Traces d’une Cité Collée.
‘Traces of a Collaged City.’
Charles Soulier, Panorama de Paris - Pris de la Tour Saint Jacques (1865), photograph.
Rory Kavanagh. Building-Upon-Building. Undergraduate Portfolio 2019/20. Submitted in partial fulfillment of an Architecture BA Honours Degree at Newcastle University.
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‘Meshwork.’ The theory that life is not a ‘network’, where discrete entities are connected by nodes, but a ‘meshwork’ where things, animate and inanimate, are likened to ‘flows, winding through or amidst without beginning or end.’ 1
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These flows trace ‘lines of being’ over and around each other into ‘knots’ where opportunities for the interactions between things are facilitated. These knots never tie - the loose ends continue to expand in redefining our present environments and facilitating further opportunities for interactions between things.
‘Place.’
? Preser vation
‘The network is a purely spatial construct. The lines of the meshwork, by contrast, are of movement or growth. They are temporal.’ 2
Style. Heritage.
Culture.
Restoration.
A Network.
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Contents. Illustrated Reflective Report.
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Charrette. 8 Project Primer.
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Grand tour.
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Project Staging.
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Thinking Through Making.
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Project Realisation and Synthesis.
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Appendix. 281 Historical Floor Plans.
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Theory into Practice.
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DeThroning Notre-Dame. Field Trip Case Study Report.
Illustrated Cultural Bibliography.
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Endnotes. 408 Bibliography. 410 List of Figures. Throughout this portfolio, the appearance of this symbol indicates the addition of work completed since Synthesis Review.
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Illustrated Reflective Report. On critical reflection, I believe that my greatest takeaway from my final year has been the light-bulb moment behind the inter-correlation between modules that I personally lacked in previous years. It is satisfying to see how even the modules that I cannot say that I enjoyed (Professional Practice, I am looking at you) have nevertheless played their part in the formation of my graduation project as presented in this portfolio. The realisation as to this interconnectedness between architecture’s multifaceted channels was pushed by my tutors’ encouragement to continually explore further readings, as this then cemented a wider architectural base knowledge from which to tie together what had previously seemed like totally disparate modules.
Day dot!
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At this point in the year, I can see that ARC3060 Dissertation and ARC3015 Theory into Practice have had the greatest impact on not only my completed graduation project, but on its initial development and refinement too. A study of non-human agency and material actants in my dissertation was coupled with an exploration in Theory into Practice on the new-found value that results when disparate architectural fragments are collaged together. The consequent combination of these two studies academically grounded my ARC3001 concept that each and every one of the structures on the Île de la Cité, past or present, have been, and continue to be, just as influential in the Île’s ongoing development as Notre-Dame de Paris, and that collaging traces of these historic structures into an island-wide palimpsest would visibly and explicitly proclaim this realisation to the passing visitor. In fact, I believe the integration of ARC3015 to have been so influential to my graduation project that I have included the original essay in its entirety in the appendix. It is therefore doubtful that, without the thorough academic research required of ARC3060 and ARC3015 (which last year I would undeniably have seen as time ‘away’ from design), my project would not have benefited from the variety of references it can now claim as justifications. For this, I have, in part, to thank my tutors for their reading recommendations at the start of the year and their ongoing encouragement to maintain this habit. I need only look at the comparative difference in length between my second and third year portfolio bibliographies to notice the marked change this year has brought. Regarding the work itself, and my representational style in particular, I do not think I can claim to have landed upon a style or a process that I consider my own – the range of physical models, quick collages and three‑dimensional computer models in this portfolio attests to this, and it will be interesting to see how,
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or if, a year’s work in practice instils a particular style or method of working. I did, however, remark at the end of second year that I wished to gain a better understanding of computer software, such as AutoCAD, which had been used sparingly if at all in previous years. Retrospectively, I can be pleased to now claim a relative level of competency in several software and, in fact, where AutoCAD may have been avoided last year, it likely constituted the majority of my time spent working this year! As a final thought regarding representation, I am aware that the impact of Covid-19 may have prematurely shut the workshop for the majority of the final semester, and, sadly, rendered some early massing models irretrievable. While this was unavoidable, there is no escaping the fact that I am disappointed to not have had opportunity to create as many physical models as I might have liked. The massing model for my Realisation Review was noted by an external reviewer for its effectiveness in translating my design intent and it would have been great to have supplemented this with the construction of a large-scale, ‘celebration’ model of my finished design. Critically evaluating my own project, I feel my greatest flaw this year has been in a tendency to over-analyse and to, effectively, waste time in fixating on the detail. I have been well known by others in the studio to spend a day making sure my stair pitches are all regulation while, across from me, my colleagues have created yet another interior atmospheric, for example. This may just be evidence of a personal propensity towards right‑brain thinking, but the effect of this perfectionhunting, intended here pejoratively, has meant that I have fewer outputs than I might have hoped, despite being happy with those that I do have. It seems almost a shame to have spent so long reducing third year to the details, when that is as much as I might be trusted with next year!
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I have been incredibly lucky this year to have received my first choice for all elected modules, right from Charette through to Dissertation. As a part of this, Building-upon-Building was my primary choice for a design studio precisely because of where it is situated within the current, wider context of the architectural profession. I am aware, as is the remainder of our studio, that our tutor would consistently remind us, somewhat tongue-in-cheek, that Building-upon-Building is the most environmentally-friendly studio by its very nature of working with existing buildings. In all seriousness, however, at a time when 77% of the AJ100 have signed up to Architects Declare and the AJ campaign RetroFirst is experiencing similar levels of adoption, the knowledge of how these renovations and restorations might be managed, from a theoretical and architectural perspective, have been invaluable lessons heading into the world of practicing architecture.3, 4 Indeed, as a designer myself, I can see how this graduation project has instilled an appreciation of both the permanence of our architecture and the manifold external influences, both pre- and post-completion, which lend weight to the argument of architecture without architects, and a certain lack of individual proprietorship. Moving towards an architectural world necessarily championing retrofit and reuse, I see these as important lessons for my third and final year to have imparted. Finally, a note to say that I remain grateful to my tutors for delivering what was a thoroughly engaging and enjoyable final year, and to friends and family for an equally brilliant experience over my time as an undergraduate at Newcastle.
Day 164!
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Charrette. ‘The design and fabrication of a prototype gravity dispenser at a lower cost than retail value.’
Organised by M.Arch student, Pippa McLeod-Brown, this year’s Charrette offered my first possibility at seeing something of my own designed, built and used outside of the university academic programme. Under pressure from profitable competition, the owner of Fruit & Nut Company approached Pippa in the hopes of a revenue-reviving renovation. A long-standing self-weigh food stall, the shop had succumbed to routine and was beginning to noticeably lag behind competing vendors. Tasked with prototyping a gravity-fed self-dispenser for the stall’s produce, we had a week to present the owner with a design that might rekindle his cash flow.
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Situation. Situated within the historic Grainger Market, the site received plenty of footfall. However, without even a noticeable store-front name, the store struggled to entice passers-by.
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Investigation. The existing containers for the store’s dry produce were not only cumbersome and an incredibly inefficient use of space, but they also exhibited two fundamental flaws. Primarily, the top-to-bottom method of distribution meant that everything below the topmost layer sat untouched and, unfortunately, slowly going off. The tubs themselves were restocked infrequently enough that, by the time the produce was refreshed, the residue left at the bottom was particularly unpleasant. Evidently undesirable, these unhygienic circumstances would begin to have an effect on even the top layer of produce and demanded an alternative solution. Secondly, the opaque material denied a quick shopping experience. Even the sole transparent element was then covered by unappealing paper signage. Therefore, some means of quickly identifying the produce on sale was required.
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Competition. The facing page catalogues Nil Living, a new stall offering direct competition at close proximity. Nil Living’s Scandi aesthetic and ecological stance garnered rapid popularity, encouraging our client to approach us. The self-dispensers provided a study of the mechanisms we would recreate in building our own. 14.
Conception. With limited resources, and a budget-driven focus, the spring-loaded mechanisms of Nil Living’s self‑dispensers were infeasible within our time-frame. Consequently, our second iteration detailed a dispenser constructed from sheet wood and standardized acrylic tubing, operated via an intuitive turn-gauge system.
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Fabrication. A key component of our Charrette brief was in fabricating the dispenser ‘at a lower cost than retail value’. The use of prefabricated parts cut by machine from standard-size sheet wood all helped in reducing these fabrication costs and hitting our brief. Three years on, finally having the opportunity to learn how to use the CNC router would become useful in a non-academic project further into the year.
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Innovation. The greatest challenge to this project was in moderating the release of the dry produce. We neither wanted a customer to be stood at the dispenser for ten minutes, nor to release ten kilos of cashews onto the shop floor. By way of restricting the rate of release, we devised a system of varied openings, and associated signage, that would allow for the customer to both dictate the rate of release and, importantly, to anticipate this rate too. The acrylic disc was etched with the aforementioned signage and the disc sat into a pre-cut recess in the plywood base, allowing the disc to spin freely beneath the weight of the tubing.
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Conclusion. The finished prototype, as part of a set of three dispensers that would crown a multi-purpose display stand during the Charrette exhibition, pictured on the facing page.
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Exhibition. By way of culminating Charrette week, our gravity‑fed self-dispensers were exhibited with produce from our client’s stall that visitors could help themselves to during the exhibition.
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Presentation. The remaining images detail aspects of our brief that were tackled by the remainder of the group. Whether a digital animation, a physical model or a re‑branding proposal, each component combined into one presentation at the end of Charrette week, detailing our proposed new look for the Fruit & Nut Company. Happily, the owner was blown away and remained in touch with Pippa to enact some of our proposals.
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Project Primer. ‘To explore a creative analysis of the site’s urban landscape and existing building.’ Following Charrette’s exhibition, Primer marked the very outset of our graduation projects and signified the start of the academic year proper. Following a series of lectures exploring Viollet-le‑Duc, experimental preservation, Koolhaas and more, our first graded submission of the year was to curate a group exhibition that would demonstrate everything we had just learned. The format of the exhibition was much like Charrette, open to the whole School, and allowed students from other studios to grasp a basic understanding of their peers’ developing projects. For our studio’s installation, we uncovered the historical influences and associated restorations that Notre-Dame de Paris had already been subjected to and exhibited these through collage and model-making.
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Foundation. In order to visualise the changes that Notre-Dame had undergone, we first needed to be able to present an accurate depiction of how the Cathedral stood today. Spatially representing the Cathedral therefore became my task for the week and my primary input to the groupwork. On the facing page the modelling process from AutoCAD to working prototype can be seen. Of note is the use of masking tape to minimise laser burning and to thereby retain as much detail as possible in each rose window - a trick learned from an M.Arch colleague during Charrette just the week before. The resulting detail photographs justify the expense in masking tape! As a working prototype to judge how the stacked two‑dimensional planes would work as a three‑dimensional model, the complicated geometry of the apse was omitted for now.
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Iteration. Comfortable that the process worked, and having verified the scale, we developed a second iteration. Swapping the MDF used in the prototype for 3mm plywood in the final model provided a sharper finish that was further improved upon with a coat of white paint. The sharp appearance intended to marry the Cathedral’s aesthetic with that of the rest of the site model, currently under construction by other members of the studio. The final photograph in this set compares the prototype with its subsequent iteration. The photograph simultaneously shows the beginnings of the apse coming together. Flat pieces of plywood were individually sanded until they could be radially pieced together in forming the iconic curved East façade. Overleaf, the entire process was replicated to create a scale representation of Viollet-le-Duc’s sacristy.
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Chronological process behind the construction of the 1:500 sacristy model.
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From Inception ...
... to Manifestation. Undertaken single-handedly, I am happy with the way this comparative photograph study depicts the relatively tiny scale of the sacristy, the level of detail that was nevertheless achieved and, importantly, the accuracy between initial sketch and built outcome.
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Chronological process behind the construction of our 1:500 site model.
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Completed 1:500 Cathedral model in context, as photographed during the Primer exhibition.
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2019
Notre Dame burns On April 15 2019 at 6:20pm, a smoke alarm sounded during mass but there were no signs of fire. At 6.43pm, a second alarm sounded and a fire was declared on the roof of the cathedral. The roof was covered in scaffolding for current restoration work on the cathedral. 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 spire as well as major irreversible damage to the wooden roof. The remainder of the 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 others sank to their knees and cried. An atmosphere of sorrow overwhelmed Paris as they watched their beloved cathedral burn. At 7am on the following day, officials confirmed that the “danger of the fire had been removed” with up to a dozen firefighters still on the scene. The main structure had been saved, with the bell towers intact and no major damage to the main rose windows. Two-thirds of the roof had been destroyed with the spire among other debris fallen into the nave, as well as discolouring of the North and South facades caused by the flames and smoke. The damage caused by the fire has sparked major controversy about the restoration of the Cathedral. The damage to the Notre Dame may not have just been caused by the fire, but by an insensitive and unthoughtful perservation project to the building.
Documentation. Alongside the modelling, our Primer exhibition included a documentation of Notre-Dame’s history and adaptations. This was manifested through ten memorandums and accompanying collages that explored significant periods from 1163 AD to 2019.
*Groupwork.
The collages were collated in the style of Franz Samsa. 41.
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1163 - 1190
Early Construction Inducted as 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. This mythical temple has remained as 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, Paris has become the political capital of the Capetian kings since Philippe I, and also has become an important economic centre where a real city of artisans and markets has 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, the 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.
1600 - 1750
Catholic Reformation
The use of the warhead cross-vault allows builders to build higher, while freeing the walls of the Notre Dame from their role. They can then 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. The buttresses are added to support the walls that were raised, as the first nave was considered too dark. 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.
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 were the interior fittings and the bedside, the end of the nave opposite the portals (also called apse). The bedside of Notre-Dame de Paris is customly 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.
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. The latter is carried out under the supervision of Jean de Chelles, the first contractor whose name is known on this site.
1789 - 1799
French Revolution 1793 and 1794 were the defining years of the French Revolution, which stemmed from the dissatisfaction with the power-hungry Catholic Church. It was led by the Cult of Reason, an atheist group formed in 1793 by Jacques Hébert which was 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. These 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, in 1793, manifested the cult’s beliefs by converting all churches into ‘Temples 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, replacthe ing 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.
1830-1852
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.
1250 - 1345
Construction is finished
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 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.
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’, and included a strong reconnection to Baroque art with a religious theme.
The Bourbon Restoration & Viollet le Duc
*Groupwork.
1190-1250
Mid-Construction
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.
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. He 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 to be 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. He 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.
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. A Virgin in majesty, a scepter in her hand, appears in the centre.
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, 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.
1914 - 1942
WWI & WWII 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 in 1918 the two bells rang in celebration. 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 from 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. Adolf Hitler had ordered that Paris to be left a “heap of burning ruins”. But, German General Dietrich von Choltitz disobeyed 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. On August 26, the Notre Dame hosted a special mass of thanksgiving to celebrate the liberation and preservation of Paris. The cathedral’s undamaged features were the backdrop to many post-war photos, capturing the heart of the city untouched by the threats of the war.
Preparation. With site model built, memorandums framed and collages printed, our intended outputs were complete. Curating the space proved a difficult final hurdle, however. Occupying the School’s central stairwell, we had intended to hang the collages such that a vertical route through the installation was created that would mimic a chronological dive through the Cathedral’s history - a physicalised timeline of sorts. Unfortunately, the reality of the high ceiling and short ladder meant that attaching the centrally hung collages became nigh-on impossible. Still wanting to generate some level of physical interaction, we redesigned the exhibit horizontally so that the collages attached at eye level on either side of the staircase at staggered intervals. The ascending visitor thus had to weave their own way through the timeline and become an active part of the collaging themselves.
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Exhibition. The success of the curatorial efforts, and the exhibition generally, can be seen in this photograph series, taken on the day of the Primer exhibition. The top row of photographs depict how the framed memorandums ran chronologically up the stair handrail, paired with their accompanying collage. The photographs beneath convey the collaged, layered experience of the exhibition as a whole. Finally, the bottom row of photographs show the intended interaction of visitors in action, weaving threaded routes through the exhibit, all against the backdrop of the existing stained glass window that harmoniously tied the exhibit together.
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Interaction. This sequential photograph series maps one visitor’s non-linear route through the exhibition. Evidently, the interaction with these layered collages physically informs the visitor’s journey towards the model Cathedral at the top of the staircase. More interestingly, however, this physical interaction simultaneously informs their subconscious appreciation of the diverse layers behind Notre-Dame’s complex history. The contemporary site model acted as a focal point for this informed realisation at the top of the staircase, eradicating the notion of the Cathedral as a timeless, unchanging monument and, instead, as the sum result of multiple, self-informing influences.
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Proposition. The final aspect to Primer was proposing initial massings informed by our understanding of the earlier lecture series and readings.
Rory Kavanagh 170061799
B.
One proposal per student was required to curate an exhibition display highlighting our studio’s work, and the stand collating these proposals can be seen on the facing page. My proposal, a stereotomic mass, negatively framing the destroyed spire, is explored in detail overleaf.
Coal Drops Yard.
Dutch Embassy.
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La Grande Arche.
Evolution. As a development of my primary massing proposal, these images explain the concept behind the proposal that would then be taken to site for further development. The heavy, stereotomic mass juxtaposed the light-filled, weightless intentions of Gothic architecture, while, at the urban scale, Baron Haussmann’s nineteenth century boulevard was left uninterrupted. Crucially, the form highlighted the damage caused to Notre-Dame, without proposing any restoration of the problem itself. The concept saw the importance of evolution as paramount, and sought to reference the Cathedral’s past through the negative framing of Viollet-le-Duc’s iconic burned spire, referencing its existence without submitting to the popular call for exacting replication. On reflection, it is pleasing to see how this concept would later become central to my graduation project.
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Tying these various components together, a video combining an introduction to our graduation project, the diverse history of Notre-Dame and a brief exploration into experimental preservation was presented during the Primer exhibition, which is also accessible via the QR code above.
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Grand tour. ‘An intense program of visits and discussion of both historic and contemporary buildings.’ Our Grand Tour was devised as an abbreviated version of the tour taken by our studio’s key influence and architect behind Notre-Dame’s 1844 restoration, Eugène-Emmanuel Viollet-le-Duc. Retracing his steps through Italy, our version of the Grand Tour initially offered an opportunity to assess our first massing proposals in context, before analysing a series of contemporary and historic buildings throughout Italy that would then curate our concept into a more refined proposal come Semester Two. Before travelling from Rome through Milan and Verona to Venice, we first set off from Newcastle for the birthplace of le-Duc: Paris.
‘All history is current.’
- Alice Walker.
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Our condensed Grand Tour centred around much of the architectural influence of Eugène-Emmanuel Viollet-le-Duc, tracing a similar route to his Italian tour of 1836. There, therefore, seemed no better launch point for our own Grand Tour than Paris - the birthplace of le-Duc and the seat of Notre-Dame. As the first inspection of our site, the three days we would spend in Paris’ Île de la Cité region would prove invaluable. While testing our proposals in context, the trip also offered the unparalleled opportunity to conduct more exhaustive site analysis. The disappointingly extensive cordon surrounding Notre-Dame denied a thorough interrogation of either the parvis or the Cathedral itself. Nevertheless, a lecture from Sorbonne University and three days amongst Parisians consolidated our Primer research into new-found information which we could solidify in developing proposals.
‘[In Paris] there is always [...] something hidden in the shadows. One can see so much more in the darkness than in the light of day.’
- Francine Prose.
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Venezia.
Paris.
Verona.
Milano.
Roma.
PARIS.
Pictured on the facing page is the Église Saint‑Julien‑le-Pauvre, one of Paris’ oldest religious buildings, the site of the last Dada performance art experiment and, to this day, a functioning Greek Catholic parish church. Yet, despite these remarkable credentials, Julien‑le‑Pauvre resides in relative anonymity against the insatiable draw of Notre-Dame’s popularity. Consequently, a desire to champion the structures that Notre-Dame has dwarfed into insignificance, or simply those that have been forgotten to time, formed an initial basis for my graduation project.
63.
64.
Venezia.
Following a primary site visit, my greatest interest, somewhat controversially, did not concern Notre‑Dame at all. Rather, I was drawn to the supporting cast of ancillary structures that seemed to be hiding in plain sight.
Verona.
Milano.
Roma.
PARIS.
65.
The photograph above depicts a Parisian sentiment of indifference that was corroborated by students at the Sorbonne. As a daily background to their lives, Notre‑Dame had fallen into unremarkable normalcy. Nevertheless dear to their hearts, the Cathedral might not be as paramount as tourism would suggest. 66.
Venezia.
Some even denied the île represented Paris at all.
Unremarkable.
Verona.
Exacerbated by the cordon currently surrounding Notre-Dame, a chance to study Parisians’ experiences of Notre-Dame found that many locals actively avoided the Île, perceiving it as little more than the seat of large institutions and tourist hordes.
Milano.
Unfrequented.
Roma.
PARIS.
Combining these earlier analyses, I began to perceive Notre-Dame as one element of a whole rather than as the sole focus it is so commonly portrayed as. Consequently, I began cataloguing Notre-Dame as the backdrop to unremarkable subjects, collaging them in a way that challenged the Cathedral’s prominence. 67.
Overleaf, this developed into an exercise recording the impressive structures residing within Notre-Dame’s shadow which have subsequently been starved of the recognition that they deserve. A photographic essay indexing some of these structures follows overleaf, and is included in full in the appendix. 68.
Venezia.
Inversion.
Verona.
Milano.
Roma.
PARIS.
Venezia.
Verona.
Milano.
70. 69.
Roma.
PARIS.
With our site analysis completed (and ĂŠclairs finished), our Tour began its journey towards Mussolini, Scarpa and the Eternal City.
71.
72.
Venezia.
Ă€ Roma ...
Verona.
Milano.
Roma.
PARIS.
Starting our Italian Grand Tour in the country’s capital, Rome was coincidentally the perfect location to further this concept of celebrating the supporting structures and, crucially, how they can fit within the urban whole. As a city that has literally rebuilt itself with its own stones, as well as those from far flung empires, a simple walk through the city centre will uncover pieces of disparate histories nestled right against each other, turning Rome itself into one large historical collage where buildings of antiquity are squeezed in by their contemporary neighbours in a harmonious, complementary fashion. Where Paris taught me to appreciate the overlooked, Rome showed me how the two could live in tandem.
‘Rome - the city of visible history, where the past of a whole hemisphere seems moving in funeral procession with [...] trophies gathered from afar’
- George Eliot.
74.
Venezia.
Roma.
Verona.
Milano.
Paris.
Roma.
Via Baccina, a cobbled street with a focal point that is, unbelievably, commonplace to the point of mediocrity. The two Corinthian columns of the Temple to Mars Ultor and the glimpse of the Arco dei Pantani beneath are remarkably well preserved remnants of a site spanning two thousand years. It is not hard to imagine the nearby properties as high‑end hotels, capitalist-driven tourist shops or even an expansive Haussmannian square. And yet, Via Baccina simply becomes on-street parking for residential properties above. Admittedly, the fact that Via Baccina can remain so understated is undeniably a result of Rome’s abundance of multi-generational artefacts but the accordingly non‑confrontational relationship between the new and the old is admirable nonetheless.
75.
76.
Venezia.
Confrontation.
Verona.
Milano.
Paris.
Roma.
Alberto Sordi once said, ‘Rome is not like any other city. It is a big museum.’ Overlooking the Foro Romano, Sordi’s sentiment is easy to appreciate. With views of the Fonte di Giuturna, Arch of Titus and the Colosseum to name but three, this culturally-saturated vista often seems like a fabricated postcard. 77.
And yet the additional layers of contemporary scaffolding and onlooking tourists places this view in the present day, identifying it as the physical documentation of diverse historical layers and how they have progressively and cumulatively informed our perception of Rome today. 78.
Venezia.
Saturation.
Verona.
Milano.
Paris.
Roma.
Much like the photographic study of hidden, obscured or overlooked beauty in Paris, Rome was inundated with moments of muted charm. This bin store behind the Palazzo Barberini speaks of an almost Romantic attitude of inaction, allowing the footbridge to weather without an obvious intent to rebuild. 79.
Similarly, these markings along the Palazzo Senatorio describe an earlier construction which, having been left visible, afford the Palace an informed, educated quality. This appreciation of the embodied effects of history began to inform my project towards a focus on the passage of time, which is explored overleaf. 80.
Venezia.
Inaction.
Verona.
Milano.
Paris.
Roma.
Venezia.
Verona.
Milano.
Paris.
Roma.
Intervention. Suffering the ‘loss of its original function led over the centuries to the transformation and decay of [the Colosseum]’.5 Largely a result of natural disasters (a major earthquake in 1349 AD toppled the entire south side), man-made damage only worsened the Colosseum’s poor standing. In the fourteenth century, the Arciconfraternita del SS. Salvatore obtained the right of sale of the Colosseum’s stones.6 Fuelled by profit, this enterprise did not limit itself to just those stones that had already fallen. ‘The innumerable gaps in the outer travertine façade are simply the holes made to remove the metal brackets that held the blocks together.’7 Desirable in its own right, the removal of this metal, whilst legal and illegal stone extraction continued, created a monument verging on collapse. Thus, tasked with re-fortification in 1805, Raffaele Stern built a seemingly incongruous abutment in the east wall. Crucially, Stern’s abutment provided our Tour’s first example of how experimental preservation could capture the essence of an original structure without resorting to replication. Stern’s infill made no attempt at mimicking the Classical language of its host and yet his intervention reveals more of the Colosseum’s history than had Stern simply reproduced the ancient wall. ‘The voussoirs, that were almost completely dislodged, remained suspended in the wall filler. [...] Stern’s intervention succeeded in making clear the building’s history by showing the moment of collapse, frozen forever in time and space.’8 Dr. Lucía Gómez-Robles analysed Stern’s preservation as such: ‘The surviving original elements were enough to give an understanding of the typology of the structure [while] the use of brickwork assured there would be no confusion between the old and new.’9 On reading Jorge Otero-Pailos’ Monumentaries, I would later appreciate this as an example of a contemporary Supplement married to an original Document and how the resulting Monumentary creates a wholly new-found appreciation of the original. It is a built example of le-Duc’s definition of restoration - ‘to reinstate a condition of completeness which may never have existed at any given time.’10 Developing my formative concept of championing the structures history had forgotten, the image of the falling voussoir suspended in time and brickwork encouraged an evolution towards a project not only celebrating those structures but also exploring how the marriage between my proposal and the traces of their existence could physically display the passage of time the Île de la Cité had undergone since their disappearance.
81.
82.
Having refined a conceptual focus from the overlooked supporting structures towards a study of how they have evolved through time to collectively inform our present (and having swapped ĂŠclairs for tiramisu), our Tour headed north again for Milan.
83.
84.
Venezia.
Ă€ Milano ...
Verona.
Milano.
Paris.
Roma.
A short stop on our Tour, the financial capital of Italy provided an opportunity to analyse how this junction between new and old could be handled in the modern era. Without boasting the excessive number of artefacts seen in Rome, Milan could not offhandedly deny accountability wherever a confrontation between new and old arose - having fewer cases somehow made each one seem deserving of greater justification. Given that any proposal made for the restoration of Notre-Dame would be, by default, a contemporary addition to Paris’ urban landscape, Milan therefore provided a suitable study as to how to handle this scenario in a modern pretext.
‘[Fondazione Prada] is a narrative of collisions, where new and old crash into each other, yet in such a way that you have to look twice to work out what’s original and what isn’t.’
- Andrew Ayers.
86.
Venezia.
Milano.
Verona.
Roma.
Paris.
Milano.
The Terraza Martini from within Italy’s oldest active shopping mall. While the mall significantly pre-dates the tower, the architects described their concept as ‘a cinematic Viewfinder’, aligning the tower with the mall to make the contrast unavoidable thereby embracing progress without conceding to the mall’s seniority.12 87.
Materially, OMA’s golden extension at Prada is equally blatant in its contrasts. Yet the resulting relationship is, again, surprisingly sympathetic: ‘Moments of tension recur throughout the complex, where new and old hang in balance, not quite colliding – an effect amplified by [...] a rich bricolage of the opulent and everyday.’11 88.
Venezia.
Tension.
Verona.
Roma.
Paris.
Milano.
In film and digital photography, this spread encapsulates my learning from my time in Milan and, in my opinion, depicts the fundamental concept behind my developing graduation project - that a structure’s perceived seniority is no justification to shy away from pursuing a mutual relationship with it. 89.
Literally standing up to the distant challenge of BBPR’s Torre Velasca, one of Milan Cathedral’s statues is seen in an unflinching staring match between two vastly different styles from vastly different eras. And yet the result is one of an amicable harmony, two structures caught in a transhistorical conversation. 90.
Venezia.
Conversation.
Verona.
Roma.
Paris.
Milano.
Having developed an appreciation as to how contemporary interventions can be sympathetically collaged against historical structures without conceding to them, it was time (after a glass of red) to apply this learning to what became, personally, the Grand Tour’s most relevant precedent - Castelvecchio at Verona.
91.
92.
Venezia.
Ă€ Verona ...
Verona.
Roma.
Paris.
Milano.
Having earlier been tasked with giving a short presentation on Carlo Scarpa’s Castelvecchio, I had undertaken some preliminary research before arriving on site. This meant that I had a springboard from which to expand my analysis, therefore maximising what became only a four hour stop in Verona. Castelvecchio, much like some of Scarpa’s work that will be seen in Venice, provided what I believe to be the best built example of how historical junctions can be handled throughout a project, from the programme and massing right down to the tectonic and the detail. It is the way in which every aspect of a project can be used to exhaustively reiterate a collective focus on the junction between new and old that I learned the most from my time in Verona.
‘[Castelvecchio] is architecturally brilliant but it is also historically brilliant because it makes a statement about the whole interlocking history of the entire building and the entire town.’
- Richard Murphy.
94.
Venezia.
Milano.
Roma.
Paris.
Verona.
Verona.
Syncopation. Saved from floods in ‘one of the first examples of architectural salvage’, successive sketches show Scarpa indifferently altering the composition of Castelvecchio’s historic windows.13 This fearlessness in rearranging historic elements finds justification in asymmetry: ‘One single mullion is placed asymmetrically to set up that tension between new and old.’14 Recessing Scarpa’s steel façade then addresses this tension by hiding their junction in the shadows with an asymmetrical rhythm that sings of their differences: ‘There are no identical measurements [...] so as you walk down the building you get this sort of subliminal syncopation.’15 96.
Venezia.
Milano.
Roma.
Paris.
Verona.
‘These enormous slabs of Prun stone […] originally sat down as a polished threshold stone [but Scarpa] was so impressed with the rough quality that he raised them all up and had ones to match on the other side because he wanted to make a contrast with the very smooth, almost machined‑like, floor he was placing in.’ 16 97.
The divisions within Scarpa’s floor, itself designed to reference the almost overflowing water trays outside, follow the same irregular syncopation as the museum’s windows. And yet here it is the tactile contradiction between rough-hewn and polished that really communicates Scarpa’s differentiation of new and old. 98.
Venezia.
Milano.
Roma.
Paris.
Differentiation.
Verona.
Venezia.
Milano.
Roma.
Paris.
Verona.
Junction. Much like obscuring the junction between the double façades within the shadows of a recess, Scarpa’s work rarely ever shows new and old actually meeting. Whether it be an obsolete corbel playfully suspended a few inches below a beam or modern floorboards stopped short of ancient stonework, Scarpa details minute moments of dialogue between new and old. Most explicitly is the shallow concrete cross beams installed in 1963 and the rolling steel beam beneath ‘which knits all the rooms together like a string of pearls’. 17 Detailed to resemble a singular beam spanning the entire passage, the junctions where the new beam intersects the old wall are wonderfully articulated. ‘You can see how the steel makes a gesture and says, ‘I am at the end, I am now going into the wall’ and the wall makes a gesture to say, ‘Hello, I am receiving a beam’ but the two do not actually meet.’ 18
99.
100.
Venezia.
Milano.
Roma.
Paris.
Verona.
Suspension. Internally, Scarpa cleaned much of the original flooring and wall frescoes without then submitting to the temptation of going beyond and restoring them. The result is a similar effect to that achieved by Stern when he suspended the Colosseum’s falling voussoirs in his brickwork abutment - the irregularly untouched pockets of damage place Castelvecchio’s frescoes in a certain period as a symbol of their time, defining not only the museum’s artefacts, but also the museum itself, as a product of historical change, suspended in time.
101.
102.
As the crowning part of Scarpa’s most dramatic intervention at Castelvecchio, the ‘roof itself appears to be disappearing under the Roman tiles in new copper.’ 19 Here, it is not merely the fact that Scarpa’s choice of roofing material differs from the existing but the way in which Scarpa has detailed this change so as to enforce a dialogue between the two. Extending the seams of the Roman tiles into the seams of his own copper, this horizontality also ensures that Scarpa’s contemporary addition will develop a strata-like appearance once the copper begins to patina. ‘There are always dialogic relationships when multiple periods and styles are represented as a series of layers. [...] Through the deliberate process of excoriation and delamination, each layer is revealed as a distinct instance in the history of the castle and is forced into dialogue with other fragments.’ 20
103.
104.
Venezia.
Milano.
Roma.
Paris.
Delamination.
Verona.
‘He put the statue against all these different backgrounds which were also the different histories of the building. The different histories of the town all came together in this tight knot, which he then disentangled by demolitions so that if you took the time you could understand the Comune, the Scaligeri, the Napoleonic, the 1920s – they are all there in elements.’ 21 105.
The Cangrande space is a focal point that is passed twice during the museum’s looping circulation and which is viewed, almost, from every angle. The result is a constantly changing backdrop of eras which actively involves the visitor in appreciating how this statue has been witness, and subject, to them all. 106.
Venezia.
Milano.
Roma.
Paris.
Demolition.
Verona.
Fundamentally, where Milan taught me that structures from different eras need not compete with each other, Castelvecchio went further in demonstrating how it is sometimes necessary to subtract, demolish or rearrange the original to better describe its mutual relationship with the new. Regarding my project, this would later evolve into a focus on subtractive massings. Without time to stop for food, we continued to Venice. 107.
108.
Venezia.
Milano.
Roma.
Paris.
Ă€ Venezia ...
Verona.
The final stop on our replica of le-Duc’s Grand Tour, Venice had more of an air of Rome to it, providing a satisfying cyclical feeling to our Italian trip. Although short-lived, our time in Venice provided further examples of Scarpian architecture and the unrivalled example of a city whose beauty lies in its slow, perpetual defeatism, gradually and continually decaying into the lagoon. Two focal points for my time here included a study as to how architecture can cement itself within its location and a recognition of how complicitly surrendering to the corrosive effects of time can, in fact, be just as beautiful as a notionally ‘timeless’ monument intended to outlive everyone.
‘Venice seemed like a kind of exalted remembering.’
–Glenn Haybittle.
110.
Verona.
Milano.
Roma.
Paris.
Venezia.
Venezia.
Verona.
Milano.
Roma.
Paris.
Venezia.
Location. Continuing Scarpa’s architecture, this time at the Fondazione Querini Stampalia, this spread highlights the way in which Scarpa’s architecture firmly cements itself as an immovable product of its location. As mentioned at Castelvecchio, much of Scarpa’s work revolves around the tension between two elements and nowhere is this more clear than in Venice. In a city built right at the water’s edge there is a constant tension between flooding and floating. Internally, drawing an asymmetrical footpath down to a waterfront entrance celebrates the reality of this unique location and it is a relationship with the water that I would later attempt to replicate with the Seine in Paris. Tying together the historical threads of a place is just as much about acknowledging its contemporary influences as those from its past and it would be difficult to deny the Seine’s great influence on the Île de la Cité today.
111.
112.
Verona.
Milano.
Roma.
Paris.
Venezia.
Corrosion. Pictured is the San Zaninovo, a Roman Catholic church in the sestiere of Castello. The façade, which was admittedly never carried above head-height rather than left to ruin, nevertheless evokes a ruinous beauty that is representative of the abundant charm in Venice’s dilapidated corridors and canals.23 Indeed, the view of the corroding properties across the Rio del Fontego dei Tedeschi from the Calle del Forner reiterates this notion. Akin to the view along Via Baccina, the beauty in the dilapidated as much as in the everyday became inspiration to adopt a project that would come to actively embrace it’s inevitable transformation over time, accepting and commemorating the effects of weathering.
‘Every day, Venice suffers the death of a thousand cuts. It’s like entropy’s showcase, a laboratory where every day it is newly proved that beauty that can thrive in decline.’22
113.
114.
Having developed my concept from a simple framing of Notre-Dame’s missing spire to a championing of the supporting structures time forgot, I now had the knowledge of various precedents to inform how the junction between my intervention and the contemporary context might expose the equal role those supporting structures played in the Île’s history. After one last meal, fatti in casa, we reached our end. 115.
116.
Verona.
Milano.
Roma.
Paris.
... Fin.
Venezia.
Project Staging. ‘Addressing a relationship to studio themes, and a declaration of the project’s line of enquiry.’ Staging represented the developed continuation of where Primer had left off. While still only an early massing proposal itself, which would later evolve over the course of our graduation project, Staging was bolstered by all of our learnings from the Grand Tour. This provided a greater contextual understanding of our site and facilitated more aptly site-specific proposals. This development was accompanied by a requirement to develop a functional brief for our complex, setting out the parameters in which our proposal would then continue to operate.
‘‘Historical buildings are assemblies of alterations […] layered through […] centuries of use.’
119.
- Jennifer Shields.
120.
Relationship to Studio Themes
The misconception that architecture consists of discrete buildings built by individuals in discrete periods, which should therefore be preserved in their original form is, ironically, becoming outdated itself. The reality is that our cities and towns are the eclectic, and constantly developing, culmination of the anonymous masses. Nameless contributors are continually creating, renovating and extending urban spaces to generate the holistic fabric of our cities. This realisation is the counter argument to exacting preservation and instead advocates an acceptance of evolution and the expansion of these branching networks that are our cities. Adopting this latter approach, even when regarding a building as historically significant as Notre-Dame, my attitude to this project will expose the evolution that the Cathedral has already been subject to, thereby making no attempt to replicate Viollet-le-Duc’s former structure or its style simply for the sake of ‘preservation’. Kintsugi, or ‘Golden Joinery’, is a Japanese craft that typifies this approach. Rather than painstakingly reverting damaged crockery to its former, unblemished state, cracks are repaired with a gold lacquer. Breakage and repair is treated as an integral part of an object’s history, and something, in fact, to be celebrated rather than concealed. The photographs on the facing page exemplify Carlo Scarpa’s similar approach to the junction between old and new. Here, Scarpa’s junctions are treated as opportunities for subtle thresholds that, in a way, become the architectural equivalent of kintsugi.
121.
122.
Project Brief. My brief is, therefore, fundamentally concerned with expressing and memorialising the changes that have occurred to the Île de la Cité, without subscribing to the appeal to restore Notre‑Dame com’era dov’era. The brief will host a National Centre for Heritage and Preservation in a building that exposes and celebrates the historical evolution of its site through a series of changing tactile and material junctions. This will create a material journey through history that is visibly apparent to the passing visitor, helping to illustrate the richness of the Île de la Cité’s history of which, sadly, many Parisians remain unaware. This journey will begin as a wooden pavilion above the crypt, referencing the now‑burned ‘Forest’ of oak construction in the Cathedral’s roof space, before meeting a limestone structure in a direct relationship with the Cathedral to the east. As the programme turns private, the journey will travel through Viollet-le-Duc’s eighteenth century outhouse and into a kintsugian, steel and glass research space within the Cathedral itself, marking the contemporary addition to Notre‑Dame’s history. In addition to the functional requirements of a research space, a public auditorium and an exhibition hall, I intend to provide a covered meeting space that will encourage Parisians to perceive the Île as much as a destination for locals as it is for tourists.
123.
124.
The site lies in the capital’s 4th arrondissement, near to the city centre with a subsequently heavy pedestrian footfall. It is estimated that Notre‑Dame attracts 13 million tourists per annum. 25
Site location.
At the junction between Paris’ Left and Right Bank, the site is situated in the middle of the River Seine, occupying eight of the thirty-seven bridges that connect the two halves.
The site is located in the historic heart of France’s capital, Paris. Situated to the north of the country, the city has a mild climate, with an average annual temperature of 11˚C.24
125.
126.
Site Analysis. The site sits to the south-east of the Île de la Cité above the Place Jean-Paul II. Haussmann’s extensive parvis in front of the Cathedral opens the iconic West façade to the brunt of Paris’ prevailing south-westerly wind, while the vegetation behind Notre‑Dame receives day-long sunlight. There is a long, uninterrupted thoroughfare from the Hôtel de Ville on the Right Bank through to the Square René-Viviani on the Left Bank. This important line of sight is perpendicular to the main axis of the Cathedral and parallel to an equally valuable view through the Hôtel‑Dieu and across to the Left Bank.
127.
128.
Sainte-Chapelle.
1200 1300 Notre-Dame de Paris.
1400 1500
An Architectural Continuum.
Place Dauphine.
1600 1700
Mémorial des Martyrs de la Déportation.
Préfecture de Police.
1900
Hôtel-Dieu.
Palais de Justice.
1800
Aujourd’hui.
129.
An Architectural Vacuum.
The call for Notre-Dame to be exactly returned to le‑Duc’s designs is an approach that would, arguably, squander what is a once in a lifetime opportunity.
As much as the Île boasts these varied structures, the negative effect of exacting replication can also be seen upon the Île.
The Île itself is a meshwork of various eras which cumulatively combine to inform the Île of today. To then halt this evolution would be counter to the very process that formed the Île.
The diagram to the left depicts a cluster of nineteenth century buildings that becomes more alarming when depicted in the model to the right. Haussmann’s renovation of Paris erected several large institutions, and modified other structures, so as to impose an inconceivable homogeneity upon the Île. Unfortunately, the result is an apathetic island that locals see as little more than a tourist hotspot and government offices.
From the oldest standing structure on the island (the thirteenth century Sainte-Chapelle) to the most modern (the twenty-first century Mémorial des Martyrs de la Déportation), the Île boasts a range of structures depicting an architectural continuum spanning eight hundred years. Accordingly, I will not subscribe to the call to replicate an earlier Notre-Dame, nor shy away from building within or adjacent to it, as I believe a visible progression is fundamental for the Île’s continued development.
I believe this results from the historical erasure Haussmann’s renovation caused. It is crucial to stress that other historical structures remain, they are simply swallowed, as with Sainte-Chapelle, by structures mimicking a common era, attempting to give the face‑value, inaccurate appearance of an Île that appeared overnight.
130.
An Architectural Vacuum. A panoramic collage explains the aforementioned sentiment with a view of the Île’s north bank. The unsettling lack of diversity along the entire north bank gives Haussmann’s architecture the impression of an imposing barricade of nineteenth century limestone.
131.
132.
Uninterrupted Vistas. Another product of Haussmann’s renovation, his boulevards will play a formative role in the urban massing of any contemporary Parisian development. As the tallest structures of Medieval cities, cathedrals were both a symbolic gesture towards God and a way‑faring marker for pilgrims. As such, many cathedrals are central and taller than their surroundings, making them already visible from afar. Haussmann’s renovation then opened these vistas even more drastically into a network of uninterrupted boulevards. This spread indicates a few of those streets which enjoy distant views of Notre‑Dame. While still building up and adjacent to Notre‑Dame, I intend to acknowledge the importance of these boulevards by contrasting areas that feel enclosed and secluded, much like a cloister, with areas where certain principal axes will puncture through those spaces.
133.
134.
Observed Language. Depicted are selected elements of Notre‑Dame’s material language that I intend to reference in my own.
135.
Proposed Language. Subsequently, this is then an initial proposal for the material language of my own project.
136.
Evaluation. The initial massing proposal rather heavily focussed on negatively framing Viollet‑le‑Duc’s missing spire. This was effective in terms of highlighting an aspect of the Cathedral’s past, however it was a little one‑dimensional in its focus. In order to develop this proposal, I looked at incorporating more focal points to give the building a more well-referenced, site-specific feel.
137.
138.
Precedent. The City Pavilion in Ghent not only responds to a similar context as my project, proposing a building before a historically significant church, but the Belgian project also acknowledges similar influences. Known as The City of Three Towers, the twin peaked roof to Ghent’s City Pavilion emphasises the verticality of its culturally-significant neighbours while, importantly, there is no attempt to replicate their materiality or architectural style. The pavilion’s natural palette addresses the council’s sustainability concerns and fosters a welcoming city centre social hub for the locals. The public square has been re-planted with more green space and lowered to include usable space below grade. The pitched roof allows the pavilion to subtly correspond to the various string course heights of the surrounding façades.
139.
140.
Development.
141.
142.
Evolution. The developed proposal for the external space shows two pavilions, one with a second, stone‑clad storey before Notre‑Dame’s West façade. The permeable ground floor is cleft along Hôtel‑Dieu’s central axis, affording a view directly across to the Left Bank. Timber pilotis reference the oak ‘Forest’ and the wooden Lutetian structures in the crypt directly beneath. The pitched roof ’s varied heights correspond to the surrounding buildings and add verticality.
143.
144.
Evolution. The massing model I created for this proposal shows a segmentation into four areas, with four historical focuses to match. Initially, to the south, a public-access meeting hub and information centre is placed directly over the existing crypt and would include vertical circulation to facilitate a direct relationship with this. Then, separated by a Haussmannian boulevard along Hôtel-Dieu’s central axis, a pitched limestone construction is in a direct relationship with Notre‑Dame’s West façade. As the programme turns private, le-Duc’s outhouse is re-purposed as archive space and private access to vertical circulation up the Cathedral’s south tower. Finally, a private, glass-covered research space crowns the proposal.
145.
146.
Evolution.
147.
148.
Evolution. Internally, this proposal for an atrium returns Notre‑Dame to the secular use that it saw during the French Revolution while simultaneously retaining elements of the Cathedral’s original function as a cloister and safe‑haven from the city. The damaged vaulting would be repaired only to the point of structural stability and then an infill steel and glass structure would provide internal weatherproofing. The slender steel frame references the lightness and verticality of Gothic architecture while the glass facilitates the Gothic desire for light-flooded buildings. Two additional thresholds are proposed above. Firstly, where the Cathedral’s third storey was demolished, a public‑access, external observatory is reinstated, affording views to the south of Paris and over to Île-St-Louis. The second is a private research space housing the main body of the National Centre for Heritage and Preservation, allowing those conducting research to be physically located in the very heart of their studies.
149.
150.
Evolution.
151.
152.
Inspiration. ‘‘Paris, viewed from the towers of Notre‑Dame in the cool dawn of a summer morning, is a delectable and a magnificent sight; and the Paris of that period must have been eminently so.’
- Victor Hugo. 153.
The historic photograph to the left inspired my research into the buttress space and how feasible inhabiting it might be. The fact that a third, internal tribune space is not uncommon in other cathedrals suggested that this could be a great opportunity for an intimate exploration of Notre‑Dame’s history at a human and palpable scale. 154.
155.
156.
Thinking Through Making. ‘A conceptual exploration of material and tectonic qualities.’ Thinking Through Making Week facilitated the development of an abstract tectonic model that would then inform our ongoing graduation projects. I took this opportunity to materialize my knowledge on kintsugi, investigating the three-dimensional consequences of collaging disparate materials together. Acknowledging Notre‑Dame’s Gothic language, I applied the kintsugi methodology to a stone gargoyle and, as a development, included elements of materials with an inherent sense of time, such as oxidised copper. The result was a statue symbolising different eras which, in their fusion, had gained an additional character that was inexplicable simply by the sum of its parts.
‘A people without the knowledge of their past history, origin and culture is like a tree without roots.’
- Marcus Garvey.
158.
Authentication. David Banash describes collaging as a nostalgic work of preservation, idealising ‘materials of the past into experiences of […] authenticity.’26 Architecturally, Jorge Otero‑Pailos seconds collaging’s ability to authenticate in his distinction between untouched monuments and collaged monumentaries.27 By collaging contemporary supplements onto existing documents a new‑found perception of the original’s authenticity is forged. Pictured here, limestone supplements frame the original stones of a Roman theatre in Arles and lead the visitor to trust that the worn stones between are legitimate originals, despite any conclusive evidence. Juhani Pallasmaa’s ‘irreconcilable origins’ are fundamental to this method of authentication, as documents only become validated by ‘our human propensity towards binary thinking’: a supplement is so overdetermined as artificial that it makes the original appear authentic.28, 29 Importantly, Otero-Pailos’ document-supplement relationship is symbiotic not parasitic: a document without supplement becomes rubble while a supplement without document is inadmissible evidence. In a Vitalist reading, this describes a holistic quality to the monumentary that is inexplicable by the sum of its parts. Diane Waldman describes this phenomenon through the layered meanings of fine-art collage: the meaning of the original fragment; the meaning it gains in association with others; and the meaning it acquires following their metamorphosis.30
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Appreciation. Analysed earlier, this ‘other’ quality is well represented by Stern’s abutment. Here, the junction of old stone and contemporary brick has created an appreciation of the Colosseum frozen in time. Beforehand the crumbling stonework looked verging on collapse with an inherent movement, but the stasis caused by its marriage to Stern’s intervention now implies a suspension in time, while still providing the primary function of authenticating the stonework. Importantly, neither constituent part has lost their own qualities - the brick remains stoic and the Corinthian capitals remain a refined element of the composition their junction has simply created a new, unaccountable, temporal appreciation. It is this phenomenon that I intended to explore in my conceptual model, with a particular focus on how the result might capture a similar sense of passing time.
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‘Golden Repair’. ‘This unique method celebrates each artefact’s unique history by emphasizing its fractures instead of hiding them. In fact, kintsugi often makes the repaired piece even more beautiful than the original.’31 Kintsugi thus perfectly embodies this idea of the monumentary being greater than the sum of its parts, with the added relevance of visibly representing an object’s history. Indeed, much like my interpretation of Notre‑Dame’s fire, kintsugi perceives an object’s failings as fundamental parts of its history not to be erased. Not merely exposing the history of each constituent fragment, the very seams of gold themselves become a beautiful way of memorialising the exact moment the original fractured, much like Stern’s falling voussoirs. As such, I began my own process of a kintsugi restoration, repairing a shattered China paperweight to put this theoretical foundation into practice.
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Restoration. The process of identifying, cataloguing and reconstituting the original paperweight.
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The above photograph pictures the restoration in process, with the beginnings of the golden seams spreading across the paperweight and connecting it into one united meshwork.
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Completion. This comparative study depicts how recombining the disparate fragments has authenticated each one in a manner that would not be possible if simply returned to their original form. By restoring the paperweight with a gold-leaf supplement, our interpretation of the original’s authenticity has begun. 169.
Yet, collage remains just one part of authentication which is, in fact, ‘based on social, political and cultural struggle rather than material factors.’32 Thus, it will be the public’s perceived involvement in Notre‑Dame’s restoration that ultimately determines the restoration’s success and it is this perception my next model explores. 170.
Investigation. I applied my learning to a gargoyle as a way of developing a more context-specific study. This spread depicts the copper supplements being formed and provides a crucial lesson in curating a monumentary. The importance is less in the supplement’s materiality - a series of steel supplements may have been equally effective. The real significance is in replicating the original form as this provides a silhouette for the viewer to project their own interpretation of the original onto. Otero‑Pailos makes the analogy of a theatre stage, effectively developing this idea of projection and making the supplement ‘so highly visible as to be ignorable, something we can mentally remove from the work itself.’33 This is, of course, all dependent on having done an accurate investigation of the existing form in the first place, which is where the process links to le-Duc’s preservation principles. While le-Duc was well known, and in cases infamous, for not being afraid to alter historic buildings, any contemporary alterations he did were in a search for the ‘truth’, or fundamental essence, of the original building, and this could only follow from a thorough, detailed study of the original. ‘Viollet‑le‑Duc’s concern for seeking the ‘truth’ contains traces or at least awareness of seeking the original. With a rationalist logic, [he] paid special attention to what was undiscovered and processed even the smallest details with great precision.’34 Therefore, to effectively create a kintsugian monumentary, it was first paramount to also follow le‑Duc’s process of detailed, thorough investigation into the essence of the original.
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Adoration. In a literal translation of Louis Kahn’s words, it was then time for the ‘adoration of the joint.’35 The application of the gold leaf ‘is about interrupting the seam and making something illegible.’36 By accentuating the model’s imperfect joint with such an ornate material, the juxtaposition between the stone and the copper fragments is magnified, facilitating a richer historical density in their union. At the same time, much like Koolhaas’ extension at the Fondazione Prada, the effect of including such a luxurious material, even in such a moderated quantity, is to add a sense of beauty to what is otherwise simply a broken, defunct and forgettable object. The impact that this little amount of gold supplement has on the overall aesthetic of the statue is celebrated in the following images.
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Dilapidation. As warned by García-Fuentes’ earlier definition of authentication, the material juxtaposition of stone and copper is insufficient by itself to convince us of the former’s authenticity. Thus, I coupled my kintsugi with a study of weathered materials to incorporate an inherent sense of time. The hope is that, by physically making the object a result of the weathering of its exact location, it might develop a personal, well-loved quality - like a favourite chair with one leg worn shorter than the rest by an owner’s idiosyncratic slouch. Hopefully, like the Venetian entropy, this endearing dilapidation will cast my project favourably in the eyes of the Parisian public, fulfilling the social criteria that García-Fuentes describes. Accelerated by ammonia, the result is a statue who’s weathering visibly tells a past history which is then embellished and verified in its dialogue with the stonework document.
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Transformation. Developing this study of weathered materials, I also collated a palette of materials which each expressed an inherent sense of time. The concept behind my graduation project is in uncovering the historical influences upon the Île de la Cité and how they have cumulatively evolved to inform the perception of the Île today. It is remiss to believe that any intervention then placed within this context will not be party to the same evolution and transformation over time. As such, I began to research material weathering and to collate a complementary palette that, over time, would end up, in effect, visually recording its own history. For the exhibition I oxidised copper, charred timber, fabricated faux-sea glass and chiselled a rough‑hewn stone tile.
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Exhibition. The exhibition at the end of the week provided an opportunity for critical reflection. The collaged document-plus-supplement three‑dimensionally restored the gargoyle to its original form while the union of the gold-leaf and oxidised copper provided a holistic value that was lacking in either fragment. The oxidised copper continued to patina over the week, evidencing preservation’s incessant temporality and the futility in stopping this evolution. My greatest takeaway from Thinking Through Making Week was the importance of a contrasting supplement in order to reinstate the silhouette of an original document that viewers can then project their interpretation of the original onto. Simultaneously, I gained a new-found focus on weathered materials visibly detailing a building’s developing history. Both these concepts were later central to my project.
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Project Realisation and Synthesis. ‘An opportunity to bring material, tectonic and technical considerations to the forefront of the graduation proposals.’ This graduation project has so far proposed a National Centre for Heritage and Preservation in the surrounds of Notre-Dame that intends to knock the Cathedral from off of it’s figurative altarpiece and instead raise awareness of the Île’s other structures, both present and historical, that have been just as influential in the Île’s ongoing development. The following chapter details the development of this idea into a physical building. This project was borne from two core principles: an attitude towards preservation that believes in the need for evolution, despite the popular calls for exacting preservation, and an adoption of Tim Ingold’s ‘Meshwork’ worldview, whereby all things, animate or inanimate, are described as having an equal influence in creating the world as we perceive it today.
‘The present is the past rolled up for action, and the past is the present unrolled for understanding.’
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- Will Durant.
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Meshwork. Essentially, as opposed to the common misconception of the Île as a tourist trap with Notre‑Dame as its sole focus, I am looking to present the Île as a collage of architectural fragments that generate something new in their reconfigured whole, much like the kintsugian process of forming a monumentary that I explored during Thinking Through Making. Indeed, kintsugi addresses both elements of my conceptual focus: Ingold’s meshwork worldview can be seen in the importance that each outlined, clearly‑defined fragment plays in the reconstitution of the whole, while the gold lacquer confidently expresses that this is not a simple imitative restoration job. Kintsugi therefore acts as the conceptual base for my project. Applying this concept to the site, and incorporating Ingold’s meshwork, this is to say that I do not want people to perceive the Île as merely the seat of Notre‑Dame but, rather, the resulting collage of Sainte‑Chapelle, Hôtel-Dieu and various other structures, including those that have since disappeared. What differentiates Ingold’s ‘meshwork’ from earlier ‘network’ theories is the addition of a temporal aspect – that things can affect other things even across time. Architecturally, that is to say that even a bygone ruin deep beneath Notre‑Dame can be seen to have as much of an impact on the way we perceive the Île as the Cathedral itself. To further clarify this link between architecture and the meshwork, I have included a brief excerpt of Tim Ingold’s Making: Anthropology, Archaeology, Art and Architecture. Through an analysis of the ‘ad hoc’ medieval restoration of Chartres Cathedral (itself subject to a disastrous fire), Ingold analyses Chartres’ ‘patchwork’ [of ] architectural elements’ and how they have combined to create an exterior magnificence through a process of ‘communicative exchanges’. The argument is one against the accreditation of a sole, identifiable architect, or cause, instead attributing the result to a meshwork process of reactionary influences each informing one another in the gradual, and continual, development of the cathedral’s being. Taken from Chapter 4, On Building a House, I claim no ownership of the following.
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The Cathedral and the Laboratory ‘In an audacious move, Turnbull invites us to compare the work of building a cathedral, in medieval times, to what goes on in a large-scale research laboratory, in our own day. In the laboratory, teams of researchers are beavering away at the task of advancing knowledge in some branch of science. Each team operates more or less autonomously, under the direction of research leaders who come and go, while nevertheless keeping in touch with all the others, exchanging information about protocols and procedures, methods and equipment, experimental results and the new ideas and thinking that flow from them. Out of all this activity, there emerges an edifice of a kind, recognisable as a body of knowledge. But this body is not the brainchild of a lone genius, born fully formed from his superior intellect, nor is the work of the laboratory single‑mindedly dedicated to its empirical substantiation. It is rather a composite of many parts, imperfectly integrated, every part conditioned by ways of doing things peculiar to each of the teams that have contributed to its development, and patched together thanks to communicative exchanges between them. Likewise, a great medieval building, as John James (1985: 123) writes of the cathedral of Chartres, ‘was the ad hoc accumulation of the work of many men’. According to James, the work of rebuilding Chartres was carried out by teams of labourers under the direction of no fewer than nine master masons, in some thirty separate, short-term campaigns over a period of more than three decades (ibid.: 25, 60). And the result, despite its exterior magnificence and apparent harmony, is revealed on closer inspection to be a patchwork of irregularly disposed and imperfectly matched architectural elements.
Just as there is no master plan for constructing the edifice of scientific knowledge, so, too, the building of Chartres did not bring to glorious completion the speculative vision of an unknown architect. No one could have predicted, while the work was underway, exactly how it would turn out, what complications would arise in the process, or what means would be devised to deal with them. Yet despite the episodic character of the work, and frequent changes of leadership, a degree of continuity was assured through the traffic of communication not only between master masons and workers on site, but also between the master and other masons, and between them and the ecclesiastical patrons who commissioned the work. And in this communication, no single item played a larger part than the template. Chartres remains unfinished. As with every other surviving structure of its kind, the work of building and rebuilding continues to this day, albeit motivated by a characteristically modernist desire to preserve in perpetuity what is imagined to have been a historically completed form, the perfect realisation of an original design. This one building, then, stands as an embodiment both of the geometric craftsmanship of the thirteenth century and of the architectural conceits of the twentieth, and gives us a bridge across which we can return from the building practices of medieval times to the contemporary understanding of the building, from which I begin this chapter, as the timeless expression of the architect’s vision.’41
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Summary. To summarise the conceptual basis behind this graduation project, I return one final time to Ingold’s text: ‘As we saw in [...] the specific case of medieval cathedral building, the world is not assembled like a jigsaw puzzle in which every ‘building block’ slots perfectly into place within an already pre-ordained totality. [...] The reality, again as in the case of the cathedral, is more akin to a quilt in which ill-fitting elements are sewn together along irregular edges to form a covering that is always provisional, as elements can at any time be added or taken away.’37 Therefore, the physical creation of this ‘quilt’ defines my project’s criteria for success. Bryony Roberts calls this a Tabula Plena style of experimental preservation, choosing to successively build over, around and on top of the existing context, as opposed to the Tabula Rasa approach, wiping clean the figurative slate for new growth, that Haussmann exhibited in the nineteenth century. Fundamentally supporting the belief that nothing can ever be designed, built or fabricated ‘from scratch’, I believe Haussmann’s Tabula Rasa to simply be a weak attempt at self-validating the imposition of an individual’s personal beliefs onto a particular context. As such, I hope that my Tabula Plena project can be seen to grow out from a rich variety of references and sources which are wholly not my own - I simply play a curatorial role in threading the influences together. With my graduation project’s core concept thus defined, the following pages catalogue the process of turning this concept into a reality. First and foremost, in line with Viollet‑le‑Duc’s own restoration approach, it was necessary to conduct a thorough analysis of the site as it appears today. Overleaf, a present day site plan, originally at 1:1,000, pays particular attention to the paving scheme of Place Jean‑Paul II.
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Uncovering. Using this site plan as a base, the paved outlines denoting earlier structures encouraged me to conduct further research into the buildings occupying the parvis before Haussmann. An orthographic piece of process work depicts the gradual layering of these historic structures at a relative scale into an Île-wide palimpsest. 199.
Palimpsest. The resulting palimpsest, geographically abstracted, is just a small flavour of the diversity that the Île has witnessed. These collaged floor plans alone, symbolising a span of 1,600 years, already carry an air of Ingold’s ‘quilt’. 200.
Perception. However, this diagram depicts tourism’s unfortunately common perception that the Île is home to nothing other than Notre‑Dame at its centre. This reduces the Île to a timeless snapshot, detached from the history that has, in fact, curated it and it is this misconception that my architecture will address. 201.
Reality. In short, I want to eradicate the notion of Notre‑Dame as the solitary focus of an Île frozen in time and to instead present it as this eclectic collage of architectural fragments each playing their equal part in continually reforging our perception of the Île at every given moment. 202.
Cloisters. An initial interest in cloisters developed from three core factors. Fundamentally, cloisters are a regular staple of ecclesiastical architecture and yet they remain something that the present day Cathedral lacks. Interestingly, my research discovered that Sorbonne University grew out from within Notre–Dame’s bygone cloisters before they, too, were damaged by fire.38 It seemed like a fittingly cyclical opportunity, therefore, to return to this language once again. Secondly, cloisters have long been associated with education. Whether that be monks in a cathedral like Notre‑Dame or the peripatetic school of Aristotle, the pairing is a well-established one. As such, a series of cloisters could neatly reference my project’s programme as a place for the education and research of the Île’s heritage. Finally, this image of Canterbury Cathedral depicts how cloisters can sprawl, interconnect and mesh into a physical manifestation of Ingold’s meshwork, literally tying disparate architectural fragments over time into a newly-appreciated whole, thereby physicalising my two core concepts.
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Precedent. This led to a study of the cloister-focussed post-war restoration of Frankfurt-Römerberg by the Team 10 architects of Georges Candilis, Alexis Josic and Shadrach Woods. The central cathedral, nearby waterway and city centre location bears a striking resemblance to my site and could suggest how a hypothetical expansion of my own project might look within Paris. Describing their proposal, the architects explained how the ‘mat’ typology allowed ‘the structure [to] wrap around and between remaining historic buildings, deflecting the outer edges of its grid to attach to their surfaces. While the structure ostensibly references the local city blocks, its primary impression is as a new ground for the remaining historic buildings. Like Yona Friedman’s Ville Spatiale, this project turns individual buildings into parts of an urban-scale megastructure.’39
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Methodology. Sadly, the Römerberg project was never realised. This restoration of Berlin’s Freie Universität, however, aptly explains Candilis, Josic and Woods’ form-finding process, and how I then adopted the methodology to discover my own massing. The final four diagrams on the facing page show how the Team 10 architects initially identified the principal, existing circulation routes through the site before blocking out the new green spaces that they desired to the same scale. By overlaying these two drawings, the result was a holistic massing whose primary circulation connected with that at the wider urban scale and left a series of voids for green space.
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Methodology. Adapting this methodology for my own historically‑focussed project, I extrapolated lines of sight, circulation routes and principal axes out into an overlapping, meshwork grid. This framework then defined the outline for a block massing, onto which I overlaid the rough location of the bygone structures that I had researched to create a resulting proposal in their subtraction. The sequence is included relatively succinctly here as the same process is later repeated, and included, once my project had further refined.
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Poche Plans. The Team 10 form-finding methodology resulted in these poche floor plans which then formed the basis of my Realisation Review proposal. Grouped here for brevity, the four storeys can be seen stacking towards their highest point in a direct relationship with Notre‑Dame’s West façade.
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Continuing central themes from my Staging Review, the ground floor plane, to the top-left, shows a pair of avenues defining a cruciform circulation route through the proposal, while the aerial view in the diagrams beneath clearly identifies the centres of disparate courtyards knotted together into a whole.
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Massing Model. These poche floor plans were supplemented by a three‑dimensional massing model for the Realisation Reviews. This annotated photograph organises the massing into rough programmatic blocks. A gallery occupied the north-west, facilitating vehicular access for the moving of artworks while also receiving shadowless north light. A lecture hall, raised to the height of Notre‑Dame’s ‘Gallery of Kings’, initiated a dialogue with the iconic façade that provided a unique, and relevant, backdrop for lecturers. A public library, café and meeting space occupied the southern waterfront, offering views across the Seine and sun‑trapped public courtyards. Archives and offices differentiated a public cloister above the footprint of the bygone archiepiscopal palace.
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Aspect. A crucial element to this proposal is in knitting disparate elements into a whole. The ‘quilt’ would not be appreciable, however, without then being able to see a contrasting element from each location. Uninterrupted lines of sight between courtyards are therefore critical to the concept’s success, of which some are detailed above. 215.
Organisation. Finally, this roof plan labels each of the open-air courtyards with their respective historical centres, and has a satisfying similarity to the Römerberg proposal from before.
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Development.
GALLERY.
Following feedback from the Realisation Review (which was deemed conceptually compelling but in need of more detailed plans and sections to then assess the junctions between new and old), this revised floor plan is a rough development that begins to address the reviewer’s comments.
MUSEUM.
Most notably, the greatest issue that the Realisation Review uncovered was the proposal’s proximity to Notre‑Dame’s West façade which was deemed, by a Frenchman no less, to have crossed the line and negatively encroached upon the Cathedral.
CAFE.
In response, the footprint of the bygone Cathédrale Saint‑Étienne de Paris can be seen in this first revision to have pushed back the proposal in creating, effectively, a reduced parvis of its own.
AUDITORIUM.
ARCHIVES.
OFFICES & LABS.
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Developing this proposal, and having expanded my earlier research into the Île’s forgotten structures, the following slides show the refined version of Team 10’s form-finding process, now with additional historical floor plans and a clearer understanding of the most important circulation routes and axes.
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Exhibition.
Education.
Congregation.
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Organisation.
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Conclusion.
Much like before, this iteration defined a south‑facing congregation area with views of the Seine and a north‑facing exhibition space with shadowless light. This time, however, the stepped‑back education centre held its conversation with Notre‑Dame’s façade from a social distance.
The development of this form‑finding process included the addition of the previous Hôtel-Dieu’s floor plan, alongside the parish churches of Saint-Christophe and Saint-Jean‑le‑Rond, incorporating further complexity and references to the resulting whole.
The result is a series of external courtyards and internal atriums that are all physically connected by the same complex - directly referencing fifteen structures (with indirect references to several more) all within the one contemporary intervention.
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Hierarchy. Removing any walls and internal details for a moment, this abstracted site plan highlights the unusual hierarchy whereby the long‑gone and ‘invisible’ structures, symbolised in a collage of different paving stones set within the parvis floor, are arguably just as important, if not more, than the actual buildings themselves. That is to say that the landscaping proposal, a contemporary elaboration of the archaeological excavation conducted throughout the 1970s, is just as fundamental to this graduation project as the building proposal itself.
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Parti. These parti diagrams indicate the proportions of the subtracted voids, revealing the golden rectangles, perfect squares and equilateral triangles that were used to create their seemingly random subtractions, returning a satisfying level of order to an otherwise apparently chaotic composition. Extrapolating Notre-Dame’s east-west axis until its junction with Hôtel‑Dieu’s own north-south axis defines a cruciform void through the complex which, though asymmetric, lends a ‘balance by configuration’ to the whole. At the same time, this process opens two Haussmannian avenues perpendicularly through the complex. Most importantly, however, is the central access offered by the cloister typology.
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Teaching Space
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Programmatically, public facilities to the west become gradually more private as the complex heads east. The museum and gallery spaces enjoy shadowless north light, while the social hub along the Seine’s waterfront, with a café, library and public auditorium, benefit from south‑facing daylighting.
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The cloister typology facilitates the entire public complex being centrally‑fed from one courtyard, creating a distinction with the semi‑private courtyard around the statue of Charlemagne to the south‑east which is surrounded by private research and teaching space - an architectural solution to controlling access. 230.
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Transhistorical. This temporally-exploded axonometric depicts how structures dating as far back as AD 690 have influenced the form of my contemporary intervention just as much as Notre-Dame has done. Despite relying heavily on structures that themselves existed within completely different contexts, I have been careful to ensure that the final form nevertheless sits sympathetically within its current context, as seen at the top of the diagram.
Transhistoricity:
The quality of holding throughout human history, and not merely within the frame of reference of a particular society at a particular stage of its development.42
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Nolli. Regarding the wider urban context, my version of a Nolli map shows how my intervention’s programme moves from public to private as it expands eastwards from the central parvis towards Viollet‑le‑Duc’s bâtiment du personnel. Simultaneously, a Nolli map is useful in reinforcing the idea of a series of cloisters and subtractions, each seemingly with its own focus but collectively harmonious at the urban scale - a theme that is replicated throughout much of the Île and central Paris generally.
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Scale 1:200 5
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Principal Floor Plan and Long Section. This principal floor plan and respective section describe the final result of my form-finding, research and iterative development. This proposal thus formed the core of my Synthesis Review, with its references to mat architecture and cloister typologies providing an aerial appreciation of the meshwork of spaces connecting various focal points into one, unified whole.
Section A.
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Section A.
Scale 1:200 5
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Dilapidation.
Included here, this particular detail of the site section depicts two of the three vaults which collapsed following the fire of April 2019. This minor detail is simply intended to draw attention to the kintsugian nature of the graduation project - that evolution, whether perceived to be positive or negative, is nevertheless worth accepting and championing. As such, care has been taken to accurately depict the current state of dilapidation that Notre‑Dame’s vaulting and roof structure have been left in.
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This principal ground floor plan, with the inclusion of the hard landscaping proposal, is an effective overview as to the various influences upon the project’s forms, and their respective external courtyards and internal atriums. The following pages analyse a selection of these spaces in greater depth.
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Seminar Rooms. 1:100 at A2. Principal floor plan.
The Charlemagne Courtyard. To the south, a more intimate courtyard around the statue of Charlemagne et ses Leudes differentiates the private seminar spaces around it from the public‑access offered by the central courtyard. Following a wall of the bygone Hôtel-Dieu, a continuous north‑south wall divides the private spaces to the west from the crypt exit and public spaces to the east. Simultaneously, this wall defines a linear circulation route that terminates in a lookout end-space with views south across the seine or east towards Charlemagne. Having specified a water-source heat pump system in ARC3013, I propose that the return water, following a filtration system in the underground car park, is routed beneath this look-out space. The water will then cascade over the Promenade Maurice Carême and reinforce the complex as an immovable product of its location. This block also houses the existing crypt exit, and, having been disorientated underground, affords visitors with west‑facing glazing that, upon resurfacing, immediately reorientates them with Notre‑Dame.
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The Saint-Étienne Courtyard. This ground floor plan of the museum depicts the location of Saint-Christophe’s bygone columns, and how my complex has adopted them. In its indented east façade, it also shows how the museum has been informed by the oldest structure on the site - the Cathédrale Saint-Étienne - in creating a miniature parvis in front of Notre‑Dame. An alleyway leading off the bygone Rue-Neuve-Notre-Dame forms a subtle indication towards the museum’s main entrance to the south.
Museum Space. 1:100 at A2. Ground floor plan.
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Internally, the ramps and steps between rooms provide a continual change in level between each area of the exhibition which turn walking through the museum into a physical act of excavation in itself. At the same time, this allows for different areas of the museum, each addressing different periods of the Île’s history, to have different finished floor levels - resembling the geological stratification of an archaeological dig.
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The Saint-Christophe Atrium.
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In section, the additional benefit of these changing floor heights is that the atrium space to the north becomes a metre below grade, giving a sense of excavation to the passer-by peering down from outside. Happily, the resulting height from floor to ceiling then exactly matches the nine-metre height of Saint‑Christophe, meaning that the collaged void in the museum becomes an exact sectional representation of the old parish church. Hopefully, standing within the museum space will give an impression of how it might have felt to have stood in the original. Directly above Saint‑Christophe’s footprint, a publicly‑accessible roof terrace provides a close connection with the extensive green roofing as well as a novel, elevated view of Notre‑Dame and the surrounding Île.
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15 Clerkenwell Close.
The Saint-Christophe Façade.
Elevation A.
Externally, the museum’s north façade takes reference from a study of Amin Taha’s 15 Clerkenwell Close. 15 Clerkenwell Close is surrounded by buildings ‘mostly made up of half-brick stretcher bond, pseudo pastiche façades, unable to quite tell which period or architectural language they represent’.43 St. James’s Church stands as the local exception and Taha’s post and lintel limestone construction was explicitly specified to reference the historic monument. In fact, the quarry Taha chose came from the same region as the limestone that built St. James’s predecessor. 15 Clerkenwell Close ‘aims in some way to better connect and represent the past [...] reminding us of the all‑but‑vanished 11th century limestone Norman abbey.’44 The courage to break with the status quo, in this case the ‘half-brick stretcher bond’, and adopt the structural system of ancient precedents allowed Taha to collage ancient aesthetics with contemporary functions.
Adopting this structural precedent, I have therefore extruded the ancient columns of Saint-Christophe in a locally-sympathetic limestone, referencing the materiality of all three of the Centre’s surrounding buildings. Standing proud of the façade, these quarry‑hewn columns provide a haptic quality that reinforce the idea of excavation. The rough nature encourages passers‑by to run their fingers over any signs of weathering, themselves thereby accelerating the process and generating an element of the façade representing Saint‑Christophe which visually weathers at a different rate to the remainder of the museum. Double-height windows at ground level allow passers‑by to peer down into the museum, while the windows above match the rhythm and proportions of the facing windows on Hôtel‑Dieu.
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Gallery Space. 1:100 at A2. Ground floor plan.
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The Geneviève Courtyard. To the north-west of the site, the main gallery space is more generally defined by an eighteenth century foundling. However, Sainte‑Geneviève, one of the few historic structures already denoted in the current parvis paving scheme, indicates a recessed entrance foyer in a similar fashion to how the Rue-Neuve-Notre-Dame defined the main entrance for the museum. Internally, the dotted lines indicate a roughly square atrium above that generates a sort of courtyard‑in‑section, forging a plan to section relationship that becomes mirrored throughout much of the proposal. Servant spaces, including bin stores, plant rooms and a staff break‑out space, are pushed to the northern perimeter, leaving a large gallery atrium in the centre. A platform lift to the east re-purposes part of the current car park beneath as a store for large scale artwork.
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The Enfants-Trouvés Atrium.
Inside the gallery space, here exhibiting a collection of busts and statues of Viollet‑le‑Duc, the explicit influence of the aforementioned foundling can be seen. Chosen for its very collaged nature in itself, much of the proposal is specified as exposed CLT. Window and door reveals are particularly left exposed so as to exhibit the material’s visual layering. However, in a contrastingly heavy limestone, this feature staircase extrudes the footprint of the foundling’s outhouse and turns it into the central circulation core for the gallery. The wide spans capable of HSK-connected CLT floor slabs allow for this central atrium to achieve a comparable sentiment of spaciousness in what would have been the foundling’s external courtyard.
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Private Archives. 1:100 at A2. Principal floor plan.
The Viollet Archives. 0
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In what is already a completely private building, this extension proposes the central hub for the private research and archival work behind the National Centre for Heritage and Preservation. Physically detached from the rest of the complex, this outhouse sets up future possibilities for the enclosing of a cloister around Notre‑Dame’s South façade, in connection with le‑Duc’s other structure, the Sacristy. To the east, where this ground floor plan spills out along two linear circulations (first through a glazed loggia and then a covered balcony above to the green space beyond), a series of glulam columns provide a place for peripatetic learning and opportune academically-minded conversations. This glazing also faces Notre‑Dame’s South façade, allowing researchers a view of one of the very buildings they are researching.
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Link to Viollet.
Analysing one of le‑Duc’s own structures seems as appropriate a place as any to reflect upon the influence his restoration process had upon my own. As was mentioned during my Thinking Through Making analysis, Viollet‑le–Duc is well known for having not been afraid to modify historic buildings. Importantly, however, this was always following the rational, detailed analysis of the original in a search for its fundamental ‘truth’: ‘with a rationalist logic, [le‑Duc] paid special attention to what was undiscovered and processed even the smallest details with great precision.’40 With this in mind, my intervention to le‑Duc’s rectory was only following a lengthy period of research into the building’s architecture and history. This series of orthographic drawings resulted from this analysis, and was bolstered by further diagrammatic analysis overleaf.
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Analysis.
Application.
This ground floor plan of le‑Duc’s rectory shows a roughly square plan, with one quarter slightly enlarged, but an overriding attention to perfect geometry nonetheless. Of secondary importance is the long corridors and linear circulation, seemingly off-centred, that define an overall balance to the composition.
Applying this analysis, my archive mirrors the square about a linear circulation. A secondary, off-centred circulation ties le‑Duc’s staircase with my own, reinforcing this symmetry. The loggia is defined by a golden rectangle rotated about the double square, while the overhang is a continuation of this golden arc until the façade becomes parallel with the path beyond.
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The Central Cloister. Easily accessed by Rue de la Cité, this building forms the main public hub of the complex, as well as the vehicular access to the lift platform that will store the gallery’s artworks. The form of the building is a partially‑opened cloister, allowing south‑facing sunlight to penetrate deep into a loggia that centres around a fountain fed by water from the Seine. More than simply a place to catch up, this building provides a road‑accessed bike store, given cycling’s local popularity, as well as a tourist reception to the north and a café with bi-folding doors and waterfront seating to the east. Most crucially, however, is the housing of the current crypt entrance, and the inclusion of a lift for disabled access. A small window on ground level gives an external view all the way down and into the crypt.
Meeting Hub. 1:100 at A2. Ground floor plan.
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Cross Section. Section A. In section, this proposal shows the project’s simultaneous relationship with HÔtel-Dieu, Notre‑Dame, Charlemagne, the Seine and both the crypt and car park underground. Of note is the Haussmannian avenue puncturing the complex along Notre-Dame’s central axis, and the play in datum along the site - particularly where a strategic window above the crypt exit gives onlookers an external view into a recessed internal space, for example.
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The Charlemagne Courtyard.
Section A.
Seen here in section, this detail of the Charlemagne Courtyard is notable for three reasons. Firstly, the existing underground car park, and proposed location of the WSHP can be seen directly beneath the seminar look-out end space, and the return water can be seen going beneath two elevated pathways before cascading into the Seine on the right. Secondly, where the water has been used to tie the project to its location, it is hoped that a green roof of regional meadowflowers, seen on both seminar blocks here, will have a similar effect particularly if the famous Notre‑Dame bees can be encouraged to migrate! Finally, the balcony which threads a connection between the two seminar blocks has granted an unprecedented eye‑level view of the Charlemagne statue, encouraging a new appreciation that was simply impossible beforehand.
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Long Section. Section B. This longitudinal site section shows how the proposal corresponds with the string course heights of the three buildings currently surrounding it, while leaving Haussmann’s boulevards uninterrupted to the east and west. I have taken the section through this area as it shows two aforementioned moments where the footprint of a previous structure has been collaged with my own in kintsugian fashion. To the left, the gallery feature staircase denoting the foundling outhouse can be seen, while to the right, in the museum space, the five glulam columns reinstate the earlier columns of Saint-Christophe. This section also addresses the museum’s varying floor heights, as the Saint-Christophe atrium ramps back up to grade level.
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Materiality.
Giving a three‑dimensional representation of the proposal, a collaged site axonometric shows how the proposal would sit upon the site. Crucially, this aerial perspective highlights the differentiation in roofing materials across the complex. Where the influence of bygone structures can be appreciated from the ground floor via the building’s very massing, Notre‑Dame’s publicly‑accessible north tower means that the roofscape of any proposal is visible too. Therefore, where the complex sits directly above bygone structures, by contrasting a publicly‑accessible, slate roof terrace from the extensive green roof elsewhere, the concept of collaging bygone architectural fragments becomes explicit from every angle. Regarding materiality, the primary concept behind this graduation project is in expressing the various influences that have evolved in forming the Île as it stands today, and it would be remiss to then pretend that, on completion, my project will somehow stand isolated from this continual evolution. As an extension of my research as a part of Thinking Through Making, I have therefore specified materials with a visually-inherent age, such that, as the complex beds in to its context, the façade actively chronicles its transformation and evolution. Two storeys of rough‑hewn limestone on the first and ground floor form a monumental nod to the rusticated pediments on the surrounding buildings, while pre‑weathered horizontal copper siding clads the floors above. By specifying a horizontal orientation, once the copper begins to patina, the façade will develop a stratification that will visually resemble the different historical layers of an excavation, helping to make the building’s concept understandable to even just the passer-by. Externally, this copper is detailed so as to actively facilitate an accelerated weathering, by directing run-off rainwater over a flashing and down the front of the rainscreen limestone cladding, rather than behind it, to encourage its discolouration. Internally, CLT wall and floor slabs are paired with glulam columns as two sustainable yet, crucially, inherently collaged materials that respond to not only the ongoing climate crisis, but the projects conceptual basis too. Lastly, a green roof is a final, crowning means of accepting that the physical appearance of my complex will only mottle, dilapidate and evolve but, in doing so, it will chronicle its future development and write its own history as it is lived.
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Conclusion.
In summary, I hope that my proposal can be seen to have adequately threaded together the various historical, undervalued structures of the Île de la Cité into one holistic National Centre for Preservation and Heritage that then encourages the reappraisal of the factors behind the Île’s ongoing development. By architecturally collaging as many as twenty‑two structures into what becomes an Île-wide monumentary, I hope that the result is a perception of the Île de la Cité as a meshwork ‘quilt’ that speaks of its collaborative, mutual and continual evolution.
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Appendix. From a study of historical floor plans, to a self‑made zine documenting a short photographic essay on the Île de la Cité’s historic structures, this appendix addresses a wide range of behind-the-scenes influences that have nevertheless played an integral part in the development of my graduation project. To not include them here would be to deny them the full credit to which I believe they deserve. The following have been included in order of the relevance I believe that they have had on my graduation project.
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Historical Floor Plans. ‘Architecture is the biggest unwritten document of history.’ - Daniel Libeskind. As the study of the previous structures upon the Île de la Cité formed such an integral part to my graduation project, I have collated these studies in an appendix, accompanying each one with a brief appraisal of their significance. The floor plans are collated in reverse chronological order, at the same time offering a quick study of how structures on the Île have evolved and, interestingly, enlarged over time. Where several structures were constructed in the same period they have been collated in order of their distance to Notre‑Dame, from closest to furthest.
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Cathédrale Notre-Dame de Paris. Architect: Various. Date: 1160 - Present day. The subject of our studio’s graduation projects, Notre‑Dame has now been the principal cathedral for the nation’s capital for almost nine hundred years. First commissioned by the Bishop Maurice de Sully, the structure has witnessed incredible historical events, including such little known events as a period of deconsecration during the French Revolution, the suicide of Antonieta Mercado at the altar and the baptism of the Prince Imperial, for which the decorations to the West façade, in the accompanying photograph, were designed by le‑Duc.
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Sacristie de Notre-Dame de Paris. Architect: Eugène-Emmanuel Viollet-le-Duc. Date: 1864 - Present day. A sacristy had existed on this site for many years, but it had been vandalised and left in a ruinous state by anti‑Legitimists in the same year that Victor Hugo’s novel about the Cathedral was published. In 1844, King Louis Phillipe ordered the Cathedral’s restoration, including the sacristy. Le-Duc designed the building as a treasury and museum for the Cathedral, and, fittingly for a building housing such ornate treasures, it became a disproportionately expensive element of the restoration - perhaps due to the need to dig nine metres below ground simply to reach stable foundations!
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Bâtiment du Personnel de Notre-Dame de Paris. Architect: Eugène-Emmanuel Viollet-le-Duc. Date: 1844 - Present day. As a complete fabrication, as opposed to the restoration and preservation elsewhere in the project, this outbuilding that le‑Duc designed provides a prime study of his approach to juxtaposing contemporary with existing. Today, the building is entirely private, as the residence of clergymen associated with the Cathedral.
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Charlemagne et ses Leudes. Architect: Charles and Louis Rochet. Date: 1878 - Present day. Now weathered to a brilliant green, the bronze statue is a dedication to Charlemagne who was, at different times, the King of the Franks, King of the Lombards and Emperor of the Romans. Situated to the south of Place Jean-Paul II, this statue is often overlooked but was, conversely, deemed so important to German history that it miraculously survived the German occupation of Paris unscathed.
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Crypte Archéologique de l’Île de la Cité. Architect: Musée Carnavalet. Date: 1980 - Present day. Chanced upon during excavations to install a subterranean car park beneath Notre–Dame’s parvis, this dense collection of ruins has been called the ‘most important archaeological crypt in Europe.’45 Boasting ‘Gallo-Roman ramparts, a third century Gallo-Roman [...] hypocaust, and cellars of houses dating back to medieval times’, this museum shows how previous builders ‘erected new structures over the ruins of previous settlements, raising the island about seven metres.’46
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Parking Notre-Dame - SAEMES. Architect: SAEMES. Date: 1965 - Present day. This project was begun in order to free up Haussmann’s parvis from the congested parking it was becoming subjected to. By chance, the project was temporarily halted as excavations stumbled upon Gallo-Roman and Lutetian ruins beneath the square. Today, the parking is relatively unused and, as one of four arrondissements that already enjoys one carfree Sunday each month, there are plans to eventually pedestrianise the entire Île.
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Hôtel-Dieu. Architect: Stanislas Diet and Jacques Gilbert. Date: 1877 - Present day. The Hôtel-Dieu was eventually rebuilt on the other side of the parvis during Haussmann’s renovation of Paris, following successive fires to the original hospital. As the only emergency centre for the nine central arrondissements, Hôtel-Dieu is the top casualty centre for the capital and, as such, a vital part of Parisian healthcare. Architecturally, the most notable addition is the Italianate chapel that Diet added to Gilbert’s designs at the rear of the central courtyard, whose rooftop can just be seen in the accompanying photograph.
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Préfecture de Police. Architect: Pierre-Victor Calliat. Date: 1867 - Present day. Built as a barracks for the Garde Républicaine in 1867, this building, then known as the Caserne de la Cité, became home to the Préfecture de Police in 1871 under the jurisdiction of Haussmann. The head-quarter’s for the city’s police department is currently planned for relocation under Dominic Perrault’s Mission Île de la Cité meaning that, relatively soon, the large Neo-Florentine building will again be free for re-purposing.
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Palais de Justice de Paris. Architect: Joseph-Louis Duc and Honoré Daumet. Date: 1868 - Present day. Like much of the Île’s buildings, the Palais de Justice has suffered several catastrophic fires, and yet, miraculously, Sainte-Chapelle has survived all of these, and a revolution, relatively unscathed. Reconstructed by Duc and Daumet, this sprawling mass of cloisters and judicial institutions was officially opened by Haussmann, and earned itself the Grand Prix de l’Empereur as the greatest work of art produced in its decade.
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Église Saint-Julien-le-Pauvre. Architect: Various. Date: Sixth century - Present day. As one of the city’s oldest religious buildings, Saint‑Julien‑le‑Pauvre has been re-modified and re-appropriated several times. The first mention of a church on the site dates back to the sixth century, with the current structure having begun construction in 1165. In the sixteenth century, the church even became a college for the nearby University of Paris, acting as a site for its College of Sorbonne for Theology and Arts.
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Église Saint-Séverin. Architect: Various. Date: Eleventh century - Present day. Named after the Séverin of Paris, a devout hermit who lived on the Left Bank during the fifth century, this Roman Catholic church has been the site of some fascinating historical events, including the first recorded surgery for gallstones! Following a great fire in the Hundred Years’ War, several architects have played a part in the evolution of Saint‑Séverin, including Charles le Brun, better known for his work on projects such as Versailles. Today, the result is one of the oldest churches still standing on the Left Bank, seen here in relation to Saint‑Julien‑le‑Pauvre.
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Église Saint-Gervais Saint-Protais. Architect: Various. Date: 1494 - Present day. Construction of the present church began at the turn of the fifteenth century but a parish church has existed on this site since the seventh century, making it the oldest parish church on Paris’ Right Bank. Further notable historic credits include the first French Baroque façade in Paris and the site of the single deadliest loss of civilian life during the German bombardment of 1918, when ninety-one people were killed by a shell falling through the roof during a Good Friday service. ‘It is a masterpiece which is lacking nothing except a place from which to see it.’ - Voltaire.
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ThÊâtre de la Ville. Architect: Gabriel Davioud. Date: 1862 - Present day. After Haussmann slated the preceding theatre for demolition, Gabriel Davioud rebuilt this theatre in the late nineteenth century but it did not acquire its present name until 1968, over a century after its completion. As one of two public theatres in the vicinity of Notre‑Dame de Paris, the theatre receives a huge draw, and has become internationally recognised for its contemporary dance productions.
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L’Ancien Hôtel-Dieu. Architect: Various. Date: 651 - 1877. The parts of this incredible hospital which still remain today are not only considered the oldest hospital in Paris, but the oldest worldwide that is still operating. The original building was constructed in the mid‑seventh century but the horrific sanitary conditions were finally given an opportunity for reform when the building suffered a major fire in 1772. Napoleon I undertook the reconstruction of the portions which had burnt, but it was not long, relatively, until the whole complex relocated across the parvis into the present day hospital.
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Hôpital des Enfants-Trouvés. Architect: Germain Boffrand. Date: 1747 - 1874. Paris of the seventeenth century had a staggering mortality rate amongst orphans, where less than 10% would reach the age of five.47 In hopes of lessening these statistics, St. Vincent-de-Paul formed a series of orphanages in 1670 which slowly expanded and relocated until, in 1746, Germain Boffrand was tasked with this construction in front of Notre‑Dame’s West façade. The project was a great success, and a principal part of Rue Neuve-Notre‑Dame during its life, but it was eventually demolished in 1874 to expand the parvis and make way for the present day Hôtel-Dieu.
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Église Saint-Christophe, and parish chapels. Architect: William of Paris. Date: 1099 - 1747. From left to right: Église Saint-Christophe, Église de Saint-Jean-le-Rond, Église Saint-Étienne and Église Saint-Denis-du-Pas. Informing a fundamental part of my proposal, research of St. Christophe constituted a large part of my graduation project. Originally a monastery for women, this church was constructed by Bishop William in 1099, gradually enlarging until it completely detached from the Hôtel‑Dieu as its own parish church in 1220. It was eventually demolished in 1747 during the reorganisation of the parishes of the Île de la Cité to make for a larger parvis.
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Église Sainte-Geneviève-des-Ardents. Architect: Various. Date: 1128 - 1747. The oldest attested parish church of the La Cité quarter, this church was rebuilt in the fifteenth century by donations from the bookseller Nicolas Flamel, whose bust can be seen in a niche to the left of the door. The building was demolished in 1747 to make way for Germain Boffrand’s Hôpital des Enfants Trouvés.
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Cathédrale Saint-Étienne de Paris. Architect: King Childebert? Date: Fourth century - 1160. Comparatively little information remains about the structure that Notre‑Dame grew out of, but it is suggested that it was founded by the Merovingian king of Paris in the fourth century. The cathedral was spared during the Norman invasion of Paris in the ninth century after which it is not mentioned in text until 1110, when we learn that it is in ruins. When Maurice de Sully ordered the construction of the present day Notre‑Dame, it was decided that the site of Saint-Étienne would provide the foundations.
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DeThroning Notre-Dame. ‘A walk about Paris will provide lessons in history.’ - Thomas Jefferson. This zine, collated on my return from the Grand Tour, was a voluntary exercise in documenting the under‑appreciated and overlooked structures in the area within Paris’ Île de la Cité region. A great excuse for some photography while on site, and an informative process in page layout and zine production, the real benefit of this project was in making it explicitly apparent just how much the architectural draw of Notre‑Dame, fuelled by tourism, has sapped other, equally commendable, historic structures of the recognition that they deserve. This then becomes a visual recounting of my initial argument behind my ARC3001 concept.
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Throning Notre-Dame: A Photographic Essay.
Rory Kavanagh, Notre-Dame de Paris.
Nikon D5300, 18-55mm f/3.5.
Dethroning Notre-Dame: A Photographic Essay. A photographic zine championing the supporting role of structures in the shadow of Notre-Dame de Paris, exemplifying how tourism’s disproportionate infatuation with Notre-Dame criminally under-appreciates the ancillary structures of the Île de la Cité and surrounding area.
Rory Kavanagh.
ĂŽle de la CitĂŠ, Paris.
Dethroning Notre-Dame: A Photographic Essay.
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Notre-Dame de Paris.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Église Saint-Julien-le-Pauvre.
Pictured is the Église Saint-Julien-le-Pauvre, one of Paris’ oldest religious buildings, the site of the last Dada performance art experiment and, to this day, a functioning Greek Catholic parish church. Yet, despite these remarkable credentials, Julien-le-Pauvre resides in relative anonymity against the insatiable draw of Notre-Dame’s popularity.
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An initial survey might reasonably perceive Notre-Dame as the epicentre of the Île de la Cité. However, a closer inspection would reveal a supporting cast of ancillary structures that, on first glance, simply seem to be hiding in plain sight.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
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Église Saint-Julien-le-Pauvre.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Notre-Dame de Paris.
Notre-Dame de Paris.
Some even denied the Île represented Paris at all.
As a daily background to their lives, the Cathedral has fallen into unremarkable normalcy. Nevertheless dear to their hearts, the Cathedral might not be as central to Parisians as tourism would suggest.
A Parisian sentiment of indifference towards Notre-Dame.
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Exacerbated by the cordon currently surrounding Notre-Dame, a study of Parisians’ experiences of Notre-Dame found that many locals actively avoided the Île, perceiving it as little more than the seat of large institutions and tourist hordes.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
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Place Jean-Paul II.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Notre-Dame de Paris.
Combining these earlier analyses, Notre-Dame can be perceived as one element of a whole rather than as the sole focus it is so commonly portrayed as.
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As such, the following photographs place Notre-Dame as the backdrop to unremarkable subjects, collaged in a way that challenges the Cathedral’s prominence.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
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Square René-Viviani.
Rory Kavanagh.
ĂŽle de la CitĂŠ, Paris.
Dethroning Notre-Dame: A Photographic Essay.
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Notre-Dame de Paris.
Rory Kavanagh.
ĂŽle de la CitĂŠ, Paris.
Dethroning Notre-Dame: A Photographic Essay.
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Notre-Dame de Paris.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Square René-Viviani.
This process of collaging Notre-Dame against everyday subjects evolved into an exercise recording the structures residing within Notre-Dame’s shadow which have subsequently been starved of the recognition that they deserve.
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Following is a short photographic essay celebrating these structures.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Crypte Archéologique de Notre-Dame.
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Literally passing under the nose of many visitors, the crypt below Place Jean-Paul II has been publicly accessible since 1980 and yet visitors continue to walk right over the Gallo-Roman ruins in favour of Notre-Dame’s towers.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
La Conciergerie.
This tower, in an eponymous park just across the Seine, is the only remaining vestige of the Église Saint-Jacques-de-la-Boucherie, yet it barely features in tourist guides for the area.
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The main penitentiary for a network of prisons during the French Revolution, from where prisoners would be led to the guillotine. Famously the site of Marie Antoinette’s imprisonment, La Conciergerie still only draws half the tourist interest of Notre-Dame.
Tour Saint-Jacques.
“Turn around!”
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Caserne de la Cité.
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Built by the infamous Georges-Eugène Haussmann, this building, currently housing the Préfécture de Police, more often sees the back of tourists as they choose to marvel instead at Notre-Dame’s West façade across the square.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
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Caserne de la Cité.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Sainte-Chapelle.
The oldest structure on the Île de la Cité, Sainte-Chapelle is a shining gem.
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Hidden from sight behind the Palais de Justice, however, and all too often the public are unaware of the 1,113 incredible stained-glass windows within.
Rory Kavanagh.
ĂŽle de la CitĂŠ, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Sainte-Chapelle.
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Sainte-Chapelle.
Rory Kavanagh.
ĂŽle de la CitĂŠ, Paris.
Dethroning Notre-Dame: A Photographic Essay.
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Sainte-Chapelle.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Mémorial des Martyrs de la Déportation.
Inaugurated by President Charles de Gaulle, this memorial is dedicated to the 200,000 people deported from Vichy France to the Nazi concentration camps of World War II.
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Much like the crypt, this underground memorial often goes unnoticed by the passing visitor and their unblinking fixation with looking up at Notre-Dame’s towers.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
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Mémorial des Martyrs de la Déportation.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Place Dauphine.
A solitary bench sitting unused in a public square.
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As one of the earliest city-planning projects of Henry IV, this square has not only witnessed centuries of history, it is also a convenient starting point to Pont Neuf, the Palais de Justice and Cour d’Appel, and yet this empty view is surprisingly common.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Hôtel de Ville.
And yet the building is remarkable - adorned with sculptures by artists including Auguste Rodin and built by Henry IV, this building is a phenomenal source of history itself.
45.
44.
Equally challenged by the architectural draw of the Pompidou Centre to the North, the city’s local administration receives less interest than it deserves.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Musée du Louvre.
Here, neither the Louvre nor I. M. Pei’s addition are paramount - hopefully that is a precedent that Notre-Dame can follow.
47.
46.
In no danger of being under-appreciated or forgotten to time, the Louvre concludes this photographic essay as an example of a contemporary restoration that continues to recognise and appreciate an original building, without submitting to that building in an unnecessarily reverent fashion.
Rory Kavanagh.
Île de la Cité, Paris.
Dethroning Notre-Dame: A Photographic Essay.
Musée du Louvre.
49.
48.
Musée du Louvre.
fin.
Theory into Practice. As an entirely new module from last year, I found ARC3015 one of my most enjoyable modules this year. Fundamentally, it provided the basis from which I developed an understanding of monumentaries and collaging within architecture, which proved an integral part of my graduation project.
350.
351.
Field Trip Case Study Report. Working as part of a group, Case Study Report provided our first academic output on our return from the Grand Tour. Tasked with collectively analysing one of a selection of precedents, the group project in fact comprised of a series of smaller segments that were tackled on an individual basis. Delegated with a typological and structural analysis of Jean Nouvel’s Fondation Cartier in Paris, I have included a very brief synopsis of my individual work towards these two segments, followed by the completed groupwork presentation that was then presented in Pecha Kucha format.
366.
367.
AA.
Structure Synopsis. A primary structure of lightweight steel and sheet glass facilitates a ‘concept [of ] virtuality and reality’, while a secondary structure of slightly arched steel cross beams carry a significant portion of the buildings load while nevertheless keeping the structure relatively imperceptible.
0.
2.
4.
8m.
Working with Ove Arup as structural engineers for this project, Nouvel was able to create his ‘phantom in the park’ through some impressive feats of engineering to deliver the ‘lightest building possible’. The facing page details the ground floor plan, with its three parallel planes of sheet glass, that was included in the Case Study Report, above an additional basement plan. Beneath is a ground floor section showing the impressive porosity of Arup’s engineering.
0.
368.
369.
2.
4.
8m.
Typology Synopsis. In comparing Nouvel’s Cartier Foundation with Peter Zumthor’s typologically similar Kunsthaus in Bregenz, it can be seen that both architects opted to avoid a central circulation core so as to permit flexible floor space that could host a wide range of installations. 370.
The two contrast in the location of their circulation, however. Nouvel was concerned with blurring internal and external, opting to unusually place his stairway externally. Zumthor, however, wanted to ‘absorb the changing light of the sky’, necessitating an unbroken façade and internal circulation. 371.
INTRODUCTION
[A] A R C H I T E C T ABSTRACT Jean Nouvel was born in Fumel, France in 1945. He obtained his architectural degree from Ecole Nationale Superieure des Beaux-Arts in Paris, after this, he became the assistant to the architect Claude Parent. Nouvel has stated that Paul Virilio, an urban planner and pianist provided great inspiration for him. In 1976, Nouvel became the founding member of the Mars movement whose purpose was to oppose corporatism in architecture. During this time, Nouvel also co-founded the Labor Union of French Architects, which a marked direct opposition to the existing national Board of Architects. Nouvel has an extremely strong stance and somewhat provocative opinions on contemporary architecture within the urban context, taking cues from the environment most of Nouvel’s designs have a heavy emphasis on light and shadow. Nouvel also plays with colour and the idea of transparency as well as optimizing high-tech advancements to create his masterpieces.
As a group, we have been looking at the Fondation Cartier 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 blurs what’s real and what’s virtual.
Nouvel’s work is a result from a quest to create a unique concept for a singular combination of people, place and time, not from considerations of style or ideology. Nouvel does not like to be typecast with an architectural style, preferring to have no style of his own but he takes an idea and turns it into his own. Nouvel has a contextual approach and an ability to infuse a genuine uniqueness into all the projects he undertakes. Nouvel’s projects have consistently transformed their environments and indelibly marked the cities in which they are built by his endeavour to ‘create a visual landscape2.’ Nouvel’s ability to inject a sense of originality into all his works has earnt him numerous worldwide recognition through numerous prestigious French and International prizes and awards.
Figure A1
TABLE
OF
CONTENTS
TIMELINE ILLUSTRATING JEAN
[A] ARCHITECTS/DESIGNERS
TEAM
[B] TYPOLOGY
Victoria Peake
N O U V E L’ S
MOST
PROMINENT
WORK
[A] Architects/ Designers [C] SITE
[K] Materiality
[D] PROGRAMME
Iulia Stefancu [F] Studio Relevance
[E] CONCEPT & DESIGN DEVELOPMENT
[L] Threshold
[F] STUDIO RELEVANCE
Jing Olyvia Tam [D] Programme [G] Spatial Sequence
[G] SPATIAL SEQUENCE
Rory Kavanagh
[H] STRUCTURAL STRATEGY
[B] Typology [H] Structural Strategy
[I] ENVIRONMENTAL STRATEGY
Reuben Jones
[J] ATMOSPHERE
[E] Concept & Design Development [J] Atmosphere
[K] MATERIALITY
Izzie Vile
[L] THRESHOLD
[C] Site [I] Environmental Strategy
Figure A2 Figure 2
372.
373.
JEAN
N O U V E L’S
FIRST
AND
MOST
RECENT
[B] TYPOLOGY.
WORK
Jean Nouvel’s answer to the need for a city-centre art gallery provided one of the key works of Nouvel’s career, certainly from the late 20th century. However, the Cartier Foundation was by no means a repeated typology and planar, glass buildings remain a rare precedent.
Figure A4
Figure A3
ARAB
WORLD
INSTITUTE
Figure A6
Figure A5
1981-1987
THE
LOUVRE
ABU
Therefore, how have other architects approached the need for city-centre, high-couture gallery space? Three years following the Foundation’s completion, Peter Zumthor completed the Kunsthaus in Bregenz. This tall, cuboid building was similarly clad in glass, emphasised open, variable floor plans and moved circulation away from a central core. Nevertheless, formally, it appears as a completely different building.
DHABI
2017
One Nouvel’s first internationally credited projects, within the design Nouvel thought that a cultural position within architecture is a necessity and by refusing ready-made or facile solutions in favour of an approach that is both global and specific to achieve this. Within the urban context, the institute provides a hinge between two cultures and two histories. The south side of the building has motorized diaphragms is a contemporary expression of eastern culture. The north side of the Institute is a literal mirror of Western culture, images of the Parisian cityscape from across the Seine are visualised on the exterior glass. This visual, a pattern of lines and
The project, one of Nouvel’s newest creations is a powerful symbol of the UAE’s vision and achievements. Nouvel has made a huge silvery dome that gives the impression of it floating above the museum, this provides an incredible centrepiece. Nouvel has the ability to make the dome look effortlessly weightless even though it weighs an astonishing 7,500 tonnes. As the sun passes above the dome, light filters through the perforations within the sculpture to create a shadow affect within titled ‘rain of light.’
markings on the same façade are perceived as an echo of contemporary art. When designing the institute, Nouvel became interested in the theme of light. Light is reflected within the southern wall, it consists entirely of camera-like diaphragms and reappears in the stacking of the chairs, blurring of contours, the superimpositions, in reverberations and reflections and shadows.
Nouvel has created a building that houses a multitude of activities and inspired contemplation through the tranquil museum environment. Nouvel has created a building that allows visitors to respect the ever-adapting relationship between art, architecture, sea and sun.
The following slides will address the key similarities and differences between these two architects and their buildings, highlighting the ways in which different architects have approached the same typologies.
Fig. B1: Peter Zumthor’s Kunsthaus in Bregenz. Fig. B2: Jean Nouvel’s Cartier Foundation in Paris.
COLLAGE
OF
JEAN
N O U V E L’ S
MOST
ICONIC
PROJECTS
CIRCULATION
AND FLOOR PLANS.
SIMILARITIES
DIFFERENCES
The two architects have both opted to avoid depending upon a central circulation core which, in turn, has permitted flexible, open floor space that is capable of hosting a wide gamut of artistic installations.
The similarities stop there, however. While both architects moved the circulation away from the centre, Nouvel went to the extreme and placed the circulation externally, blurring the distinction between internal and external. Zumthor, on the other hand, was conceptually concerned with making sure that the facade ‘absorbs the changing light of the sky, the haze of the lake, radiat[ing] light and colour, and, depending on the angle of view, the time of day and the weather, giv[ing] an idea of its inner life’ (Kunsthaus Bregenz, 2019). It was necessary, therefore, for Zumthor to keep an unbroken facade with the circulation just within the inside face of the facade.
Figs. B3-4: Diagrams indicating the lack of a central core in both floor plans and the subsequent flexible floor space. Figs. B5-6: Photographs depicting the interior spaces.
Figs. B7-8: Diagrams indicating the external circulation of the Cartier Foundation and the internal circulation of the Kunsthaus. Figs. B9-10: Photographs depicting the same point.
Figure A7
374.
375.
LIGHT AND VISIBILITY. 17
The 24 Tree Species:
SIMILARITIES
DIFFERENCES
Both architects employed the reflective quality of glass in order to tie their art galleries in with their respective surroundings. Nouvel used it in order to densify the existing park, seen in figure B1 where the viewer is not sure what is tree behind the screen and what is merely its reflection. Zumthor, meanwhile, used it as a response to the light of nearby Lake Constance, (Kunsthaus Bregenz, 2019).
Despite both buildings being clad in glass, Zumthor’s conceptual focus on a building that emanates a misty light (Kunsthaus Bregenz, 2019) meant that the glass chosen was etched (ArchDaily, 2011). This is in contrast to the dichotomy between virtuality and reality that Nouvel was pursuing, (Atlas of Places, 2018). In order to facilitate these lines of sight through the structure while still creating holographic reflections, Nouvel employed sheet glass with varying levels of opacity.
Figs. B11-12: Photographs depicting how the reflective qualities of each building help it to blend into their environments.
Figs. B13-14: Diagrams indicating how visibility is affected by the different glass façades on each project. Figs. B15-16: Photographs depicting the varied transparency of the Cartier Foundation as opposed to the constant translucency of the Kunsthaus.
1. Cedrus libani 2. Pinus sylvestris 3. Aesculus hippocostanum (horse-chestnut) 4. Quercus suber (cork oak) 5. Quercus cerris 6. Quercus robur (English oak) 7. Tilia cordata 8. Fagus sytralica 9. Robinia pseudoacacia 10. Taxus baccata (English yew) 11. Pterocarya fraxinefolia 12. Quercus rubra (red oak) 13. Betula pendula (silver birch) 14. Corylus avellana (hazel) 15. Ficus carica (fig) 16. Amelanchier canadensis 17. Juglans regia 18. Castanea sativa 19. Fraxinus excelsior (ash) 20. Sophora japonica 21. Ailanthus altissima (tree of heaven) 22. Platanus x hispanica (London plane) 23. Acer saccharinum (silver maple) 24. Pruneus Accolade (East Asian cherry)
18 3 3
19 21
2
2
12
2
20
2
22
9 13 16 16 15 15
7
5
10
14
17
8
10
23 19
14
10 9 13
9
13 8
9 7
9 9
2 2
12
6
9
11 11 11 11
9
6
6
24
7
3 10
1
3
8
3 5
3
5
Key: 1
2
M
Fondation Cartier Raspail Metro Green Space Green Space Converted to Car Park Buildings with Similar Functions 1. Atelier Gustave - Art Gallery 2. Mona Lisa Mona Lisa Art School 3. Architecture School 4. Galerie Camera Obscura - Art Gallery 5. Giacometti Institute Art Museum 6. Bokaz - Art Gallery
3
Jean Nouvel describes his creation as ‘the ghost of the park’, with the ‘wild’ garden covering the site, and interacting with the main structure, enhancing the idea of ambiguity of the transition from outside to inside. The layout of the garden was designed by the artist Lothar Baumgarthner, who arranged the trees via a geometric structure of five module dependant on the contours of the space, this creates an irregular arrangement which provides the foliage with its ‘wild’ perception, creating a new genre of gardens “that escape(s) any nomenclature”. As well as the 24 species of trees there is numerous types butterflies, bees, birds and “strong bat activity”. This biodiversity strengthens the environmental strategies of the site.
4
5
The following diagrams showing how the layout of the tress influences the circulation throughout the site, and the relationship between the height of the trees and the main structure (as well as the diversity of trees).
6
All quotes from Cartier Fondation’s website.
376.
24
2
[C] S I T E Foundation Cartier is located within the Montparnasse district of Paris, which is typically referred to as the art district, thus a fitting setting for the art gallery. The foundation was relocated to Paris in 1994, with one main restriction that it must be built on the existing footprint (of the previous American Centre). At the end of the 18th century a new boundary wall was built on the axis of Boulevard Raspail (then Boulevard d’Enfer) enclosing the urban structure of central Paris as well as unused plots of lands, which the Chateaubriand family quickly purchased, using one plot as a sanatorium for “aging and sick priests”. On a larger plot, Francois Rene de Chateaubriand planted a Lebanon cedar (which still “remains at the entrance of the Fondation Cartier”). The significance of trees was reflected through his memoirs, and this importance of the relationship between nature and objects (and/or people) is reflected throughout the design principles portrayed by Jean Nouvel.
24
24
377.
3
3
3
[D]
PROGRAMME
EXHIBITION
SPACE
Part of the programme is to house temporary exhibitions rather than acting as a museum or art gallery.
ABSTRACT
This heavily influenced the way the exhibitions spaces were designed – Nouvel intentionally designed them
The building’s spaces can be categorized into two
as an empty space with no permanent walls. This
main categories – private and semi-private. The exte-
would allow the space to specifically cater to each
rior of the building is surrounded by a neighborhood
artist’s work, giving them the freedom and flexibility to
garden that needed to be kept, as part of the brief
curate the exhibition however they want to. For exam-
given to Nouvel. Nouvel integrates the building with its
ple, the glass walls (8m x 3m) along the façade can
surroundings through its glass façade, blurring outside
be removed to have the space completely opened
and inside – trees were strategically used to merge
up, temporary walls can be added to divide up the
reflections and reality - in addition to aiding daylight
space and give it structure, or the it can be completely
and ventilation. The building houses temporary exhibi-
blacked out with curtains. The exhibition space is also
tion spaces, offices, archives, and a car park. The exhibition spaces were designed to be flexible to artists’ work.
double height with a mezzanine floor to incorporate
D5. Floor plans illustrating the arrangement of temporary
larger artworks.
walls for the ‘Nous Les Arbres’ exposition
‘N O U S L E S A R B R E S’
EXPOSITION
Taking the current exhibition on trees as an example, interior walls were added in order to separate the artworks from different artists, as well as to curate a path for visitors to walk through. Some artworks were also hung from the ceiling with thin wire to give the illusion of floating in space. Lastly, the transparency of the building is manipulated by having translucent tree-patterned stickers pasted over the glass panels to limit the amount of daylight entering the space and to enhance the forest-like atmosphere.
D1. Public and private spaces diagram
D6. Photographs displaying the temporary walls
D7. Photographs displaying the leaf-patterned D2. Spatial hierarchy diagram
translucent panel stickers
GREEN
SPACE
&
TRANSPARENCY
As part of the design brief, Nouvel had to take the existing neighborhood garden into consideration and wanted to not only incorporate but highlight the building’s relation to nature. The glass façade helps to emphasize this connection, as the reflections casted on glass walls blurs with the trees behind the glass walls. The garden behind the building provides an outdoor lounge space, with coffee tables and chairs. Due to the transparency of the glass walls, a significant amount of daylight enters the building and into the offices. The cut outs in the glass walls aligned with the façade of the existing buildings allows for ventilation to take place.
D8. The boundaries of the neighborhood garden in relation to the site
D9. Glass wall with cut outs and tree reflections
D10. Daylight diagram D4. Floor plan analysis of the functions of each space
D3. Section analysis of the functions of each space
378.
D.11 Natural ventilaton diagram
379.
[E] D E S I G N
AND
CONCEPT
The Design for the Cartier Foundation was dictated by several factors. Firstly, the build-
Figure E1: Photograph of facade from Boule-
ing mass was only allowed to occupy the
vard Raspail
same footprint as the previous building. Secondly, the ‘Tree of Liberty’, planted by Cha-
Figure E2: Elevation of Cartier Foundation from
teaubriand was not to be touched or dam-
Boulevard Raspail.
aged and the garden in which it sat was also not to be damaged. Thirdly, any street façade must maintain the continuity between the heights of the neighbouring buildings along the Boulevard Raspail preserving
Figure E8: Photograph from street of of first glass screen
the sweeping, uniform aspect of the street. Around these factors, Nouvel developed a
“I sometimes wonder ... if Cartier is about transparency or reflection.” - Jean Nouvel (Lloyd-Morgan, 1998)
concept that explored reality and virtuality, creating three glass screens that run parallel with the street, off which reflected images would play, whilst allowing passers by to view the private garden from the street.
Bo
ule
glass box, twice as long as it is tall, which
va
rd
would fit between the two rear screens with
Ra
sp
ail
rd
ya
urt
Co
ery
all
rG
erio
Int
Within this he placed a simple nine-storey
n
rde
Ga
façade extensions projecting out beyond(Futagawa, 1996). This abundance of glass allows visitors and passers by to view all aspects of the site from almost any position, as well as the art displayed within the gallery.
Figure E10: Diagram to show series of three screens from the street to-
This connects the gallery to the historic gar-
wards the garden. This syatem results in reflections on each screen,
den, but also serves to democratise the art
blurring the division between what is a real image viewed through
displayed, allowing it to be viewed by all, not
Figure E3: Diagram showing main-
Figure E4 : Diagram showing the framing of
just those who pay (Conway-Lloyd, 1998).
tained street facade height.
the Tree of Liberty by the first glass screen.
the transparent glass, or wjat is a virtual image, seen via reflection. Figure E9: Photograph through first glass screen to gallery space from street
[ F ][F]S T STUDIO U D I O RRELEVANCE ELEVANCE
Figure E5: Photograph showing partition in first
Figure E7: Diagram Showing concept. Site and
Nine storey block containing offcies and art
screen
footprint of previous building
gallery.
Fondation Cartier pour l’art contemporain is a building that is integrated in its context and that relates to its immediate surroundings by its interpretation of materiality and transparency. The ensemble is able to face contemporary challenges of preservation and architecture due to Jean Nouvel’s approach towards the preservation of the trees situated on the site and the immersion of the nature in a heavily industrialized urban site with the use of glass and steel.
Figure E6: Photograph showing tree interaction
Positioning of three glass screens in realtion to
Partitioning of first screen to provide an entrance to the
with second glass screen
road and building core.
site and frame the protected tree.
F1. Photograph showcasing materiality
380.
381.
By comparing the works and ideologies of Viollet-le-Duc and Jean Nouvel, there are certain similarities and discrepancies that are worth noted: Both architects follow in their designs D’Alemberts ‘Sisteme figure’ which refers to some extents to Memory as the produced history, Reason as the philosohy and science of the design and the Imagination that links the design with poetry and aesthetics. This can be observed in their manifestos and the way they have interpreted architectural movements througout the time.
Fondation Cartier follows the language of the neighbourhood and it translates it through its own prism of transparency and contextual integration. The metal grid creates courtyard spaces similar to the clasic parisian houses that surround the building. Jean Nouvel adapted the building to the footprint of the Montparnasse neigbourhood.
The materiality is the main difference in the approach of the two architects. Jean Nouvel uses materials that are not sourced on the site but he tries to appropriate them in context. Viollet-le-Duc tried to use materials and workers that are local. It is important to understand that both of them pay great attention to the spaces and typologies that they design and they source their ideas from precedents and cases that have had an impact in the architectural wolrd.
F5. Photograph of a courtyard in the proximity of the building
F6. Photograph of a simulated courtyard depicted in the garden of the building
F2. Collage representing Jean Nouvel and an exploded axonometry of the Fondation Cartier and Viollet-le-Duc and an 1970’s photograph of the Notre Dame
[G]
SPATIAL
SEQUENCE
ABSTRACT The spatial sequence and accessibility regarding interior spaces are mainly defined by the two main circulation services - the three elevators at the rear of the building and external staircases that run along the two sides of the facade. The types of circulation are restricted depending on the spaces that one is accessing to in order to uphold a certain level of privacy for staff working in the offices.
S T A I R C A S E & E L E V A T O R C I R C U L AT I O N Depending on the spaces that need to be accessed,
F3. Photograph showcasing site integration
there are limited ways of moving through the building. The exhibition spaces are only accessible by visitors through the internal staircases. The elevators are reserved for staff members as well as disabled users,
The masterplan of the building and its surroundings focuses on the idea of preserving the existing nature and aligning a system of glass panels on a metal structure in a way that will celebrate and reflect the trees and their diversity. The two glass panels that serve as a street facade, integrate perfectly with the existing buildings, maintaining the height line and protecting the garden from the busy boulevard.
which was made clear through the requirement of needing a chip in order to use the elevators. The external staircases are closed off to visitors as they provide access into the private offices.
G1. Diagram illustrating the key circulation F4. Diagramatic plan that illustrates the trees as a key part of the masterplan
382.
services and the floors they access
383.
The more private spaces such as the offices are ac-
EXTERIOR
CIRCULATION
cessed through the elevators and external staircase. The elevators were designed with careful thought, with
The circulation within the semi-private garden is
a very particular attention to detail. They provide a cir-
straightforward and simple. Following the path clear-
culation core that runs through all floors, as well as act
ly provided, visitors essentially walks around the build-
as the central focal point of the rear façade. They are
ing, and are given opportunities to stop and linger
in the form of glass and steel ‘climber’ elevators that
behind the building – to have a chat or drink on the
silently and elegantly slide up and down the building
steps or the coffee tables and chairs provided. One
without the use of wires or cables. As one travels up
can also access the outdoor atrium if he/she wants
the elevator, they are granted with the view of over-
to be outdoors but also wanted some privacy at the
looking the garden, effortlessly reaching offices.
same time. Visitors can then loop back around the
G6. Photographs documenting the outdoor circulation route
building and exit through the glass panels.
The external staircases are also a notable feature. Not only does it provide a means for fire escape as well as access to all floors, but it integrates with the design
G2. External staircase circulation in section
of the façade. It acts as a separate yet connected element of the building – it assimilates to the spaces through its continuity of materials, glass and steel. The staircases distinguish themselves from being any other ordinary staircase that would suit another building. The fact that the staircases are external allows it to prevent interfering with internal circulation and creates more space for offices. The parallel form of the staircases allows for a gradual climb through the floors, preventing disorientation as one walk through it. The glass panels that extend from the two sides further emphasizes that the staircases are still integrated within the programme
G3. Photograph highlighting the glass panel that integrates the staircase with the building
of the building. The underground staircases mirror the form of the external staircases to keep a uniform language throughout.
G4. Photograph highlighting the elevator G7. Circulation diagram around green space
INTERIOR
G8. Plan view of circulation route
[H] STRUCTURE.
CIRCULATION
As mentioned previously, the offices are accessible
The planar, glass building typology is typically reserved for costly, privatelyowned corporations. Despite matching this description, Nouvel’s use of this typology for the Foundation was more sophisticated: his ‘concept [of] virtuality and reality’, (Futagawa 1996), required glass layers to allow visibility through the structure while simultaneously creating holographic reflections, questioning what is or is not real.
through the elevators and external staircase. Within the office floors, each office room or cubicle is arranged in a grid-like layout, with four main corridors (highlighted in green) that connects them all to the central hub and toilets, which is greeted immediately stepping out of the elevators. The exhibition spaces differ from the offices, as depending on the exhibitions and the layout catered to the exhibition, visi-
the circulation routes of the exhibition to exclusively
A primary structure of lightweight steel and sheet glass facilitates this concept, while a secondary structure of ‘slightly arched’ steel cross beams, (Futagawa 1996), carry greater weight while leaving the structure imperceptible. Nouvel claimed the success of his ‘phantom in the park’, (Atlas of Places 2018), was ‘the lightness of the structure’, (Futagawa 1996).
internal staircases, it retains the privacy and security
‘THERE IS A BEAM THAT
tors move around the spaces relatively differently. As mentioned previously, the exhibition spaces are only connected through internal staircases, whereas staff members directly access the offices from the elevators directly opposite from the entrance. By limiting
that the Cartier offices needs as well as making sure
AA.
Fig. H1: Diagram highlighting the primary and secondary and tertiary structure of the pilotis, buttressing beams and external stairs.
Fig. H2: Ground floor plan of the Cartier Foundation showcasing the three glass planes and the relative slimness of the structural columns. 0.
2.
4.
8m.
SPANS SIXTEEN METRES: IT
the exhibitions could be straightforwardly explored
IS ONLY 43 CENTIMETRES
by the public.
THICK. [...] THE CROSS STRUCTURAL BEAMS ARE ONLY TWO METRES AND
Fig. H3: Section AA, cropped to solely the ground floor, showcases the external staircase circulation and the 8m ground floor glass panes.
THERE ARE ONLY TWO OF G5. Diagrams showing the various potential routes taken to
0.
THEM AT EACH EXTREMITY!’
move through the building
2.
4.
8m.
(Futagawa 1996). The structural engineers, Ove Arup, created an impossibly permeable structure nevertheless housing 6,500m2 of offices across seventeen stories. The following slides highlight structural components emphasising Nouvel’s concept of virtuality and reality, or facilitating his desire for ‘the lightest building possible’, (Futagawa 1996).
384.
Figs. H4-6: Photographs showcasing structural elements fulfilling the conceptual aim of creating ambiguous reflections and the functional requirement of open floor space.
385.
CURTAIN WALL DETAIL.
GLASS PANELS.
ELEVATORS. The lack of internal staircases requires elevators to provide the majority of day-today circulation within the offices. However, a conventional set of elevators would mean individual cages and full-height cabling that would have interrupted the views throughout the building, ruining the concept of the ‘phantom’. Therefore, Nouvel chose a system of elevators that crawl up and down the north facade, with no need for cables nor cages, maintaining the lightness that he desired.
0.
20. 40.
80mm.
Fig. H7: A vertical section, originally at 1:20, through the curtain wall facade of the Cartier Foundation. The construction consists of 12mm safety glass externally, 6mm float glass and, finally, 6mm toughened safety glass. Again innovative for its era, the two circular components protruding from the facade are computer controlled sunshades, which address the need for shading while keeping the facade as permeable as possible for the majority of the time.
‘The large, transparent walls of the building were at the forefront of glass technology in the 1990s, aspiring to one of Modernism’s highest goals: to de-materialize the wall and seamlessly connect interior to exterior.’ (Fondation Cartier 2014)
Fig. H8: An external photograph of the 8m, ground floor glass planes shut closed for an internal exhibition. Fig. H9: A photograph of the glass planes having been removed for an external exhibition, blurring the distinction between inside and out.
STAIRS.
[I] E N V I R O N M E N T A L
The Cartier Foundation is ‘unique, [...] at least in Paris, in that it doesn’t have internal stairs. Only exterior stairs were required. The lifts are on the exterior. So you have a free plan without stairs inside’, (Futagawa 1996). Industrial-style steel staircases leave the structure visually permeable. External circulation, with no central core, leaves the floor planes visually porous and functionally open to a wide variety of uses, which is particularly important for the gallery space. Fig. H10: Photograph depicting the materiality of the steel staircase and the views through that become possible.
Fig. H16: Annotated sketch highlighting the absence of the elevator cabling. Figs. H17-18: Sketched series showing how the presence or absence of elevator cables would affect the visibility through the structure. Fig. H19: Photograph of the elevator in action.
Fig. H11: Sketch indicating how the central core on the ground floor denies the visual permeability that is possible on the seven floors above where the only circulation is external.
STRATEGY
Jean Nouvel’s use of omnipresent glass increases the intensity of natural light, allowing sunlight to infiltrate throughout the main gallery and offices, which provides energy and positivity contributes to the mental health of the inhabitants by stimulating happiness and productivity. Within the office space partitions of sanded glass divide the space, filtering the flow of natural light, creating a mist effect which provides subtle privacy producing a ‘dematerialised’ space. Orientation of the building allows for optimum sunlight throughout the day. However, artificial lighting is needed when there is lack of sunlight (underground levels and at night) as well, to influence the atmosphere of the exhibition, as shown through the two images, one ground level and one basement.
:
SUNLIGHT
The glass facade maximised natural daylight.
Regarding the basement levels, they are completely lit by artificial light, allowing one to control the settings dependant on each function, for example the gallery space can be manipulated depending on the exhibition, and with no reliance on natural lighting there is a high energy output for electricity. Nouvel acknowledged this via interview with Design Curial, where he comments how he originally wanted to include small horizontal openings in the ground floor, to allow the opportunity to have larger work installed, however the final decision was made to “block the light out completely”.
Own image showing how artificial light can be used in the ground floor.
Diagram showing how the natural light (yellow) infiltrates the main body, and how artificial light is used below ground level (blue).
Figs. H12-15: A long and short section through the Cartier Foundation, followed by two sketches highlighting the location of circulation on each floor. Annotations indicate how the internal circulation is grouped below ground so that, above ground, visual permeability and flexible floorspace can be preserved.
Figure i1. How artificial light is used within the basement floor (exhibition space).
Figure i2. The offices; how the sanded glass diffuses the light and creates a sense of privacy.
386.
387.
ENVIRONMENTAL
STRATEGY
Like how the lighting differs throughout the floors; the main ventilation is through the exhibition spaces due to the higher density of people and it being the principle function. In the warmer months, the 8mx3m glass panels that enclose the front façade of the gallery can slide open, allowing natural ventilation throughout, shown in image below. Within the office spaces the glass windows can be opened to allow further ventilation, this ensures effective productivity due to the improvement of indoor air quality. The stack effect aids the natural ventilation to flow throughout the structure, and during warmer months the warm air rises throughout the building, drawing more cold air through the base of the building due to the reduce of pressure. This is reversed in cooler months.
:
VENTILATION Through solar heat gain, the concrete floors capture the heat from the natural sunlight and due to its thermal mass it stores the energy and releases it during cooler periods such as night time.
Daytime temperatures controlled via opening windows.
However, throughout the basement floors mechanical ventilation must occur, again, dependant on each floor’s function, for example the archives ventilation will be different to the exhibition space, as the environment must be controlled to ensure their security. By controlling the ventilation, it minimised problems such as condensation and moisture build-up.
Figure i4. Showing how the windows can be opened to encourage natural ventilation.
Diagram showing how the stack ventilation filters air throughout the building.
Figure J4: Exterior Atmospheric Collage
Figure J6: Daylight exterior diagram, showing views into garden from interior, and views through the building. Figure J5: Series of phot-
Location of Archives (were controlled ventilation is key).
Figure i3. How the open glass panels influence the ventilation as well as flow of people.
[J] A T M O S P H E R E
Figure J7: Night-time exte-
graphs from the street facade, showing change in exterior atmoshpere throughout the day
rior diagram, views from within restricted by dark garden and reflections, but interior spaces visible from exterior
Fundamentally it is the interaction between the reflections from the glass screens and the
The different atmospheres of the Cartier Foun-
trees in the surrounding garden that effect
dation were primarily influenced by Nouvel’s
the atmopshere of the building most. Whether
choice of materials and the dialogue between
internally and externally, day or night it is this
the building and the green park that surrounds it.
immersion within the garden that defines the
The interior atmosphere was designed to be
buildings atmosphere. Key to Nouvel’s cre-
easily adaptable to the exhibitions that take
ation of this atmosphere were the use of dif-
place within the space, consequently the
ferent spaces; that are either external, tranisi-
space can be blacked out or the large win-
tional and interior. These help to mediate your
dows covered with translucent plastic film
journey around the site, meaning that you of-
to change the quality of light entering. Nor-
ten feel the sensation of being inside looking
mally however, the windows are left blank,
through the glass screen when in fact you are
this creates a sense of continuity between
outsdie, or being outside when in fact you are in.
the building and the surrounding wooded garden, with one blending into the other. At night however, this is lessened significantly, to the degree that gallery feels isolated, surrounded by the dark of the garden. The Exterior atmosphere is highly dependent on the time of day. During the day the building blends into the woodland, views through the spaces and towards the street
Figures J8, J9, J10 J11, J12:
Figure J1: Interior Atmospheric Collage
are blurred by the reflective surface of the
Photographs of spaces protected by
glass, this makes the garden feel both con-
extended facade
nected visually to the outside world by the
Figure J2: Exhibtion space with transparent film on the windows.
glass and also separate from it, thanks to the physical barrier imposed by the material. At
Figure J3: Photograph of interior space, with views towards the garden.
night the building appears as a large glass
cube emitting a soft light into the garden.
388.
389.
[K]
GLASS
MATERIALITY
AND
J O I N’ S
ABSTRACT Jean Nouvel has stated that the site, with the sprawling trees and the functions of the building have suggested that a glass structure would be the most appropriate. Nouvel has designed The Cartier Foundation to be a sleek, sophisticated modernist building which is rendered in glass and formed of steel and concrete. Nouvel envisioned a simple, nine-storey ‘glass box’ that was executed by using the maximum amount of glass and the minimum of grey steel. As a result, the building is almost holy transparent allowing it to frame the trees and surrounding gardens through the glass walls and receding planes. The glass panels on the building’s ground floor are also doors; they have the ability to open onto the exterior. When walking through the spaces you are struck by the the cool concrete slab flooring which is perfectly suited to the steel and glass materiality. Colour Palette of Site in Surrounding Context
The building not only blends seamlessly into its surroundings, it even transforms throughout from day to night. The shadows of the Lebanese Cedar trees appear to metamorphose into the foundation due to the differences in lights.
Colour Palette of Surrounding Site
The glass wall facades, divide the streetscape from the museum ground blending into the real and the virtual blending into the design. Materiality Palette of Surrounding Site
COLLAGE
OF
DIFFERENTIATIONS
IN
GLASS
WITHIN
THE
FACADE
REFLECTED
DIRECT
SAND BLASTED
JOINS
When sunlight is reflected onto the exterior glass the surroundings, the trees and buildings are represented on the facades. This is very affective
When the sunlight is direct onto the exterior through the glass , there is the ability to see inside the building. This provides an interesting interac-
in helping the building to be apart of the urban context.
tion from the exterior to the interior.
Within the interior, there is the use of sand-blasted glass. This helps to provide some privacy within the office spaces and it provides an interesting contrast to the other transparency.
Throughout the interior and exterior, the materials meet with sleekness, sophistications and ease. These effortless joins are not bulky and therefore do not distract from the lightness of the building.
These observations exclude any interference from internal lighting.
COLLAGE
TO
ILLUSTRATE
THE
MATERIALITY
WITHIN
THE
CARTIER
FOUNDATION
Figure K1
390.
391.
[ L [F] ] T HTHRESHOLDS RESHOLDS L2. Photograph from the Raspail Boulevard
Fondation Cartier pour l’art contemporain sits on a fine line between nature and the built environment due to the delicate attention to details and thresholds.
L3. Photograph showcasing the merging of transparency and threshold at the entrance of Foundation Cartier
L4. Photograph from the back garden
Focusing on the idea of transparency, the transition spaces throughout the building and the garden are defined by dematerialization, blurring the boundaries between existing defined spaces. The consistent merging between nature and transparency carries from the boulevard into the garden, and from the entrances throughout the building. Thresholds that show the integration on the site, the entrance and the back garden. These are relevant for the building relation with the ground
L6. Photograph of the interior garden, separating the glass facade panels from the building
and surroundings.
L5. Site section, scale 1:1250
L1. Photograph of the consistent merging between nature and transparency
L7. Photograph of the trees framing the building, from the back garden
The trees play an important role in framing and integrating the building in its context. They create a strong L9. Photograph of the ofďŹ ce hallway
threshold in the relation with the ground and the sky, they reflect in the glass panels and consolidate the idea that
L10. Photograph of the transitional space in the exhibition area
L11. Photograph of the external staircase roof connection
the building blurrs the tangible boundaries of the render.
Walking through the interior, the spaces persist on the transparency idea and they are tresholds that blur the concept of delimitation and limits. The metal structure and glass panels allow the creation of new openings depending on the function that the space has at the time. This is translated through the thresholds as transparent and open spaces that transition from inside to outside, from public to private and from the exposition space to the offices.
392.
393.
BIBLIOGRAPHY.
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Architectuul. (2019). Cartier Foundation [online]. Architectuul. [Viewed 06 October 2019] Available from: http://architectuul.com/architecture/cartierfoundation. Arup.com. (2019). [online] Available at: https://www. arup.com/ [Accessed 12 Dec. 2019]. Ateliers Jean Nouvel. (2019). Cartier Foundation for Contemporary Art and Cartier Headquarters — Ateliers Jean Nouvel. [online] Available at: http://www. jeannouvel.com/en/projects/fondation-cartier-2/ [Accessed 12 Dec. 2019]. Atlas of Places, (2018). Jean Nouvel & Emmanuel Cattani, Fondation Cartier, 1991–1994 [online]. Atlas of Places. [Viewed 06 October 2019] Available from: https://www.atlasofplaces.com/architecture/ fondation-cartier/. Bianchini, R. (2019). Fondation Cartier pour l’art contemporain – Paris [online]. Inexhibit. [Viewed 06 October 2019] Available from: https://www.inexhibit. com/mymuseum/fondation-cartier-paris/. Bregenz, K. (2019) Architecture, Kunsthaus-bregenz.at. Available at: https://www.kunsthaus-bregenz.at/aboutus/architecture/?L=1 (Accessed: 13 December 2019). Craven, J. (2018). The Architecture of Jean Nouvel. [online] ThoughtCo. Available at: https://www. thoughtco.com/buildings-and-projects-by-jeannouvel-4065275 [Accessed 12 Dec. 2019].
INTEGRALE. (2019). INTEGRALE, L’ingénierie au service du bâti tropical. [online] Available at: http://www. integrale.re/ [Accessed 12 Dec. 2019].
ARCHITECTS A1. Emeco (n.d.). Jean Nouvel. [image] Available at: https://www.emeco.net/products/emeco-soso-sosojean-nouvel [Accessed 12 Dec. 2019]. A2. Les Ateliers (1987). Arab World Institute. [image] Available at: http://www.jeannouvel.com/en/projects/ institut-du-monde-arabe-ima/ [Accessed 12 Dec. 2019]. The Foundation Cartier (1994). The Foundation Cartier. [image] Available at: https://www.fondationcartier. com/en/ [Accessed 12 Dec. 2019]. Les Ateliers (1994). Euralille. [image] Available at: http:// www.jeannouvel.com/en/projects/euralille/ [Accessed 12 Dec. 2019]. Pinterest (2000). Culture and Convention Center. [image] Available at: https://www.pinterest.co.uk/ pin/600878775260026285/ [Accessed 12 Dec. 2019]. iDNES.cz (2001). Golden Angel. [image] Available at: https://www.idnes.cz/praha/zpravy/stavby-moderniarchitektury-v-praze.A130702_1947310_praha-zpravy_ sfo/foto/SFO44c432_Zlaty_Andel.jpg.JPG [Accessed 12 Dec. 2019]. Les Atiliers (2005). Extending of the Museo Nacional Centro. [image] Available at: http://www.jeannouvel. com/en/projects/extension-du-musee-reina-sofia/ [Accessed 12 Dec. 2019]. Flickr (2011). Musée du quai Branly. [image] Available at: https://www.flickr.com/photos/ josecarlosmelodias/5492722525 [Accessed 12 Dec. 2019]. Archi Travel (2013). Copenhagen Concert Hall. [image] Available at: https://www.architravel.com/architravel/ building/dr-concert-hall/ [Accessed 12 Dec. 2019]. Forbes (2016). 100 Eleventh Avenue. [image] Available at: https://www.forbes.com/sites/karenhua/2016/09/28/ kelsey-grammer-lists-joint-chelsea-condo-for-19-6million/#6ff0d8f61809 [Accessed 12 Dec. 2019]. The Telegraph (2010). The Serpentine Gallery Summer Pavilion. [image] Available at: https://www.telegraph. co.uk/culture/culturepicturegalleries/9303164/TheSerpentine-Gallery-Summer-Pavilion-over-the-years. html?frame=2235562 [Accessed 12 Dec. 2019]. Les Ateliers (2010). One New Change. [image] Available at: http://www.jeannouvel.com/en/projects/ one-new-change/ [Accessed 12 Dec. 2019]. Les Ateliers (2015). Tower 25- White Walls. [image] Available at: http://www.jeannouvel.com/en/projects/ white-walls/ [Accessed 12 Dec. 2019]. Les Ateliers (2012). Doha High RIse Office Tower. [image] Available at: http://www.jeannouvel.com/en/projects/ doha-9-high-rise-office-tower/ [Accessed 12 Dec. 2019].
Unifor. (2019). Image 4, meeting room with open window. [image] Available at: http://www.unifor.it/ ENG/realizzazione/fondation-cartier-paris-1994.aspx# [Accessed 12 Dec. 2019].
Jardin.fondationcartier.com. (2019). Jardin Fondation Cartier. [online] Available at: https://jardin. fondationcartier.com/en/ [Accessed 12 Dec. 2019].
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JOSHUA MACDONALD. (2019). Projects — JOSHUA MACDONALD. [online] Available at: http:// joshuamacdonald.ca/projects#/fondation-cartier [Accessed 12 Dec. 2019]. Kuiper, K. (n.d.). Jean Nouvel | Biography, Architecture, & Facts. [online] Encyclopedia Britannica. Available at: https://www.britannica.com/biography/Jean-Nouvel [Accessed 12 Dec. 2019].
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Kwak, P., Tang, Alyssa., and Meem, Samiha. (2017). Fonadation Cartier [online]. Joshua Macdonald. [Viewed 06 October 2019] Available from: http:// joshuamacdonald.ca/fondation-cartier/. Nouvel, J. (n.d.). Arab World Institute (AWI) — Ateliers Jean Nouvel. [online] Ateliers Jean Nouvel. Available at: http://www.jeannouvel.com/en/projects/institut-dumonde-arabe-ima/ [Accessed 12 Dec. 2019]. Nouvel, J. and Jodidio, P. (2008). Jean Nouvel. Hong Kong: Taschen. Pss-archi.eu. (2019). PSS / Discussion: Paris 14 - Fondation Cartier d’Art Contemporain - Jean Nouvel. [online] Available at: http://www.pss-archi.eu/forum/viewtopic. php?id=364 [Accessed 12 Dec. 2019]. Sayigh, A. (n.d.). Sustainability, energy and architecture.
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Diller Scofidio + Renfro (2019). Available at: https:// www.fondationcartier.com/en/exhibitions/dillerscofidio-renfro (Accessed: 13 December 2019).
www.atlasofplaces.com/architecture/fondationcartier/. D4. Floor plan analysis of the functions of each space. Author’s drawing, traced from Atlas of Places, https:// www.atlasofplaces.com/architecture/fondationcartier/. D5. Floor plans illustrating the arrangement of temporary walls for the ‘Nous Les Arbres’ exposition. Leaflet from Fondation Cartier pour l’art contemporain – Nous Les Arbres Exposition. D6. Photographs displaying the temporary walls. Author’s photograph taken on site. D7. Photographs displaying the leaf-patterned translucent panel stickers. Author’s photograph taken on site. D8. The boundaries of the neighborhood garden in relation to the site. Photograph from Atlas of Places, https://www.atlasofplaces.com/architecture/ fondation-cartier/. D9. Glass wall with cut outs and tree reflections. Author’s photograph taken on site. D10. Daylight diagram. Author’s drawing, traced from Atlas of Places, https://www.atlasofplaces.com/ architecture/fondation-cartier/. D11. Ventilation diagram. Author’s drawing, traced from Atlas of Places, https://www.atlasofplaces.com/ architecture/fondation-cartier/. CONCEPT&DESIGN
DEVELOPMENT
E1. Jean Nouvel (1994), Cartier Foundation for Contemporary Arts and Cartier Foundation. [image] Available at: http://www.jeannouvel.com/en/projects/ fondation-cartier-2/. [Accessed 11/12/19]. E2. Drawn by Author from, Joshua MacDonald (2017), Foundation Cartier. [Image] Available at http:// joshuamacdonald.ca/fondation-cartier/. E3. Drawn by Author. E4. Drawn by Author. E5. Jean Nouvel (1994), Cartier Foundation for Contemporary Arts and Cartier Foundation. [image] Available at: http://www.jeannouvel.com/en/projects/ fondation-cartier-2/. [Accessed 11/12/19]. E6. Photograph by Author. E7. Drawn by Author. E8. Photograph by Rory Kavanagh. E9. Photograph by Author. E10. Drawn by Author.
STUDIO
RELEVANCE
F1. Author’s photograph. F2. Author’s collage. F3. Photograph from https://www.atlasofplaces.com/ architecture/fondation-cartier/. F4. Author’s diagrammatic plan. F5. Author’s photograph. F6. Author’s photograph. SPATIAL
SEQUENCES
G1. Diagram illustrating the key circulation services and the floors they access. Author’s drawing, traced from: http://joshuamacdonald.ca/fondation-cartier/. G2. External staircase circulation in section. Author’s drawing, traced from Atlas of Places, https://www. atlasofplaces.com/architecture/fondation-cartier/. G3. Photograph highlighting the glass panel that integrates the staircase with the building. Author’s photograph taken on site. G4. Photograph highlighting the elevator. Author’s photograph taken on site. G5. Diagrams showing the various potential routes taken to move through the building. Author’s drawing, traced from Atlas of Places, https://www.atlasofplaces. com/architecture/fondation-cartier/. G6. Photographs documenting the outdoor circulation route. Author’s photograph taken on site. G7. Circulation diagram around green space. Author’s drawing, traced from: http://joshuamacdonald.ca/ fondation-cartier/. G8. Plan view of circulation route. Author’s drawing, traced from Atlas of Places, https://www.atlasofplaces. com/architecture/fondation-cartier/. STRUCTURE H1. Author’s own. H2. Author’s own, traced from various sources. H3. Author’s own. H4. Author’s own. H5. Diller Scofidio + Renfro (2019). Available at: https:// www.fondationcartier.com/en/exhibitions/dillerscofidio-renfro (Accessed: 13 December 2019). H6. Author’s own. H7. Author’s own, traced from various sources. H8. Author’s own. H9. (2019) Afar-production.imgix.net. Available at: https://afar-production.imgix.net/uploads/images/ post_images/images/FgMUqmDwJe/original_open-
uri20130124-7445-178k63p?1383803362?ixlib=rails0.3.0&auto=format%2Ccompress&crop=entropy&fi t=crop&h=719&q=80&w=954&dpr=2 (Accessed: 13 December 2019). H10. Author’s own. H11. Author’s own. H12. liruoxisherry, V. (2019) Fondation Cartier-Paris1991-1994-Jean Nouvel, Modern Architecture: A Visual Lexicon. Available at: https://visuallexicon.wordpress. com/2017/10/08/fondation-cartier-paris-1991-1994jean-nouvel/ (Accessed: 13 December 2019). H13. liruoxisherry, V. (2019) Fondation Cartier-Paris1991-1994-Jean Nouvel, Modern Architecture: A Visual Lexicon. Available at: https://visuallexicon.wordpress. com/2017/10/08/fondation-cartier-paris-1991-1994jean-nouvel/ (Accessed: 13 December 2019). H14. Author’s own. H15. Author’s own. H16. Author’s own. H17. Author’s own. H18. Author’s own. H19. Author’s own. ENVIRONMENTAL
STRATEGY
I1. Foundation Cartier pour l’art contemporain (2011). View of the exhibition ‘Mathematics: A Beautiful Elsewhere. [image] Available at: https://www. fondationcartier.com/en/exhibitions/mathematiques [Accessed 12 Dec. 2019]. I2. Atlasofplaces.com. (2019). Figure 18, view through office floor. [image] Available at: https://atlasofplaces. com/architecture/fondation-cartier/ [Accessed 12 Dec. 2019]. I3. Atlasofplaces.com. (2019). Figure 16, entrance. [image] Available at: https://atlasofplaces.com/ architecture/fondation-cartier/ [Accessed 12 Dec. 2019]. I4. Unifor. (2019). Image 4, meeting room with open window. [image] Available at: http://www.unifor.it/ ENG/realizzazione/fondation-cartier-paris-1994.aspx# [Accessed 12 Dec. 2019]. ATMOSPHERE
Archdaily. [Image] Available at https://www.archdaily. com/891648/laurian-ghinitoiu-captures-dreamlikenature-of-junya-ishigamis-work-at-fondation-cartierin-paris. [Accessed 10/11/19], Olivier Ouadah (2011), Moebius- Transe-Forme. https://www.fondationcartier. com/en/exhibitions/mbius-transe-forme [Accessed 10/12/19]. J2. Photograph by Victoria Peake. J3. Photograph by Rory Kavanagh. J4. Collage by Author – Images from Laurian Ghinitoiu (2018) Laurian Ghinitoiu captures Dreamlike Nature of Junya Ishigami’s work at Fondation Cartier in Paris. Archdaily. [Image] Available at https://www.archdaily. com/891648/laurian-ghinitoiu-captures-dreamlikenature-of-junya-ishigamis-work-at-fondation-cartierin-paris. [Accessed 10/11/19], Fondation Cartier pour l’art contemporain, Paris. [Image] Availible at https:// en.parisinfo.com/paris-museum-monument/71401/ Fondation-Cartier-pour-l-art-contemporain [Accessed 10/12/19]., The Building, Fondation Cartier, https:// www.fondationcartier.com/en/building, [Accessed 10/11/19]. J5. Jean Nouvel (1994), Cartier Foundation for Contemporary Arts and Cartier Foundation. [image] Available at: http://www.jeannouvel.com/en/projects/ fondation-cartier-2/. [Accessed 11/12/19]. J6. Drawn by Author. J7. Drawn by Author. J8. Photograph by Author. J9. Photograph by Xuan Yew. J10. Photograph by Xuan Yew. J11. Drawn by Author. J12. The Building, Fondation Cartier, https://www. fondationcartier.com/en/building, [Accessed 10/11/19]. J13. The Building, Fondation Cartier, https://www. fondationcartier.com/en/building, [Accessed 10/11/19].
Les Ateliers (2011). Montpellier City Hall. [image] Available at: http://www.jeannouvel.com/en/projects/ hotel-de-ville/ [Accessed 12 Dec. 2019]. Dezeen (2015). Philharmonie de Paris. [image] Available at: https://www.dezeen.com/2015/12/15/ new-photographs-closer-look-around-jean-nouvelphilharmonie-de-paris-danica-o-kus/ [Accessed 12 Dec. 2019]. Vertical Garden (2016). Le Nouvel, Kuala Lumpur Architect : Jean Nouvel. [image] Available at: https:// www.verticalgardenpatrickblanc.com/realisations/ kuala-lumpur/le-nouvel-kuala-lumpur [Accessed 12 Dec. 2019]. Architectural Digest (2017). Jean Nouvel Reveals His Singular Vision Behind the Louvre Abu Dhabi. [image] Available at: https://www.architecturaldigest.com/ story/jean-nouvel-louvre-abu-dhabi [Accessed 12 Dec. 2019]. A3. Reddit (n.d.). The Arab World Institute. [image] Available at: https://www.reddit.com/r/ ArchitecturePorn/comments/e25aq3/the_arab_world_ institute_in_paris_by_jean_nouvel/ [Accessed 12 Dec. 2019]. A4. Archello (1987). Arab World Institute. [image] Available at: https://archello.com/project/arab-worldinstitute [Accessed 12 Dec. 2019]. A5&6. Architectural Digest (2017). Jean Nouvel Reveals His Singular Vision Behind the Louvre Abu Dhabi. [image] Available at: https://www.architecturaldigest. com/story/jean-nouvel-louvre-abu-dhabi [Accessed 12 Dec. 2019]. A7. Skyscraper Centre (n.d.). 100 11th Avenue. [image] Available at: https://www.skyscrapercenter.com/ building/100-11th-avenue/8978 [Accessed 12 Dec. 2019]. Les Ateliers (1987). Arab World Institute. [image] Available at: http://www.jeannouvel.com/en/projects/ institut-du-monde-arabe-ima/ [Accessed 12 Dec. 2019]. The Foundation Cartier (1994). The Foundation Cartier. [image] Available at: https://www.fondationcartier. com/en/ [Accessed 12 Dec. 2019]. Les Ateliers (1994). Euralille. [image] Available at: http:// www.jeannouvel.com/en/projects/euralille/ [Accessed 12 Dec. 2019]. Pinterest (2000). Culture and Convention Center. [image] Available at: https://www.pinterest.co.uk/ pin/600878775260026285/ [Accessed 12 Dec. 2019]. iDNES.cz (2001). Golden Angel. [image] Available at: https://www.idnes.cz/praha/zpravy/stavby-moderniarchitektury-v-praze.A130702_1947310_praha-zpravy_ sfo/foto/SFO44c432_Zlaty_Andel.jpg.JPG [Accessed 12
Dec. 2019]. Les Atiliers (2005). Extending of the Museo Nacional Centro. [image] Available at: http://www.jeannouvel. com/en/projects/extension-du-musee-reina-sofia/ [Accessed 12 Dec. 2019]. Flickr (2011). Musée du quai Branly. [image] Available at: https://www.flickr.com/photos/ josecarlosmelodias/5492722525 [Accessed 12 Dec. 2019]. Archi Travel (2013). Copenhagen Concert Hall. [image] Available at: https://www.architravel.com/architravel/ building/dr-concert-hall/ [Accessed 12 Dec. 2019]. Forbes (2016). 100 Eleventh Avenue. [image] Available at: https://www.forbes.com/sites/karenhua/2016/09/28/ kelsey-grammer-lists-joint-chelsea-condo-for-19-6million/#6ff0d8f61809 [Accessed 12 Dec. 2019]. The Telegraph (2010). The Serpentine Gallery Summer Pavilion. [image] Available at: https://www.telegraph. co.uk/culture/culturepicturegalleries/9303164/TheSerpentine-Gallery-Summer-Pavilion-over-the-years. html?frame=2235562 [Accessed 12 Dec. 2019]. Les Ateliers (2010). One New Change. [image] Available at: http://www.jeannouvel.com/en/projects/ one-new-change/ [Accessed 12 Dec. 2019]. Les Ateliers (2015). Tower 25- White Walls. [image] Available at: http://www.jeannouvel.com/en/projects/ white-walls/ [Accessed 12 Dec. 2019]. Les Ateliers (2012). Doha High RIse Office Tower. [image] Available at: http://www.jeannouvel.com/en/projects/ doha-9-high-rise-office-tower/ [Accessed 12 Dec. 2019]. Les Ateliers (2011). Montpellier City Hall. [image] Available at: http://www.jeannouvel.com/en/projects/ hotel-de-ville/ [Accessed 12 Dec. 2019]. Dezeen (2015). Philharmonie de Paris. [image] Available at: https://www.dezeen.com/2015/12/15/ new-photographs-closer-look-around-jean-nouvelphilharmonie-de-paris-danica-o-kus/ [Accessed 12 Dec. 2019]. Vertical Garden (2016). Le Nouvel, Kuala Lumpur Architect : Jean Nouvel. [image] Available at: https:// www.verticalgardenpatrickblanc.com/realisations/ kuala-lumpur/le-nouvel-kuala-lumpur [Accessed 12 Dec. 2019]. Architectural Digest (2017). Jean Nouvel Reveals His Singular Vision Behind the Louvre Abu Dhabi. [image] Available at: https://www.architecturaldigest.com/ story/jean-nouvel-louvre-abu-dhabi [Accessed 12 Dec. 2019].
THRESHOLD L1. Author’s photograph. L2. Author’s photograph. L3. Photograph from https://www.atlasofplaces.com/ architecture/fondation-cartier/. L4. Author’s photograph. L5. Author’s site section. L6. Author’s photograph. L7. Author’s photograph. L8. Author’s photograph. L9. Photograph from https://www.atlasofplaces.com/ architecture/fondation-cartier/. L10. Author’s photograph. L11. Photograph from https://www.atlasofplaces.com/ architecture/fondation-cartier/.
MATERIALITY K1. Dezeen (2018). Foundation Cartier. [image] Available at: https://www.dezeen.com/2018/04/10/ junya-ishigami-freeing-architecture-exhibition-modelsfondation-cartier/ [Accessed 12 Dec. 2019].
J1. Collage by Author – Images by, Luc Beogly (2019), Trees Exhibtion, Cartier Foundation. [Image] Available at https://www.fondationcartier.com/en/exhibitions/ nous-les-arbres [ Accessed 10/12/19]. Laurian Ghinitoiu (2018) Laurian Ghinitoiu captures Dreamlike Nature of Junya Ishigami’s work at Fondation Cartier in Paris.
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TYPOLOGY B1. (2019) Bregenz.travel. Available at: https://www. bregenz.travel/app/uploads/2019/07/07_media_19165_ conversions_original.jpg (Accessed: 13 December 2019). B2. (2019) True-paris.com. Available at: https://www. true-paris.com/wp-content/uploads/R_TEZENAS-FOND. CARTIER-088.jpg (Accessed: 13 December 2019). B3. Author’s own. B4. Author’s own. B5. Diller Scofidio + Renfro (2019). Available at: https:// www.fondationcartier.com/en/exhibitions/dillerscofidio-renfro (Accessed: 13 December 2019). B6. (2019) Images.adsttc.com. Available at: https://images.adsttc.com/media/images/5037/ fd73/28ba/0d59/9b00/07b7/slideshow/stringio. jpg?1414206892 (Accessed: 13 December 2019). B7. Author’s own. B8. Author’s own. B9. (2019) I.pinimg.com. Available at: https://i.pinimg.com/originals/d3/3a/b9/ d33ab92726ef283e14e98b52b123fe87.jpg (Accessed: 13 December 2019). B10. Kunsthaus Bregenz KUB - V-CARD (2019). Available at: https://www.v-card.at/poi/kunsthaus-bregenz-kub/ (Accessed: 13 December 2019). B11. Author’s own. B12. (2019) Montafon.at. Available at: https://www. montafon.at/1-Bilder/3-Infrastruktur/5-Kunst-Kultur/ Museen-in-Vorarlberg/Kunsthaus-Bregenz/KunsthausBregenz-Markus-Tretter-2019-01.jpg (Accessed: 13 December 2019). B13. Author’s own. B14. Author’s own. B15. Author’s own. B16. (2019) Images.adsttc.com. Available at: https://images.adsttc.com/media/images/5037/ fd5f/28ba/0d59/9b00/07b3/slideshow/stringio. jpg?1414206889 (Accessed: 13 December 2019). PROGRAMME D1. Public and private spaces diagram. Author’s drawing, traced from: http://joshuamacdonald.ca/ fondation-cartier/. D2. Hierarchy of spaces diagram. Author’s drawing, traced from Atlas of Places, https://www.atlasofplaces. com/architecture/fondation-cartier/. D3. Section analysis of the functions of each space. Author’s drawing, traced from Atlas of Places, https://
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Illustrated Cultural Bibliography. My graduation project has been lucky enough to have been bolstered with a coincidentally heritage‑focussed series of NUAS Small Talks this year. From Chipperfield to Carmody Groarke, this has provided an opportunity to consolidate some additional academic learnings into my graduation project. Simultaneously, my final year has also provided extra-curricular opportunities that have developed my non-academic design skills and knowledge, from collaging workshops to the construction of my first inhabitable space. Beginning with the academic extra-curricular activities, the following are recounted in order of the relevance that I believe they had on my graduation project.
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Illustrated Cultural Bibliography. My seminal reading this year was Tim Ingold’s Lines: A Brief History, which justified my concept of the Île de la Cité’s structures each having equal importance. Along the top row, this core text required extra readings on experimental preservation, as my architectural education had not covered this yet. Of these, three stand out: Jorge Otero-Pailos’ Monumentaries explained how supplements and documents authenticate an original, which I applied throughout my project. Secondly, Richard Murphy gave a lecture, which I have since rewatched multiple times, about Carlo Scarpa’s selective delamination at Castelvecchio and the resulting ‘knot’ of histories he unravelled. Finally, my tutor’s own work in a chapter for Architecture RePerformed is interesting not least for an insight into his work, but for the important message that the authentication of a monument is more about socio-political and cultural struggle than any particular material factors. The middle row depicts two voluntary talks I attended. The first was more engaging for how strongly I disagreed with the speaker. Andy Groarke described his ‘preservation’ of Charles Rennie Mackintosh’s Hill House but I struggled to accept that by treating the building as an ‘artefact’ it could magically pause the passage of time. On the right, a speaker from David Chipperfield summarised their recent works in culturally or historically significant contexts - providing a rich database of relevant precedents, if nothing else. The final row indicates voluntary workshops I attended. Most relevant was the Live Site Project, a workshop by Newcastle alumni that taught the physical reality of preservation, giving knowledge of such things as limestone identification. Secondly, a collage workshop from Franz Samsa actively informed my following representations while, finally, a concrete workshop looked at incorporating elements of reuse into an otherwise environmentally unfriendly material. 400.
401.
‘16 Cav. Bar.’ A light-hearted project that proved architects and engineers can work together! Although this project is included somewhat playfully, it was in fact a rewarding experience to have constructed an inhabitable space that I (In tandem with Civil Engineering student and Lead Engineer, George Cooper) had designed from conception to completion. Albeit a small, unrefined space, the power of architecture has been proved in the bar’s local popularity - I am regularly informed of more people who have found or stolen another coaster - and with the continual development now including a set of wall-hung optics, bar stools and outdoor lighting, the architectural draw of what is, basically, a covered area has been proven in action. While it may lack the refinement of other projects, the marriage of architecture and alcohol has an Aaltonian satisfaction which certainly made the project a great deal of fun, both then and now.
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Degree Show 2020.
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Architecture Planning & Landscape
DEGREE SHOW 2020
Finally, it has been my ongoing privilege to act as the undergraduate chairman for the Degree Show 2020.
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This commitment has undeniably had an impact on my available time, soaking up many weekends and forcing a balancing act between completing my graduation project and exhibiting everybody else’s, but the payoff in having early communication with local practices, an additional creative venture and a leadership role with an associated responsibility have all made the process more than worthwhile. Having been postponed due to Covid-19, the news that the Degree Show 2020 has been given clearance to go ahead in a revised, virtual format was great to hear (not least for making the year’s earlier work worthwhile!) and being able to see this project through to fruition will be a lovely end to my time as an Undergraduate at Newcastle University.
406.
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Endnotes. 1. 2. 3. 4. 5. 6. 7.
8.
9.
10. 12. 11. 13.
Tim Ingold, Bringing Things to Life: Creative Entanglements in a World of Materials (Working Paper) (University of Manchester, 2008), p. 11. Ibid., Making: Anthropology, Archaeology, Art and Architecture (Abingdon: Routledge, 2013), p. 132.
Bruce Tether and Pamela Buxton, AJ100 2020: Three-quarters of Firms have Signed up to Architects Declare (2020), <https://www.architectsjournal.co.uk/news/aj100-2020-three-quarters-of-firms-have-signed-up-to-architectsdeclare/10047181.article?blocktitle=climate-change&contentID=23440> [accessed 12 June 2020].
Colosseum Rome Tickets, Abandonment and Reuse of the Colosseum.
Lucía Gómez-Robles, ‘A Methodological Approach Towards Conservation’, in Conservation and Management of Archaeological Sites, ed. by Tim Williams, 12(2) (2010), pp. 146-69 (p. 154), <http://orcp.hustoj.com/wp-content/ uploads/2015/10/Athens-Charter-1931-A-Methodological-Approach-Towards-Conservation.pdf> [accessed 09 June 2020]. Ibid, (p. 155).
Eugène-Emmanuel Viollet-le-Duc, Dictionnaire Raisonné de l’Architecture Française du XIe au XVIe Siècle, VIII, (Paris: E. Martinet, 1866), p.14, <https://ia902505.us.archive.org/7/items/architecturefran08violuoft/ architecturefran08violuoft.pdf> [accessed 08 June 2020].
Il Prisma Architects, Martini Terrace (2020), <http://www.ilprisma.com/projects/terrazza-martini> [accessed 08 June 2020].
Oliver Wainwright, Rem Koolhaas Crafts a Spectacular ‘City of Art’ for Prada in Milan (2015), <https://www.theguardian. com/artanddesign/architecture-design-blog/2015/may/06/rem-koolhaas-crafts-spectacular-city-of-art-for-pradamilan> [accessed 09 June 2020].
Sheffield School of Architecture, Richard Murphy Lecture about the Work of Carlo Scarpa (2014), <https://www.youtube. com/watch?v=v_78_KQZiP8> [accessed 09 June 2020].
18. Ibid. 19. Ibid.
Michael E. Gamble, ‘Genre Bending: Scarpa, Dialogism and the Cangrande della Scala’, in Legacy + Aspirations, ed. by Geraldine Forbes and Marvin Malecha, 87 (1999), pp. 84-89 (p. 88), <https://www.acsa-arch.org/proceedings/ Annual%20Meeting%20Proceedings/ACSA.AM.87/ACSA.AM.87.25.pdf> [accessed 09 June 2020]. Sheffield School of Architecture, Richard Murphy Lecture about the Work of Carlo Scarpa.
22. VeniceBlog, Com’era Dov’era (2007), <https://veniceblog.typepad.com/veniceblog/2003/12/comera_dovera.html> [accessed 08 June 2020]. The Churches of Venice, Castello (2020), <http://churchesofvenice.com/castello2.htm> [accessed 09 June 2020].
Lylah Alphonse, 10 Things About Notre-Dame (2019), <https://www.usnews.com/news/best-countries/articles/201904-15/10-things-about-notre-dame#:~:text=More%20than%2013%20million%20people,see%20the%20iconic%20 Eiffel%20Tower> [accessed 10 June 2020].
24. Climate-Data, Paris Climate (2020), <https://en.climate-data.org/europe/france/ile-de-france/paris-44/> [accessed 09 June 2020]. 26. 27. 28.
32.
35.
17. Ibid.
25.
Kelly Richman-Abdou, Kintsugi: The Centuries-Old Art of Repairing Broken Pottery with Gold (2019), <https:// mymodernmet.com/kintsugi-kintsukuroi/> [accessed 10 June 2020].
Landmarks of the World, History of the Colosseum (2020), <https://www.wonders-of-the-world.net/Colosseum/ History-of-the-Colosseum.php> [accessed 09 June 2020].
Colosseum Rome Tickets, Abandonment and Reuse of the Colosseum (2018), <https://colosseumrometickets.com/ abandonment-and-reuse-of-the-colosseum/> [accessed 09 June 2020].
16. Ibid.
23.
31.
30.
33.
15. Ibid.
21.
Otero-Pailos, (p. 26).
Will Hurst, Introducing RetroFirst: A New AJ Campaign Championing Reuse in the Built Environment (2019), <https:// www.architectsjournal.co.uk/10044359.article> [accessed 12 June 2020].
14. Ibid.
20.
29.
Rick Poynor, Collage Culture: Nostalgia and Critique (2013), <https://designobserver.com/feature/collage-culturenostalgia-and-critique/38187> [accessed 09 June 2020].
Jorge Otero-Pailos, ‘Monumentaries: Toward a Theory of the Apergon’, in Tabula Plena, ed. by Bryony Roberts, 1st edn (Zurich: Lars Müller, 2016), pp. 20-29 (p. 20). Jennifer Shields, Collage and Architecture (New York: Routledge, 2014), p. 1.
34.
36.
Shields, p. 2.
Josep María García-Fuentes, ‘Barcelona’s Gothic Quarter: Architecture, Ideology and Politics’, in Architecture RePerformed: The Politics of Reconstruction, ed. by Tino Mager (New York: Ashgate, 2015), pp. 35-54 (p. 50). Otero-Pailos, (p. 22).
Helena Kalčić, ‘Eugène-Emmanuel Viollet-le-Duc and Monument Protection: A Case Study’, in Urbani Izziv, ed. by Boštjan Kerbler, 25(2) (2014), pp. 130-142 (p. 132), <https://www.jstor.org/stable/24920922?seq=3#metadata_info_ tab_contents> [accessed 09 June 2020].
Louis I. Kahn and Nell E. Johnson, Light is the Theme: Louis I. Kahn and the Kimbell Art Museum (Fort Worth: Kimbell Art Museum, 1975), p. 43. Patrick Elliott, Cut and Paste: 400 Years of Collage (Edinburgh: National Galleries of Scotland, 2019).
37. Ingold, Making: Anthropology, Archaeology, Art and Architecture, p. 133. 38. 39. 40.
CNT Editors, Secrets of Notre-Dame de Paris (2011), <https://www.cntraveler.com/galleries/2011-12-07/paris-notredame-secrets> [accessed 13 June 2020]. Georges Candilis, Alexis Josic and Shadrach Woods, ‘Mat’, in Tabula Plena, ed. by Bryony Roberts, 1st edn, (Zurich: Lars Müller, 2016), pp. 86-9 (p. 86)
Helena Kalčić, ‘Eugène-Emmanuel Viollet-le-Duc and Monument Protection: A Case Study’, in Urbani Izziv, ed. by Boštjan Kerbler, 25(2) (2014), pp. 130-142 (p. 132), <https://www.jstor.org/stable/24920922?seq=3#metadata_info_ tab_contents> [accessed 09 June 2020].
41. Ingold, Making: Anthropology, Archaeology, Art and Architecture, pp. 56-7. 42.
Nicolás Salazar Sutil, Matter Transmission: Mediation in a Paleocyber Age (New York: Bloomsbury Publishing, 2018), p. 10.
43. Dezeen, Stone of Amin Taha’s 15 Clerkenwell Close pays tribute to 11th-century abbey (2018), <https://www.dezeen. com/2018/10/02/amin-taha-groupwork-15-clerkenwell-london-architecture/> [accessed 13 June 2020]. 44. Ibid. 45. 46.
Paris Info, Crypte Archéologique de l’Île de la Cité (2020), <https://en.parisinfo.com/paris-museum-monument/71111/ Crypte-archeologique-de-l-Ile-de-la-Cite> [accessed 09 June 2020]. Cheryl A. Pientka, Paris for Dummies, 5th edn (Indianapolis, Indiana: Wiley, 2009), p. 217.
47. Arrault, Abrege Historique de l’Établissement de l’Hôpital des Enfans-Trouvés à Paris (1746), p. 1, <http://www. neonatology.org/classics/hopital/hopital_history.pdf> [accessed 08 June 2020].
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Sutil, Nicolás Salazar, Matter Transmission: Mediation in a Paleocyber Age (New York: Bloomsbury Publishing, 2018)
Hearn, M. F., The Architectural Theory of Viollet-le-Duc: Readings and Commentary (Cambridge, Mass.: MIT Press, 1990)
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List of Figures. Page 315: Page 3.
Katrien de Blauwer, Untitled (n.d.), collage, <https://www.wikiart.org/en/katrien-de-blauwer/editie-katrien>.
Page 125:
Mapscaping, France Map Slate (2020), print, <https://mapscaping.com/products/france-poster-slate >; Gridlines, Paris Poster (2020), print, <https://www.amazon.co.uk/Paris-Poster-city-network-print/dp/ B01AM6QH8A>.
Page 41-4:
Page 153: Page 159: Page 194: Page 195: Page 203: Page 205: Page 207: Page 251: Page 285: Page 287:
Page 289: Page 291: Page 293: Page 295: Page 297: Page 299: Page 301: Page 303: Page 305: Page 307: Page 309: Page 311: Page 313:
Groupwork, Primer Exhibition (2020), collage.
Charles Marville, Vue des Arcs-Boutants (c. 1856), photograph.
Jorge Otero-Pailos, Roman Theater in Arles (2015), photograph, <https://www.e-flux.com/ journal/66/60754/monumentaries-toward-a-theory-of-the-apergon/>.
Greg Dehio and G. von Bezold, Chartres, West End Elevation (c. 1890), engraving, <https://upload. wikimedia.org/wikipedia/commons/1/19/ChartresWestEndDB407.jpg>. Tim Ingold, Making (2013), photograph, <https://www.amazon.co.uk/Making-Tim-Ingold/ dp/0415567238>.
Alison Stones, Plan of Canterbury Cathedral (n.d.), photograph, <http://www.medart.pitt.edu/image/ England/Canterbury/Cathedral/Plans/Canter-Plan-Carve-s.jpg>.
Dina Krunic, The Groundscraper (2013), photograph, <academia.edu/2652904/The_Groundscraper_ Candilis_Josic_Woods_and_the_Free_University_Building_in_Berlin>. Ibid.
Dezeen, 15 Clerkenwell Close (2019), photograph, <https://static.dezeen.com/uploads/2018/09/groupworkamin-taha-15-clerkenwell-close-architecture-_dezeen_2364_sq.jpg>; Ibid.
Page 317: Page 319: Page 372-95:
E. Ollivier, Histoire topographique et archéologique de l’ancien Paris (c. 1886), engraving, <https://gallica.bnf.fr/ark:/12148/ btv1b8445862k/f1.item.zoom>. Jacques Bins Saint Victor, Paris Vue de l’Eglise de Sainte Geneviève des Ardents (c. 1747), illustration, <https://www. picclickimg.com/00/s/NzYyWDEwMDA=/z/BugAAOSwvaBcxIJm/$/Paris-Vue-de-lEglise-de-Sainte-Genevievedes-_57.jpg>.
SLM, St. Etienne Floor Plan (n.d.), illustration, <https://romaanse-en-gotische-kunst6.webnode.be/_files/2000000988ed348fcbe/st_etienne_notre_dame_plan.png>. Groupwork, Field Trip Case Study Report (2020), assorted.
Page 400, [Clockwise from Top-Left]: Jorge Otero-Pailos, Roman Theater in Arles (2015), photograph, <https://www.e-flux. com/journal/66/60754/monumentaries-toward-a-theory-of-the-apergon/>; Richard Murphy, Castlevecchio and Carlo Scarpa Revisited (n.d.), photograph, <https://cdn.filepicker.io/api/file/sPnbLAPJRKCFg6P6oo9d/ convert?fit=clip&h=&quality=75&w=1172&compress=true&fit=clip>; Catala Pic, Barri Gòtic per a la Sociedad de Atracción de Forasteros de Barcelona (1935), collage, <https://sortidesambgracia.files.wordpress.com/2016/07/fotomuntatge-barriogc3b2tic-catal-pic.jpg?w=486&h=600>; Dezeen, David Chipperfield Royal Academy (2018), photograph, <https://static. dezeen.com/uploads/2018/05/David-chipperfield-royal-academy_dezeen_2364_col_15-852x668.jpg>; Author’s own, Concrete Workshop (2020), photograph; Author’s own, Collage Workshop (2020), collage; Live Site Project, Live Site Project (n.d.), photograph, <https://media-exp1.licdn.com/dms/image/C560BAQFFOsTD3O66lg/company-logo_200_200/0?e =2159024400&v=beta&t=luP4P0ECuZlcZLrgOk2MfzlUAcgj0NNlpYirT9mALso>; Carmody Groarke, The Hill House Box (2019), photograph, <https://www.carmodygroarke.com/wp-content/uploads/2016/12/Carmody-Groarke_JohanDehlin_Hill-House-Mackintosh-Box_02-2000x1429.jpg>; Page 401:
Tim Ingold, Lines: A Brief History (2007), photograph, <https://iprh.files.wordpress.com/2016/05/lines.jpg>.
Charles Marville, Baptême du Prince Impérial à Notre‑Dame (1856), photograph, <https://www.auction. fr/_fr/lot/charles-marville-bapteme-du-prince-imperial-a-notre-dame-355155>. Eugène-Emmanuel Viollet-le-Duc, Sacristie de la Cathedrale (n.d.), illustration.
Crompton, Anthropomorphic House (n.d.), photograph, <http://continuity.msa.ac.uk/index.php/2008/03/11/ anthropomorphic-house/>. Clark E. Ridpath, Equestrian Statue of Charlemagne (1912), illustration, <https://www.lookandlearn.com/ history-images/M066608/Equestrian-Statue-of-Charlemagne-at-Paris?t=4&n=401536>. Crypte Archéologique de l’Île de la Cité, Plan de la Crypte (n.d.), photograph.
Associated Press, Notre-Dame Excavations (1967), photograph, <https://s.yimg.com/uu/api/res/1.2/ fU1t5hWS7TCpRJ56niyLqQ--~B/aD0yMjIyO3c9MzM0NztzbT0xO2FwcGlkPXl0YWNoeW9u/http:// media.zenfs.com/en_us/News/ap_webfeeds/9285b3f352e84b279afd40966d2ef1ab.jpg>.
Charles Marville, Portique à l’extrémité de la cour d’honneur (c. 1861), photograph, <https://en.wikipedia. org/wiki/H%C3%B4tel-Dieu,_Paris#/media/File:Charles_Marville,_H%C3%B4tel_Dieu_2,_ ca._1861%E2%80%9370.jpg>. Paris Musées Collections, Caserne Municipale de la Cité (n.d.), illustration, <https://www. parismuseescollections.paris.fr/es/node/647963#infos-principales>.
Figure10, 1910 Antique Map of Palais de Justice (n.d.), illustration, <https://www.etsy.com/ listing/208526575/1910-antique-map-of-palais-de-justice?utm_source=Pinterest&utm_ medium=PageTools&utm_campaign=Share>.
Vergue, Plan de masse des annexes de l’Hôtel-Dieu (1902), illustration, <http://vergue.com/media/.annexeshotel-dieu-1902_s.jpg>. Paris Anecdote, Saint-Julien le Pauvre et son Quartier au XIVe Siècle (n.d.), illustration, <https://www. paris-anecdote.fr/wp-content/uploads/2017/07/1-2.jpg>.
Selling Antiques, An Engraving Of The Church Of Saint-gervais In Paris (c. 1690), engraving, <https://www. sellingantiques.co.uk/photosnew/dealer_Albion/dealer_Albion_highres_1534865246590-9207984787.jpg>.
Universided de Navarra, Chatelet (n.d.), engraving, <http://www.unav.es/ha/007-TEAT/007-Z-GENERAL/ chatelet200.jpg>. Université de Paris, Plan de l’Hôtel Dieu de Paris (1805), engraving, <https://www.biusante.parisdescartes.fr/ images/banque/zoom/09383.jpg>. M. Boffrand, Plan du premier étage de l’Hôpital des Enfans-Trouvés (1748), illustration, <http://www. neonatology.org/classics/hopital/hopital2b.jpg>.
412.
413.
20
6.20
15.0
..?