Accessed 10 October 2019].

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