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T H E P R E S E R VA T I O N M A C H I N E ACADEMIC PORT FOLIO 2020 OLIVER GABE 170254542

OLIVER GABE ACADEMIC PORT FOLIO 2020 STUDIO 6: BUILDING UPON BUILDING

CONTENTS

PRIMER

S TA G I N G

R E A L I S AT I O N

SYNTHESIS

INTRODUCTORY CHAP TER

4 - 5

CHAP TER 1: PRIMER

6 - 13

S I T E A N A LY S I S

STUDIO EXHIBITION

C H A P T E R 2 : S TA G I N G

14 - 40

TO URISM 2030 MAGAZI NE

RESEARCH

& READINGS

C H A P T E R 3 : T H E P R E S E R VA T I O N M A C H I N E

41 - 63

T H E N A R R AT I V E

T H E A N AT O M Y O F T H E M A C H I N E

CHAP T ER 4: T H E POT ENT IAL OF T H E MACH I NE AN IDEAL DYSTOPIA

CHAP T ER 5: ADVERT ISI NG T H E MACH I NE

64 - 72 66 73 - 84

ADVERTISING

T H E 7 SI NS OF T H E MACH I NE

E P I L O G U E : T O WA R D S A P A R I S O F 2 1 0 0

85 - 99

REFERENCES & LIST OF FIGURES

100

BIBLIOGRAPHY

101

APPENDICES

102 - 105

APPENDIX A: CASE STUDY BOOKLET

102

APPENDIX B: THINKING THROUGH MAKING

104

APPENDIX C: CHARRET TE

105

I L L U S T R A T E D C U LT U R A L B I B L I O G R A P H Y

106 - 109

INTRODUCTORY CHAP TER Entering university from a graphic design background, I had rarely developed any hand drawing or analogue techniques before my architectural studies. I initially felt at a disadvantage as, understandably, a strong bias towards hand drawing and model making is pushed during the first and second years. I had to go through the process of learning the fundamentals of architecture before being able to supplement these analogue skills with my strengths in digital representation. I am fascinated by the ability of the digital to imagine new worlds and possibilities from our own, harnessing new technologies to push the limits of our imagination to create realistic and captivating virtual imagery. Digital representation has greatly aided this project with its the ability to produce conceptual atmospheric imagery capable of creating convincing and appealing fictional architecture. Over time, I have become fascinated by the idea that fictional architecture can be just as important as serious architectural proposals in raising and challenging problems within our society and within the architectural profession. Projects from practices such as Archigram and Superstudio have fascinated me with their capacity to create wonder and imagination within architecture, bringing a sense of playfulness whilst also tackling large and complex issues. At the beginning of the year, much of my research was oriented around these ideas. Simultaneously, I have thoroughly enjoyed studying architectural theory, sparked initially from Koolhaas & Otero-Pailos’ ‘Preservation is overtaking us’, then quickly moving into the topics of experimental preservation and classical theory. This strong theoretical base has been a platform from which my graduation project has grown. While we were encouraged to develop our schemes through spatial exploration, I was more interested in designing from a theoretical standpoint, exploring through research and reading, then letting the form develop as a result. While the disadvantages of such a work-flow has resulted in a less extensive and experimental design process than I would have liked. Designing from textual research, I found that many of my design decisions were dictated by the conceptual standpoint of the building. Thus, once I had decided the narrative and key references for the project, many of the spatial and programmatic decisions developed as a result. Rem Koolhaas argues that overconsumption will be the mortal blow to contemporary society and the fixation of architects with the creation of new forms is outdated and has to change. He argues that preservation is the future of architecture, focusing not the production of new forms, rather the installation of ‘formless aesthetics’ by which an existing building is ‘framed and reframed by preservation as culturally significant.’ [1] With the environmental crisis quickly reaching its peak, the responsibility falls to our generation to tackle the destructive and insensitive nature of commercially driven architecture. Ultimately, preservation is the most environmentally conscientious practice within architecture. The re-purposing of existing spaces and building elements needs to become more commonplace in a world where the generation of new forms is becoming less and less feasible. Therefore, architectural preservation is increasingly becoming more relevant to society than traditional construction. Preservation as a subject and practice within architecture has always fascinated me and the opportunity to focus on this during my final year was incredibly exciting.

I NT ROD UCTORY CHAP T ER

Building upon Koolhaasâ&#x20AC;&#x2122; philosophy for preservation, my project aims to preserve the identity of the Notre Dame by reframing its perception within the changing tourist culture. The design of my building is less focused on the experience of space, rather how the space makes you experience its surroundings. The experience of the building is secondary but influences the userâ&#x20AC;&#x2122;s experience of the context. Ultimately, any construction next to a 1000 year old Gothic cathedral must remain subservient and secondary, primarily serving towards the preservation of the cathedral. I would argue that the tourism industry embodies many of the problems within contemporary society. The constant, destructive desire for more regardless of the consequence, the gluttony of luxury products and the vanity of flaunting them have all overwhelmed modern society, shaping social media, advertising and the way we experience the world. My project deliberately exploits many of the negative aspects of architecture and tourism, appealing to the commercial, greedy and destructive natures of the industry. By accelerating the problem to its extreme, the aim of the project is not to find an answer, but to explore and unpack the issues embedded within. Accelerationist theory explores the potential of pushing every facet of a system to its extreme, where the problems within it are forced to the forefront, no longer ignorable, overwhelming the system and resulting in its collapse. [2] I have applied this logic to the tourism industry with my building, creating a proposal that hosts the system of tourism, accelerating it to an extreme point where the destructive, greedy and arrogant qualities of the industry overwhelm its identity. Reflecting on the process of designing from this conceptual standpoint, I found myself delving deeper and deeper into the hypothetical rabbit-hole of what could be. Much of my project explores the speculative possibilities of an accelerated Paris and I therefore quickly found myself not just designing a building proposal, but the whole island and context. While initially trying to develop and explore this grand narrative, I found myself getting lost in the complex theories of accelerationism and simulation, attempting to solve an unsolvable problem which I found to be increasingly overwhelming. It was only after stepping back and thinking logically about the building proposal, I found that the narrative and design could develop together. I have learnt a valuable lesson this year, a building proposal cannot be designed directly from an essay. The human, spatial aspect of architecture should define its creation and design process. My project mainly focuses on a broader scale, I often found myself neglecting the human scale and interactions, which I think my project could benefit from. A balance between theory and spatial design is necessary for any project, regardless of how conceptual or fictional.

CHAP TER 1 : PROJECT PRIMER For primer we began to contextualise the project brief with research and readings into the history of Paris, the Notre Dame, Viollet le Duc, Gothicism and preservation. Understanding the historical context and changes of the site and surroundings were key to building up an appreciation for the heritage of the area. This in turn would allow us to design a proposal deeply rooted in its historical context. We undertook extensive mapping of the Notre Dame, Ile de la Cite & Paris over the course of history. I thoroughly enjoyed this process and am certain that gaining a deeper understanding of the heritage and context allowed me to develop a more meaningful and considered design proposal.

P R I M E R

P RIMER

1163 - 1190

1190-1250

Early Construction

1250 - 1345

Construction is finished

Mid-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.

1600 - 1750

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.

The first stone was laid in 1163 by Pope Alexander III, but it was not until 1345 that the cathedral acquired the form that In 1230 a nave and butresses were added to the original is still hers today. building. The buttresses are added to support the walls that were raised, as the first nave was considered too dark. One of The construction of Gothic cathedrals is a phenomenon the fundamental principles of Gothic architecture is the closely linked to the development of medieval cities from the concordance between the interior and exterior of the building. end of the twelfth century. In 1161, Paris has become the The number and size of the floors visible on the exterior must political capital of the Capetian kings since Philippe I, and correspond perfectly to the architecture of the interior of the also has become an important economic centre where a real cathedral. city of artisans and markets has being built. The construction of a cathedral responds to this double need to welcome more Finally, a span is also added to the transept, to preserve the faithful and to radiate the prestige of the capital. cross-shape of the building. The South Tower was completed in 1240 and the North Tower in 1244. The latter is carried out After nearly 20 years of work, in 1182, the first part of the under the supervision of Jean de Chelles, the first contractor cathedral was completed. It already allows the faithful to whose name is known on this site. 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.

1789 - 1799

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.

1804-1814

French Revolution

Following the French wars of religion between 1562 and 1598, the protestant ideas of England had started to seep across the channel and 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 North rose of Notre-Dame has a diameter of nearly 13m and expands to 24 rays in three concentric circles. Dating from During this time, the Catholic church asserted its authority 1245, it is dedicated to the Old Testament. A Virgin in over the Notre Dame by affirming these themes in the interior majesty, a scepter in her hand, appears in the centre. decoration and spatial arragement. Under order by the ‘Batiments du Roi’, the reformations focused on the altar and At the end of the thirteenth century, the cathedral of the choir seat. These changes complied with the classical Notre-Dame de Paris was almost finished. The body of the religious Roman characteristics, drawing influence from the nave was built, the façade and the towers were elevated. All Vatican and St Peter’s Basillica. There were strong themes of that remains is to finish were the interior fittings and the geometrical lines, uniform colums and semi-circular arches. bedside, the end of the nave opposite the portals (also called The altar of the Notre Dame had the most iconic re-design. It apse). The bedside of Notre-Dame de Paris is customly worked had four paralllel twisted columns, similar to Bernini’s sculpted and decorated. A first part of the work was started by Pierre de bronze canopy over the altar of St Peter’s Basilica. Thus, the Chelles. The chapels were completed by his successor, Jean Gothic identity of the cathedral began to be removed and Ravy, at the end of the first half of the 14th century. replaced with the Catholic ideas of the counter-reformation.

Napoleon I

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. 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. 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.

S I T E A N A LY S I2019 S 1830-1852

The Bourbon Restoration & Viollet le Duc Notre Dame burns

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.

On April 15 2019 at 6: mass but there were no sounded and a fire was The roof was covered work on the cathedral. out to the whole roof, as of the Viollet-le-Duc sp to the wooden roof. The floor of the nave. The st by the fire, however, ma Viollet le Duc and Jean-Baptiste Lassus won the competition to the inside of the cath for the restoration of the cathedral. They believed that instead of restoring the cathedral to the exact state that it would have Thousands of people ga been when it was built, they should “re-establish it in a finished the fire consumed the state, which may in fact never have actually existed at any given liturgies, whilst others time.” It was their duty to embody the ideas of the original atmosphere of sorrow masons, combined with the contemporary technological their beloved cathedral 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.

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 innovations, to realise the original concept of the building to a vestibule. It was here that the Pope and his entourage robed greater extent than it ever could have been. and where Napoleon and Josephine donned their coronation robes. They drew influence from existing Gothic architecture around France to carefully study, rebuild and replace the damaged The building was whitewashed with lime and the interior was parts of the building. They restored the 28 biblical kings that hung with fabrics and silk, velvet drapes decorated with the had been mistakenly destroyed during the Revolution, along coats of arms and insignia of the Empire. The east end of with Christ above the main door and 16 other figures around Notre-Dame was augmented with a rotunda, elaborately the building. The decoration inside was restored to its original decorated with tapestries. Ironwork around the choir and two state, along with the windows of the galleries. A new sacristy altars was removed. Raised seating was built at the length of was designed in the place of the old one, in a Neo-Gothic the nave and in the clerestories to allow for official style entirely designed by Le Duc. Finally the central spire representatives from France. Napoleon’s throne was placed on was redesigned loosely according to engravings from the 14th a high platform above the nave in front of the West Door. century, however the new spire was much taller and the Gothic style was greatly amplified.

1250-1345

1600-1750

1789-1799

1804-1814

1830-1852

2019

Early construction

Mid-Construction

Construction is finished

Catholic Reformation

French Revolution

Napoleon I

Bourbon restoration

The fire

An important part of site analysis was gaining an understanding of the architectural history of the Notre Dame. These diagrams show the additions and subtractions to the cathedral over its turbid history. It was fascinating to gain an understanding that the construction of a Gothic cathedral is never truly finished. The impression of architectural permanence is from a process of construction spanning 1000 years. The glimpse of the cathedral that we see is only a snapshot from the long and complex history of its entire lifespan.

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.

1190-1250

The damage caused by about the restoration o Notre Dame may not h an insensitive and unt building.

In 1830, Louis Phillipe I was crowned the ‘King of the French’ The damage caused by the fire has sparked major controversy during the period of the Bourbon Restoration. Following the about the restoration of the Cathedral. The damage to the damage from the first revolution there was a national effort to Notre Dame may not have just been caused by the fire, but by restore the symbols of the monarchy in France, including an insensitive and unthoughtful perservation project to the restoring and preserving the many dilapidated Gothic and building. 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.

Napoleon I

1804-1814

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 A Te Deum was celebrated at Notre-Dame on A April 1802 state, along with the windows of the galleries. new10, sacristy for proclamation of aofconcordat thatinrecognised the wasthe designed in the place the old one, a Neo-Gothic Catholic religion as ‘thatbyofLetheDuc. majority of the style entirely designed Finally theFrench.’ central Both spire Napoleon and Pope Piusaccording VII weretoinengravings attendance.from the 14th was redesigned loosely century, however the new spire was much taller and the Napoléon Bonaparte chose the cathedral of Notre-Dame de Gothic style was greatly amplified. 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.

1789 - 1799

French Revolution

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 tapestries. Ironwork around two 1793 andwith 1794 were the defining yearstheofchoir the and French altars was removed. Raised seating wasdissatisfaction built at the length of Revolution, which stemmed from the with the the nave and Catholic in the Church. clerestories to led allow for Cult official power-hungry It was by the of representatives fromgroup France. Napoleon’s throne was placed on Reason, an atheist formed in 1793 by Jacques Hébert awhich high platform above navehatred in frontforofthe theCatholicism West Door. and was rooted in athe shared believed that way of life should be governed by Enlightenment ideas – reason and rationality.

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.

1600 - 1750

Catholic Reformation

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 Following the Frenchanwars of religion between 1562 and 1598, who was suspected enemy of the revolution was arrested or the protestant ideas of England had started to seep across the sentenced a death penalty. However, despite the consistent channel and the into France. Catholic to revolutions, French heldThe on to religion church as their needed way of life. 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.

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.

1250 - 1345

Construction is finished

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.

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.

1190-1250

Mid-Construction

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.

1163 - 1190

Early Construction

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.

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.

1163-1190

At 7am on the follow “danger of the fire had firefighters still on the saved, with the bell tow main rose windows. Tw with the spire among o as discolouring of the N flames and smoke.

P RIMER THE EVOLUTION OF PARIS

<1100AD

1600AD

1100AD

1700AD

1200AD

1832AD

1350AD

2019AD

1500AD

P RIMER

S I T E A N A LY S I S

Grass

River

THE SITE Views

Gathering points

Sun path

Roads

Restricted area due to repairs

Gathering points created as a result

Much of my site research was dedicated to the behaviour of tourists around the cathedral. Primarily, people flock to certain areas with the best views of the Notre Dame. However, with the reconstruction works following the fire in 2019, a large section of the site has been fenced off, with public circulation around the perimeter. This has caused people to disperse around the fenced off area more widely, with high concentration on the bridges onto the island, rather than directly in front of the cathedral.

STUDIO EXHIBITION

SKETCHES of masterplan

Parisâ&#x20AC;&#x2122; history has been fraught with deep periods of turmoil and unrest. Each new era has caused the city to change dramatically, with expansion and development coming hand in hand with destruction and ruin. The damage caused by previous generations has been hastily covered up and brushed away forming a patchwork of transformations that make up Paris and its urban environment. We felt that one of the best ways to represent this was through an exhibition of collages, weaving together to form a historical tapestry that represents this complex history.

10 fig.01- Primer exhibition setup photo

fig.03- Primer exhibition photo 2

fig.06- Primer exhibition photo 5

fig.04- Primer exhibition photo 3

11 fig.02 - Primer exhibition photo 1

fig.05- Primer exhibition photo 4

fig.07- Group site model

P RIMER

STUDIO EXHIBITION

P RIMER COLLAGES 1840 - 1850 Viollet le Duc & Bourbon Restoration

These are my collages from the primer exhibition. These two time periods were perhaps the most relevant to our studio. In the 1840s, prompted by Louis-Phillipe and the Bourbon restoration, Viollet le Duc was commissioned to preserve the Notre Dame following the damage caused by the revolution. Among other additions, he added a new spire, controversial at the time as it was taller than the one of which it replaced. In 2019 this spire, and the wooden roof - ‘the forest’, burned down during restoration works.

2019 Fire destroys the roof & V i o l l e t - l e - D u c ’s s p i r e

170254542 P RIMER

E A R LY M A S S I N G PROPOSAL My early massing proposal focused on surrounding the Notre Dame in order to restrict certain views. The intention was to preserve the grandeur of the cathedral from close up, the massing would restrict the views of cathedral, forcing the visitor closer where the sheer magnitude and beautiful, extensive ornamentation can have its full effect. Much of this thinking was to remove the isolation of the cathedral forced by Haussmann in the 19th century.

CHAP TER 2 : P R O J E C T S TA G I N G My staging exploration focused on deeper research into the subjects of preservation, Gothicism, simulation and tourism. I became fixated with the idea of designing a hypothetical timeline which would criticise our own society. Ultimately this was less helpful in developing my proposal yet, enabled a deeper understanding of the narrative of the project. By the end of staging I had developed a strong narrative from which my proposal could develop.

S TAG I N G

EXPLORING THROUGH THE HYPOTHETICAL This is Piranesiâ&#x20AC;&#x2122;s speculative map of Campus Martius - Rome. After extensive research of the fragments of knowledge from ancient Rome, he imagined a glorious hypothetical projection of what the city might have looked like. This map differed from other projections of the city at the time, with Piranesi using imagination to fill in the gaps of knowledge over archaeological evidence. [3] While not strictly accurate, this map suggests an alternative for what could have been... I became obsessed with the idea of exploring the possibility of the hypothetical in order to critique and comment on the ideas of the time. By imagining an accelerated, hypothetical timeline one can bring the problems embedded within a system to the forefront of attention.

fig.08- Piranesiâ&#x20AC;&#x2122;s hypothetical map of Campus Martius

S TAG I N G

T O U R I S M 2 0 3 0 M AG A Z I N E

TOURISM 2030 MAGAZI NE My tourism 2030 magazine is an embodiment of disposable tourist culture. Every other page is an advert, designed to appeal towards the vanity, gluttony and greed of modern society. The tourist guide for Paris prioritises Instagram culture; the desire for ‘authentic’ photogenic experiences. Everything can be used as marketing opportunity, whether it promotes a brand, lifestyle or behaviour, ultimately it is depicted as a perfect experience marketed towards our insecurities. This magazine explores an accelerated Paris where tourist culture begins to overtake the meaning of the city.

P R E C E D E N T: R E M K O O L H A A S CONTENT ‘Content ’ is a reflection of western culture from OMA &

AMO. The book is almost an ‘anti-book’ coming across as

satirical, poking fun at aspects of society while providing a

social commentary. ‘Content’ is a product of its moment, described by OMA as ‘dense, cheap, disposable’.

[4]

embodies the criticisms that it makes, which is an aspect that I have drawn great influence from with my Tourism fig.09

2030 magazine.

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FIELD TRIP: THE SKETCHES of GRAND TOUR masterplan Our studio field trip gave us the opportunity to marvel at many beautiful pieces of classical and modern architecture from all around the continent. It developed an understanding and appreciation for classical architecture, along with a burning passion for the preservation of such great monuments. However, it is impossible not to notice how modern culture has changed tourism and the way we appreciate these monuments. Everything is designed to sell to tourists, appealing to the disposable nature of Instagram culture. Tourists flock around monuments like sheep, no longer looking at the architecture, but looking for the best spots to take photos for their profiles.

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RESEARCH & READINGS

“

People no longer look at each other, but there are institutes

for that... They no longer walk, longer touch each other, but

there is contactotherapy, etc.

“

but they go jogging...They no

Baudrillard [5]

S I M U L AT I O N O F EXPERIENCE The advent of social media and Instagram culture has bought with it a plague of vanity, changing our behaviour for the worse. All people think about is where we can take the best picture for our profiles. When we see something we like or are amazed by, the initial reaction is now to pull out our phones and take a picture. We don’t look at things anymore. We glance at them, then look at the photos afterwards. Even worse, the selfie has caused people to spend time around a monument with their back turned, taking pictures of themselves. We no longer experience, we simulate a perfect experience then post about it afterwards.

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RESEARCH & READINGS

“ Architecture is saved

fig.10

REM KO O LH A A S ’ A T T I T U D E T O WA R D S

“

from obsolescence and appears contemporary as it is framed and reframed by preser vation as culturally significant.

P R E S E R VA T I O N Rem Koolhaas and Jorge Otero-Pailos share the view that preservation is quickly becoming the most important facet of architecture. As modern society falls victim to its own overconsumption, architecture must shift away from the production of space and towards the preservation of existing spaces in order to renew their cultural longevity. The focus of preservation is to identify why the building has become culturally irrelevant, and install ‘formless aesthetics’ that shift the understanding of the building. [1] The identity of the Notre Dame is in danger. Perhaps a preservation project is necessary that employs Koolhaas’ philosophy of reframing the understanding of the cathedral in order to maintain its cultural significance.

Rem Koolhaas & Jorge Otero-Pailos

[6] 38

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RESEARCH & READINGS

VIOLLET LE DUC’S A T T I T U D E T O WA R D S P R E S E R VA T I O N This is Viollet le Duc’s design for the ideal Gothic cathedral, developed while he was studying and working on the preservation of the Notre Dame during the 1850s. Viollet believed that to preserve a building, one must put themselves in the shoes of the original designer, restoring to an ideal state without prejudice or personal opinion. “It is not a question of making art, but only of submitting to the art of an era which is no more.” [8] fig.11- A drawing of Viollet’s ideal cathedral, based on Rheims Cathedral

fig.12- Viollet-le-Duc’s projection of the ideal Gothic Cathedral

“

To restore a building is not to preserve it, to repair, or

rebuild it; it is to reinstate it in a condition of completeness which could never have existed at any given time. Viollet le Duc [7]

He believed in combining modern technology and construction methods with traditional design processes and theory to restore to the most ideal state that the building can achieve. Therefore, the building achieves a level of cultural significance beyond the limit of its original design. [9] This ideal cathedral represents the epitome of a Gothic cathedral, designed through meticulous research and experimentation.

Does one believe that [the Notre Dame] would gain from the construction of the two arrows (of a form very hypothetical) above the two towers? We do not think so. Admitting a complete success one might obtain by this addition a remarkable monument, but this monument would no longer be the Notre-Dame de Paris

VIOLLET ’S IDEAL NOT RE DAME During the preservation works of the Notre Dame, Viollet became fascinated by the possibility of pushing the cathedral to greater and greater heights. He reasoned with the idea of initially constructing two spires on top of the towers of the west facade, pushing the cathedral closer to his image of the ideal Gothic cathedral. [8] His reasoning for not constructing these spires was that at the time the Notre Dame was internationally known for its iconic facade, through engravings and early photographs. Any design that would alter this image would be to destroy the identity of the cathedral. People would no longer see it as the Notre Dame de Paris.

“

RESEARCH & READINGS

In contemporary society, the traditional identity of the Notre Dame is in danger. Haussman’s isolation of the cathedral has removed the awe created from the cathedral suddenly emerging from the cramped Parisian streets. Simulation of experience has shifted the priority away from experiencing the architecture and towards taking pictures of it. Moreover, mass image sharing and digital reconstructions, such as Google Street View, allow people to digitally experience the cathedral before ever setting foot in Paris. The spectacle of the first impression has been removed. If we apply Viollet’s reasoning to contemporary society, the traditional identity of the Notre Dame is no longer relevant, a change to its identity would not damage the reputation of the cathedral, it would instead create a new spectacle, reframing its identity and bringing the cathedral back into the spotlight.

Viollet le Duc [10] fig.13- A cartoon of Viollet-le-Duc drawn in 1860, mocking the taller spire he proposed for the cathedral

CHAP TER 3 : T H E P R E S E R VA T I O N MACH I NE Entering into realisation, I had strong idea of the narrative for my project. My design proposal developed within this narrative, informed by the research and exploration from the project primer and staging. This strong idea of concept helped to guide many of the major design decisions, giving the project a strong direction and focus.

R E A LI S AT I O N 41

Simulate Simulated Simulating Simu Simulator Simulate Hypothetical Sim ulated Simulates Simulacrum Simulu Hypothetical Simulating Simulate Sim mulator Simulating Simulated Hypotheti Simulated Hypothetical Simulating S Simulating Simulator Simulate Simu tors Simulacrum Simulated Simula mulate Simulated Simulating Simul Simulator Simulate Hypothetical Si othetical Simulates Simulated Simu mulating Simulacrum Simulate Sim mulator Simulating Simulated Simu Simulator Hypothetical Simulation ulates Simulated Simulated Simulat Simulating Simulacrum Simulation mulator Simulating Simulated Simu Hypothetical Simulated Simulating S Simulator Simulate Hypothetical Si ates Simulacra Simulation Simulat

T H E N A R R AT I V E My proposal, the Preservation Machine, sits in a hypothetical timeline where the decision is made to preserve the identity of the Notre Dame by expanding the cathedral into Viollet le Ducâ&#x20AC;&#x2122;s vision for the ideal Gothic cathedral. It is decided that to challenge the loss of the Notre Dameâ&#x20AC;&#x2122;s identity, its identity must be reframed into becoming the epitome of Gothic cathedrals, bringing it back into the cultural spotlight and extending its longevity. This will therefore act to preserve the identity of the Notre Dame as a Gothic cathedral and as a wonder of human civilisation. To achieve this, the Preservation Machine is constructed. The Machine surrounds the cathedral and has one goal, to preserve the identity of the Notre Dame, whatever the cost.

R E A L I S AT I O N

T H E N A R R AT I V E

THE ARCHITECT The urban landscape of Paris as we know it is almost entirely the result of one man’s vision. In the 19th century, under the reign of Napoleon II, Haussmann transformed Paris from a chaotic urban sprawl into a strictly planned ‘utopia’ according to his vision of an ideal city. He used his authoritarian power, with little care for the people he was displacing, to carve great boulevards through the chaos of Paris. [10] Viollet le Duc’s ideology for preservation involves the architect putting themselves in the place of the original designer, speculating an idealistic version of the building and designing according to this. [9] Viollet took it upon himself to realise his own version of the ideal, regardless of what was historically planned for the Notre Dame. This evokes similar authoritarian ideas, why should one architect have control over the heritage and identity of a building. If something should be restored to its ideal state why should the architect have the power decide what the ideal is. To reflect this top-down authoritarian approach to architecture that plagues Paris’ history, the Preservation Machine is controlled by one person, the Architect. Located in the central office, at the heart of the complex, they have ultimate power over the fate of the Notre Dame. The The The The The

architect architect architect architect architect

decides what decides what decides what decides what has control.

is heritage. must be preserved. must be built. must be destroyed.

THE DESIGN PROCESS Guided by the aim of achieving Violletâ&#x20AC;&#x2122;s ideal vision, the design process involved iteration and sketching. Perhaps fittingly, the Preservation Machine is a result of many hours spent alone with a sketchbook, dislocated from the site or context. My process was as much of an authoritarian, top down process as that of Haussmann or Viollet le Duc.

T H E A N AT O M Y O F T H E MACH I NE The Preservation Machine functions as a huge workshop, surrounding the cathedral, processing stone and debris from raw material into complete building elements, used towards the construction of the ideal cathedral. This machine-like quality is expressed in the architecture, appealing to tourists and using the attraction of exposing the preservation process in order to create funds for itself. Therefore, the design of the machine must create an interest in the preservation process, allowing tourists glimpses into the complex machinery.

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

100m

R O O F P L A N D R AW I N G 46

FIRE ESC AP E

STAFF VER T IC AL C IRC ULAT ION

STORAGE SHO P FL O O R DRESSING

R O O MS

SHO P CO UN TER

D E PA R T M E N T O F S T O R A G E & DECONSTRUCTION

RECEPTION Q UE U E I N G A R E A

SHO P CO UN TER

STORAGE

DRESSIN G

RO O MS

SHO P CO UN TER

D E PA R T M E N T O F R E S E A R C H

BREAK ROOM

SHOP C OUNT ER STO RAGE

QU EU EING A REA STORAGE

S HOP COU NTER

ST ORAGE

DRES S ING

ROOM S

S HOP COU NTER

D RESSING SHO P FL O O R

S H O P FL O O R

SHOP FLOOR

S HOP F LOOR

ROOMS

S HOP F LOOR

RECEPTION

C AFE

D RESSING ROOMS

SHOP FLOOR

SHO P FL O O R

S HOP F LOOR

SHO P FL O O R

BREA K ROOM

QUEUEING AREA T OILET

C AFE ST ORAGE

C A F E COU NTER

ST ORAGE

STORAGE SHOP COUNTER

DRESSING

R O O MS

SHO P CO UN TER

STO RAG E

DRES S ING

SHOP C OUNT ER REC EP T ION

ROOM S

S HOP COU NTER

S TORA GE

INT ERIOR C AFE BALCONY

M U S EU M /GIF T S HOP S TORA GE

GIF T S HOP COU NTER

D E PA R T M E N T O F FA B R I C AT I O N

IMPO R TS L O ADIN G L EVEL

GIF T S HOP

CENTRAL OFFICE

PRIVATE RECEPTION

WAITING AREA

GROUND FLOOR PLAN 1/2 0

50m

D E PA R T M E N T O F P R E S E R VA T I O N

IN T ERIO R C AF E B AL C O N Y

S HO P F L O O R

STORAGE

SHOP COUNTER

DRESSING

ROOMS

T O IL ET

C AF E S T O RAG E

SHOP FLOOR

C AF E C O UN T ER

C AF E S HO P C O UN T ER

STORAGE

SHOP FLOOR

SHOP COUNTER

STORAGE

D E PA R T M E N T O F E N T E R TA I N M E N T

STORAGE

SHOP COUNTER

SHOP FLOOR

T O URIS T IN F O RM AT IO N DES KS

T O URIS T IN F O RM AT IO N C ENTR E

FI R E E SC A P E

S HO P F L O O R

SHOP FLOOR

DRESSING ROOMS

S T O RAG E D R E SSI N G

ROOMS

S HO P C O UN T ER

S T O RAG E

S HO P C O UN T ER

DRES S IN G

RO O M S

S HO P C O UN T ER

S T O RAG E

STORAGE

SHOP COUNTER

D E PA R T M E N T O F CONSTRUCTION

EXP O R T L O ADIIN G L EVEL

Q UEUEIN G AREA

REC EP T IO N

GROUND FLOOR PLAN 2/2 0

50m

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

EXTERIOR BALCONY WALKWAY

STAFF CIRCULATION

D E PA R T M E N T O F S T O R A G E & DECONSTRUCTION

MENS TOILETS

WOMENS TOILETS

MUSEUM STORAGE

D E PA R T M E N T O F R E S E A R C H

MUSEUM FLOOR

WOMENS TOILETS GALLERY FLOOR

GALLERY STORAGE

STAFF CIRCULATION

MENS TOILETS GALLERY FLOOR

D E PA R T M E N T O F FA B R I C AT I O N

GALLERY FLOOR

PHOTOPOINT

GALLERY FLOOR

CENTRAL OFFICE

STAFF CIR CU LAT ION

FIRST FLOOR PLAN 1/2 0

50m

OFFICE

MEETING ROOM

BREAK AREA

KITCHENETTE

WOMENS TOILETS

MENS TOILETS

MEETING ROOM

BREAKOUT ZONE

CINEMA STORAGE PHOTO POINT

DEPARTMENT OF PRESERVATION OFFICES STAFFROOM

D E PA R T M E N T O F P R E S E R VA T I O N

CINEMA SERVICE COUNTER

CINEMA SERVICE QUEUE

SEATING & WAITING AREA

SELF SERVICE TICKET MACHINES

D E PA R T M E N T O F E N T E R TA I N M E N T

CINEMA LOBBY

SELF SERVICE TICKET MACHINES

SEATING & WAITING AREA

C AF E KIT C HEN

CA FE C AF E C O UN T ER

C AF E S T O RAG E

F O O D S TAL L

M ARKET S T O RAG E

F O O D S TAL L F O O D S TAL L

M ARKET F RIDG E

STA FF C I R C U L AT I O N

B O UT IQ UE F O O D M ARKET

F O O D S TAL L

F O O D S TAL L F O O D S TAL L

D E PA R T M E N T O F CONSTRUCTION F O O D S TAL L

F O O D S TAL L F O O D S TAL L F O O D S TAL L

F O O D S TAL L L UXURY F O O D M ARKET

F O O D S TAL L F O O D S TAL L F O O D S TAL L FO O D STA L L PHOTO POINT

FIRST FLOOR PLAN 2/2 0

50m

MENS T OILET S

STORAGE

WOMENS T OILET S

STO RAG E

A RCHIVE

D E PA R T M E N T O F S T O R A G E & DECONSTRUCTION

A RCHIVE

D E PA R T M E N T O F R E S E A R C H

DECO N STRUCTIO N SO R TIN G AREA

A RCHIVE

ARC HIVE ST ORAGE

SER VICES (DUST EX TRACTIO N , WATER TAN K S/FILTRATIO N , G EN ERATO RS et c )

FABRIC AT ION WORKSHOP ST ORAGE

FA BRICATION WORKS HOP S TORA GE

M ENS TOILETS

WOM ENS TOILETS

IMPORTS

D E PA R T M E N T O F FA B R I C AT I O N

HAND C AR VING

LA RGE PROJECT CA R VING A REA

SEN SITIVE CAR VIN G AREA

LA RGE GA NGS AW

SAWS (TABLE, C IRC ULAR) C NC ROUT ERS

WAT ERJET C UTTERS

CENTRAL OFFICE

QUALITY CONTROL

WORKSHOP FLOOR PLAN 1/2 0

50m

S T ON E T REAT MEN T A REA MEN S T OI LET S

LA RG E P ROJ EC T W ORK I N G A REA

W OMEN S T OI LET S

S T ON E T REAT MEN T A REA

D E PA R T M E N T O F P R E S E R VA T I O N

S T ON E C ON S ER VAT I ON W ORK S TAT I ON S

P RES ER VAT I ON W ORK S H OP S T ORA G E

S ER VI C ES ( D U S T EX T RA C T I ON , WAT ER TA N K S /F I LT RAT I ON , G EN ERAT ORS e tc )

P RES ER VAT I ON W ORK S H OP S T ORA G E

S T ON E C ON S ER VAT I ON W ORK S TAT I ON S

P RES ER VAT I ON W ORK S H OP S T ORA G E

P RE-C ON S T RU C T I ON S T ORA G E

D E PA R T M E N T O F CONSTRUCTION

A S S EMBLY & P RE-C ON S T RU C T I ON

WORKSHOP FLOOR PLAN 2/2 0

50m

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

W O R K S H O P S C H E M AT I C D I A G R A M 1 / 2 53

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

IMPORT STORAGE

SERVIC

IMPORTS

SENSITIVE CARVING

MATERIAL INPUT

MATERIAL INPUT MATERIAL OUTPUT SERVICES INPUT NODE OUTPUT NODE

W O R K S H O P S C H E M AT I C D I A G R A M 2 / 2

SERVICES NODE ACTIVE WORK AREAS SUPPORT AREAS

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

ROOF PLAN 55

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

MODULAR STRUCTURAL UNIT By extending the structural grid of the Notre Dame across the site, the Machine is constructed to a 12m x 12m grid. Each section is modular with components that can be reproduced across the complex. A variable central atrium contains the workshop, with public spaces either side looking down into the workshop, allowing glimpses into the preservation and construction process. A primary superstructure extends over each building, with floors hanging down, allowing for completely open-plan interior spaces with external circulation.

STRUCTURAL GRID PLAN

W O R K O N T H I S PA G E I S F R O M A R C 3 0 1 3 T E C H N O L O G Y R E P O R T

Primary spaces (stone workshop, atrium) Secondary spaces (gallery, shops, reception, museum, cafe, etc.) Tertiary spaces (public circulation)

Variable central span to allow for building form flexibility

S PAT I A L S E C T I O N D I A G R A M

P R E C E D E N T: P O M P I D O U Primary superstructure

The Centre George Pompidou was strong influence for the high-tech aspects of my design. The Pompidou uses an external

Secondary structure to support floors & facade

steel frame in order to create large, flexible interior spaces. The

external services and circulation create wonder from the hidden

Glass facade envelope

processes of the building, creating a fun, enjoyable and open public environment. With a high-tech language, the machine-

Secondary cable support system

like qualities of the building are embraced rather than hidden

Tertiary structure to support LED screen & circulation

and the beauty of the structural rationalism of the building is displayed as equal to the art exhibited inside.

fig.14 - Concept drawing of the Centre Georges Pompidou

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

MODULAR SECTION CONSTRUCTION

HANGI NG SECONDARY PRIMARY SUPERSTRUCTURE

STRUCTURE & FLOORS

OU TER GLASS LEAF

The primary superstructure extends over the entire building, taking the structural load and allowing for complete interior flexibility.

The floors are hung from the primary super structure, with cables transferring intermediary loads back onto the primary trusses.

The exterior is clad with a glass curtain wall. No structural columns are required that would break the continuity of the membrane.

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

HANGING TERTIARY STRUCTURE

E X T E R I O R C I R C U L AT I O N &

INTERIOR GLASS LEAF

& LED SCREEN

SERVICES

The central atrium is clad with glass, retaining the visual connection between the spaces but separating them and allowing for more sensitive secondary spaces.

The tertiary structure allows for the external circulation to hang between the exterior leaf and facade. It also allows for the LED screens to hang in front of the glass facade.

Finally the exposed circulation and services are attached. The anatomy of the building is fully exposed, giving the impression of a machine-like form to the building.

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

E X P L O R I N G S PAT I A L FLEXIBILITY With the floors suspended from the primary superstructure the internal arrangement of the building has complete flexibility. The central atrium is constant throughout all departments, however the secondary spaces vary from galleries, shops, offices, laboratories, etc. The internal glass facade gives a constant view down into the workshop, while the external glass facade allows for a constant connection outwards the to Notre Dame and surrounding context.

MUSEUM

OFFICE

ARCHIVE

SHOP

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

2 4 L A B O R AT O R Y

FOOD MARKET

OFFICE

WORKSHOP

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

3 4 MUSEUM

CAFE

SHOP

WORKSHOP

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

4 4 R E S TA U R A N T

GALLERY

SERVICES

STORAGE

R E A L I S AT I O N

T H E A N AT O M Y O F T H E M AC H I N E

.35 .4 .5 .8 .25 .15 .05 .94 .84 .42

.85 .75 .65 .55 .45

9. 8. 7. 6.

5. 4. 3. 2. 1.

TECHNICAL SECTION .64 .54 .44 .93

OF MODULAR UNIT

.74

.34 .93 .24

.14 .93 .04 .93 .83 .73

.53 .43

.82 .6 .72 .62 .3 .52 .42 .12

Technical section and elevation study of the ‘Department of Fabrication’ .32 .22 .12 .02 .91

ARC3013: Integrated Construction Technology Oliver Gabe 170254542

.33 .23 .13 .03 .92

.41 .31 .21 .7 .11 .01

1. In-situ cast concrete foundations 2. Footing top reinforcement mesh 3. Sand levelling layer 4. Damp proof membrane 5. Rigid Insulation (300mm) 6. In-situ cast concrete (270mm) 7. Steel rebar mesh 8. Vapour control membrane 9. Polished screed layer 50mm 10. Zero-compaction gravel/sand drainage layer 11. In-situ cast concrete (350mm) 12. 15cm compacted subgrade 13. 30mm bedding mortar 14. Reclaimed Stone Parissienne paving 15. Drainage board 16. Rigid Insulation (250mm) 17. Closed cell insulation (250mm) 18. 10mm standard plasterboard 19. Steel gutter topped with aluminium grating 20. PPC coated insulation panel below curtain wall 21. Infilled insulation 22. Steel I-Beam (305mmx165mm)

23. Kawneer AA®110 120mm zone-drained curtain wall transom fixed to I beam w/ steel bracket 24. Kawneer Permacoat Aluminium Sheer panel with DPM & VCM (55mm) 25. Curtain wall cavity (50mm) 26. Steel C-section (125mm x 50mm) 27. Insulation behind curtain wall (120mm) 28. 2 sheets treated plasterboard (12mmx2) 29. Longley hollow-core pre-cast concrete flooring (320mm x 12.1m) 30. 15mm rubber sound absorbtion layer 31. Rigid insulation (150mm) 32. Latex-Portland cement mortar bonding coat 33. Calder polished concrete floor panel (60mm) 34. Kawneer AA®110 120mm zone-drained curtain wall transom 35. Triple glazed insulating glass curtain wall 37. Steel square section (100mmx100mm) 38. Precast reinforced concrete slab (220mm) 39. Weatherproof aluminium cladding panel 40. Rigid insulation (60mm) 41. Steel C-section (100mmx50mm)

42. Double glazed window fixed to steel transom c-section with steel bracket 43. Infilled insulation 44. Waterproof roof membrane 45. Zone-drained rooflight transom fixed to steel C-section 46. Double glazing with argon filled interspace 47. DORMA ST FLEX Green sliding door system 48. Kawneer AA®110 120mm zone-drained curtain wall transom fixed to structure with steel bracket 49. Aluminium coping system 50. Angled blocking 51. Rigid insulation (120mm) 52. Aluminium Guttering system 53. Aluminium roof decking 54. Double glazing with argon filled interspace 55. Steel bracket attached to primary structure 56. Insulated upstand 57. Metal flashing 58. Zone-drained rooflight transom fixed w/steel bracket

SECTION FROM ARC3013 TECHNOLOGY REPORT

.81 .8 .71 .7 .6 .4 .61 .51

.9 .8 .7 .6

.5 .4 .3 .2 .1

CHAP TER 4 : THE POTENTIAL OF T H E MACH I NE During project Realisation I had built up the pragmatic logic of the Machine. Entering into project Synthesis it was time to explore the true potential of the Machine.

S Y N T H E S I S 64

AN IDEAL DYSTOPIA The Preservation Machine acts as a host for the system of tourism, accelerating the industry and harnessing the profits to achieve its ultimate goal, the preservation of the Notre Dame. The building is designed to sell. Massive LED screens project adverts onto the tourists. The streets are lined with luxury shops. Everything becomes a paid experience. The Machine harnesses and exploits tourism, creating a dystopic vision, an accelerated reflection of today. This overload of information turns the tourists, the subjects, into passive receivers for information and advertisements. The Machine holds the power over the tourists, becoming an accelerated manifestation of the tourism industry.

SYNTHESIS

AN IDEAL DYSTOPIA

In a world full of information overload, people become “pure screens”, passive receivers for the information projected onto them Baudrillard [11]

SYNTHESIS

AN IDEAL DYSTOPIA

THE WORKSHOP

( L A R G E R I M A G E O N T H E F O L L O W I N G PA G E )

The process of constructing the ideal cathedral would be just as much of a spectacle as the finished cathedral. The Machine exploits this process, marketing the wonder created as a by-product of the preservation to entice tourists to visit and spend. This is comparable to the Sagrada Familia, tourists pay extra to be allowed the privilege of seeing the construction site up close, the whole process of construction is monetised to a greater extent than the finished cathedral.

The construction material goes through a process of refinement as it travels through the building. This process is turned into an exclusive experience by the Machine, with private views inside paid spaces, such as the gallery, museum, restaurant, cafe, etc. The workshop production line is linked underground, processes that take place in the public eye emerge into the central atria, while the fragile or sensitive processes can be protected underground.

SYNTHESIS

AN IDEAL DYSTOPIA

PROJECTION AS P R E S E R VA T I O N The image of Paris’ great boulevards known to tourists are a result of Haussmann’s reforms in the 19th century. Carving great swathes through the chaotic city, he clad the boulevards with the now classic ‘Parisian facade’ to create the impression of an ideal Paris. In this way, the whole city began to project an image of an ideal city. Paris was transformed into simulation of an ideal version of itself. To tourists, the building behind the facade is unimportant, the boulevards span between monuments, directing people around the city and projecting an image. Therefore, to preserve the expected image of the city, the LED screens of the Machine can be used to project the facade of Paris outwards (page 72). This image has the capacity to preserve the known identity of the city, while also able to project other spaces in a similar way. For example, while the interior of the Notre Dame is inaccessible, it can be projected onto the facade of the Machine (left), preserving the image of the space during its reconstruction. The image of Paris was designed by Haussmann at one point in time, to reflect an ideal state that doesn’t relate to the interior of the building. These facade projections ultimately achieve the same effect.

CHAP TER 5 : ADVERTISING THE MACH I NE The Machine appeals to tourists by embracing modern tourist culture. Adverts and tourist guides are a key part in attracting tourists to spend time in the area.

S Y N T H E S I S

SYNTHESIS

A D V E R T I S I N G T H E M AC H I N E

THE NOTRE DAME EXPERIENCE TOURIST GUIDE

VINTAGE CINEMA

ROOFTOP BAR

ROOFTOP BAR 17.

NOTRE DAME GALLERY

16. 19.

18. 15. 14. 13.

LEARNING ZONE

12. 11.

PARISIAN CAFE GOURMET FOOD MARKET 5.

ROOFTOP CAFE

4. 6.

3. 7.

10.

THE CROWN OF THORNS

THE SHOPS

RESTAURANT

1. Tiffany & Co 2. Rolex 3. Gucci 4. Louis Vuitton 5. Adidas 6. Prada

NOTRE DAME MUSEUM

7. Starbucks 8. Dior 9. HSBC 10. Hugo Boss 11. Disney 12. Nike 13. Chanel

14. Tesla 15. Tourist Office 16. Apple 17. Google 18. Saint Laurent 19. Swarovski 20. Giorgio Armani

A PRESCRIBED EXPERIENCE Tourist guides have significant power to alter the behaviour of the visitors to an area. The way that an attraction is represented by its tourist guide can highlight or diminish certain activities. Disneyland uses its brochures in order to sell a ‘tour’ of the theme park. People assume that they embark on their own ‘tours’ yet each route has been carefully constructed to give

the illusion of freedom while prescribing a standard, controlled experience. [12] In a similar way, the Machine constructs ‘authentic’ experiences and sells them to the tourists through advertisements and tourist guides. Each experience is carefully constructed to appeal to Instagram culture and the modern generation of tourism, selling the notion of ‘authentic’ or ‘exclusive’ experiences.

MARVEL A T THE RECONS TRUCTIO N OF

A D V E R T I S I N G T H E M AC H I N E

ADVERTISEMENTS Through these advertisements the preservation process, and the whole site, becomes an exclusive experience, capitalising on the wonder produced during the preservation of the cathedral. Advertisements present an idyllic version of the cathedral and Machine, selling the prescribed experience at a personal level.

! E M A D E

R T O N E H T

visit o t e c n a ime ch t e f i l a on! i t n c i u e r t c s n n s reco n the o t i o t g u n i o r s u is ame d D Donâ&#x20AC;&#x2122;t m e r t o the N

Tourism Commercial Sleek Intelligen os Lust Ordered Logical Systematic Attractive Enticing Efficient Developed Instagrammable Wealthy Valuable ffective Alluring Gluttony Desirable Intensive Optimum Ecstasy Chic Lift Economical Planned Comforting Affo Desirable Seductive Efficient Grand ratifying Pride Blissful Exclusive Dive Fulfilling Profitable Indulgent Sensua Clean Capitalist Compelling Wrath atisfying Programmed Classy Contro uxury Quenching Valuable Exclusive Popular Greed New Modern Photoge elaxing Trendy Swanky Valuable Mid Controlled Fashionable Secure Happ Privileged Unique Sloth Enjoyable D In-style Comfortable Convenient Ga Healthy Soothing Humility Self-Care sive Envy Gratifying Eye-opening It

THE SEVEN SINS OF T H E MACH I NE Mass tourism is a self-centred, destructive industry that has the capacity to bring out the worst in our society. Driven by greed, everything that was once authentic is converted into a commercial opportunity created for tourists. Where local industry once existed, it is replaced by tourism, becoming the focus of the locals to profit from the tourists. Everything becomes cheap, disposable, inauthentic. Any sense of imperfection is brushed away and replaced with a simulation of the ideal. The Preservation Machine hosts the system of tourism, appealing to its commercial greed and accelerating the industry to benefit the preservation of the cathedral.

SYNTHESIS

T H E S E V E N S I N S O F T H E M AC H I N E

1 LUST Often adverts seem to epitomise the degrading and objectifying culture that society is working so hard to remove. But why put effort into a meaningful marketing campaign when supermodels can do it for you. People will always desire romance, intimacy and love. Advertisers shamelessly exploit these human instincts, offering a hollow distraction to our problems.

SYNTHESIS

T H E S E V E N S I N S O F T H E M AC H I N E

2 GLU TTONY Tourist culture is addicted to the gluttony of luxury objects. This addiction to overconsumption defines the high street. We always want more and more, better and better, no one is ever satisfied. Yes Iâ&#x20AC;&#x2122;ll give ÂŁ2 to a homeless person, on my way to buy a gold-plated iPhone...

SYNTHESIS

T H E S E V E N S I N S O F T H E M AC H I N E

3 GREED Perhaps virtual reality best represents modern greed. We arenâ&#x20AC;&#x2122;t satisfied with our own existence, with our own possessions and so we seek for more. This false projection of an ideal brings everything we could possibly imagine right to our fingertips, always in sight yet just out of reach.

SYNTHESIS

T H E S E V E N S I N S O F T H E M AC H I N E

4 SLOTH Modern society is defined by instant access to information. No longer do we have to work to discover or learn, everything is just one swipe away. The Machine embodies this culture, placing everything within reach. There is no need for any physical strain, escalators take you up and down the buildings. There is no need for any mental strain, tourists are guided along preset paths through prescribed experiences. All a tourist has to do is arrive, pay, and enjoy.

SYNTHESIS

T H E S E V E N S I N S O F T H E M AC H I N E

5 W R AT H Tourism is characterised by its destructive nature. There is an almost colonial instinct to archive important artefacts in a museum, where they can be profited from. The Machine absorbs artefacts from all around Paris, archiving them and turning heritage into tangible profit.

P R E C E D E N T: R E M K O O L H A A S VENICE BIENNALE 2014 Rem Koolhaas’ Venice Biennale installation in 2014

deconstructed the elements that make up architecture, emphasising

the

journey

from

functionality

ornamentality and recently back to functionality. Koolhaas

says “Architecture today is little more than cardboard” [13]

, this is highlighted in the exhibition from the contrast

between the rich, ornamented Gothic & Renaissance elements and the functional, bare elements of today. [14]

SYNTHESIS

T H E S E V E N S I N S O F T H E M AC H I N E

6 ENVY Adverts manipulate our insecurities into selling us products we didnâ&#x20AC;&#x2122;t know we wanted. How else to sell an experience than to paint it as the ideal life, presenting us with a view to the perfect, just a pricetag away...

SYNTHESIS

T H E S E V E N S I N S O F T H E M AC H I N E

7 PRIDE Instagram culture has bought with it a plague of vanity. Modern tourism seems to be primarily concerned with providing the means for a perfect selfie. People only seem to care about the curation of their Instagram profiles, presenting themselves as perfect and hiding their imperfections. The Machine caters to this, providing exclusive, private views of the cathedral and the surroundings to those tourists willing to pay.

6 S Y N T H E S I S : E P I L O G U E

EPILOGUE: T O WA R D S A P A R I S OF 2100

The conception of the Preservation Machine is the spark that creates a hypothetical timeline, starting with its construction and reaching 100 years into the future. The Machineâ&#x20AC;&#x2122;s only goal is to further the preservation of the Notre Dame. When resources canâ&#x20AC;&#x2122;t be brought into the Machine fast enough, it starts to look for a new source of resources immediately around it...

SYNTHESIS

T O WA R D S A PA R I S O F 2 1 0 0

THE DISMANTLING OF THE ILE DE LA CITE Almost like a parasite, the Machine begins to slowly dismantle and absorb its surroundings in its strive to expand the Notre Dame. It destroys the surrounding buildings in order to retrieve hidden Gothic stonework that can be used to aid the construction of the cathedral. Ultimately, as long as the Notre Dame can grow, the Machine can keep working.

SYNTHESIS

T O WA R D S A PA R I S O F 2 1 0 0

T H E S I T E T O D AY The Ile de la Cite and Ile Saint-Louis as of 2020.

2020

T H E M AC H I N E By 2030 the construction of the Preservation Machine is completed. The work begins on the Notre Dame to build it towards the ideal cathedral.

2030

B O U L E VA R D C E N T R A L

2040

In 2040, all residents of the Ancien Cloître have moved away due to the growth of the tourism industry. The Hôtel-Dieu and the Ancien Cloître are demolished to make way for Boulevard Central, a new development of grand boulevards leading towards the Notre Dame, containing thousands of commercial opportunities.

SYNTHESIS

T O WA R D S A PA R I S O F 2 1 0 0

D I S N E Y C H AT E A U T M The abandoned Prefecture de Police is dismantled and Disney TM construct the Disney Chateau TM to profit and contribute towards the thriving tourist industry on the island.

2050

P I R AT E S C O V E An artificial mountain is created in the water between the Ile de la Cite and Ile Saint-Louis. It is completed with a family adventure park called Pirates Cove, to give tourists an exciting taste of the life of a medieval pirate!

2060

PA L AC E O F V E R S A I L L E S With so much attention being drawn to the island, it is decided that the Palace of Versailles will be dismantled and reconstructed in place of the dilapidated Hotel de Ville in order to create a stronger, more profitable central hub for tourism within the city.

2070 89

SYNTHESIS

T O WA R D S A PA R I S O F 2 1 0 0

REVOLU T ION! EXP ERI ENCE

2080

In 2080, Place Dauphine is transformed into the Revolution! Experience, giving tourists an immersive, interactive, first-hand experience of the French Revolution right in the centre of the city. At the western tip of the island, visitors can experience the storming of the Bastille, ending the reign of the monarchy themselves!

1 9 0 0 PA R I S E X P O S I T I O N The 1900 Paris Exposition, complete with the Eiffel tower is reconstructed on the Ile Saint-Louis to celebrate the technological advances of mankind in recent years.

2090

F U T URELAND In 2100, to complete Paristopia, Futureland is constructed on the tip of the island. This attraction offers visitors an exciting glimpse in to the possibilities of tomorrow.

2100 90

SYNTHESIS

T O WA R D S A PA R I S O F 2 1 0 0

FANTASY

Pirates Cove

Fantasyland

FUTURE CONQUEST

Futureland

Frontierland

Tomorrowland

CONQUERED HISTORY

Plaza Carousel of progress

Adventureland

Main street USA

Disney Castle

Versailles Palace CONQUERED HISTORY

FUTURE CONQUEST

Revolution! experience

1900 Paris Exposition

Boulevard Central

Main Street Station

Limit

The Ideal Cathedral

Arc de Triomphe

Limit REALITY

REALITY

HOW TO CONSTRUCT U TOPIA The left graph is Louis Marin’s analysis of the construction of Disneyworld Florida from ‘Utopiques: jeux d’espaces’. Marin explains how Disneyworld is constructed in order to completely immerse visitors in the simulation. The visitor passes a series of limits (car park, ticket booths, Main Street Station) in order to force them to leave reality behind. They then travel through Main Street USA, an exaggerated, idyllic version of contemporary society. On one side of the central plaza is Frontierland & Adventureland, showing

the visitor the story of how mankind has conquered history (the native Americans) and geography. On the other side is Tomorrowland, displaying mankind’s conquest over space and time. This process of conquering the past, present and future is finalised by Fantasyland, an ideal representation of the fantastical. Idyllic simulations of fantasy replace the reality that they were forced to abandon at the entrance. The visitor’s understanding of reality is replaced by Disney’s representation of the fantastical, fully immersing and embedding

the visitor into Disney’s simulation. Visitors are under the impression that they create their own journey through Disneyworld, but in reality it is a constructed experience designed to replace the visitor’s perception of reality with Disney’s simulated utopia. [12] Paristopia is constructed using the same techniques as Disneyworld. The island has become isolated, with the Arc de Triomphe acting as the entrance and outer limit. Boulevard Central depicts an ideal

image of present day Paris. Versailles Palace and the Revolution! Experience allow the visitor to conquer history through the royalty experience, followed by the conquering of the monarchy and the storming of the Bastille. The 1900 Exposition and Futureland create tangible conquests from time and space. At the centre of Paristopia is the Ideal Cathedral, an idyllic representation of the Notre Dame. The visitor is forced to embrace Paristopia’s constructed reality from this process. The visitor becomes firmly embedded into the simulation of utopia.

SYNTHESIS

T O WA R D S A PA R I S O F 2 1 0 0

I N T E G R AT I O N W I T H T H E MACH I NE The retrieved Gothic stonework is used towards the construction of the ideal cathedral, however the other stonework and artefacts are incorporated back into the fabric of the Machine. In this way, as the Machine destroys the Ile de la Cite, it absorbs the architecture, storing and displaying the building elements into a patchwork of reclaimed material.

SYNTHESIS

T O WA R D S A PA R I S O F 2 1 0 0

A LIVING MUSEUM The fabric of the Machine acts as an archive of architecture from the lost buildings of the Ile de la Cite. As the Machine dismantles more and more of the island, the fabric of the building is augmented by the addition of more fragments of reclaimed architecture. The spaces and identity of the Machine represent all the buildings that it has dismantled in its strive for the infinite preservation of the Notre Dame. In this way, the Machine acts not only to preserve the identity of the Notre Dame, but the whole of the Ile de la Cite, as its architecture is integrated and displayed within the very machine which destroyed it.

SYNTHESIS

T O WA R D S A PA R I S O F 2 1 0 0

P R E C E D E N T: T R AT T E G G I O Tratteggio restoration involves retouching the damaged

parts of a painting in order to preserve the perception of

the whole, while still clearly distinguishing the restored areas from the original. [15] I have employed this technique

with the reconstructed building elements, where there is loss or damage to an element, the Machine extends

outwards, replacing the form of the lost with a thin steel

mesh, allowing the form to be read as originally intended, yet preserving the damage and beauty of the ruin.

fig.15- Trateggio restoration of the Polyptych of Camaiore

SYNTHESIS

T O WA R D S A PA R I S O F 2 1 0 0

SYNTHESIS

T O WA R D S A PA R I S O F 2 1 0 0

THE CONSTRUCTION OF PA R I S T O P I A As the Ile de la Cite is slowly destroyed, the lost buildings are replaced with new tourist attractions, simulations of what was once authentic Paris, designed as commercial opportunities to appeal to tourists. The tourism industry, accelerated by the Machine, is pushed to new heights, a self perpetuating system resulting in the expansion of the cathedral and Paristopia.

T H E PA R I S O F 2 1 0 0 By 2100 the Ile de la Cite and Ile Saint-Louis have been dramatically transformed into Paristopia, a tourist utopia. Everything that once contributed to the identity of the islands has been demolished and replaced with commercial simulations of themselves. The Notre Dame has been transformed into Viollet le Ducâ&#x20AC;&#x2122;s vision for the ideal cathedral. Tourism is at an all time high. There is no reason however, to stop here. While the Notre Dame can still be built upwards, the Machine can keep on expanding, dismantling and â&#x20AC;&#x2DC;preservingâ&#x20AC;&#x2122; everything in its path.

SYNTHESIS

T O WA R D S A PA R I S O F 2 1 0 0

2 1 0 0 : T H E PA R I S O F TOURISM Meanwhile, the rest of Paris is forgotten. Tourists come to visit the city to see Paristopia, not the streets around it. Paris is no longer defined by its boulevards or culture, but by Paristopiaâ&#x20AC;&#x2122;s simulation of its culture. The simulation of Paris begins to define its identity, overtaking reality and authentic life in Paris is forgotten, the only industry in the city is tourism and the city exists only to sustain the tourist industry. The true cost of the utopia is dystopia.

the Empire rotting like a carcass, returning to the substance of the soil.

â&#x20AC;&#x153;

Baudrillard [16]

REFERENCES

LIST OF FIGURES

[1] | Koolhaas, Rem & Otero-Pailos, Jorge. ‘Preservation is Overtaking Us’. (ColumbiaBooks, 2014).

fig.01 | ‘Primer exhibition setup photo’. (2019) Photograph courtesy of Yew Zhi Xuan.

[2] | Mackay, Robin & Avanessian, Armen. ‘#Accelerate#’. (Urbanomic Media, Falmouth, 2014).

fig.02 | ‘Primer exhibition photo 1’. (2019) Photograph courtesy of Yew Zhi Xuan.

[3] | Marshall, David. ‘Piranesi, Juvarra and the Triumphal Bridge Tradition’, The Art Bulletin, 85. (2003).

fig.03 | ‘Primer exhibition photo 2’. (2019) Photograph courtesy of Yew Zhi Xuan.

[4] | Koolhaas, Rem & McGetrick, Brendan. ‘Content: triumph of realization’. (Taschen, 2004).

fig.04 | ‘Primer exhibition photo 3’. (2019) Photograph courtesy of Yew Zhi Xuan.

[5] | Baudrillard, Jean. ‘Simulacra and Simulation’, trans. by Faria Glaser, Sheila, . (University of Michigan Press, 1994).

fig.05 | ‘Primer exhibition photo 4’. (2019) Photograph courtesy of Yew Zhi Xuan.

[6] | Koolhaas, Rem & Otero-Pailos, Jorge. ‘Preservation is Overtaking Us’. (ColumbiaBooks, 2014).

fig.06 | ‘Primer exhibition photo 5’. (2019) Photograph courtesy of Yew Zhi Xuan.

[7] | Whitehead, Kenneth. ‘The Foudations of Architecture - Selections from the Dictionnaire Raisonne’. (George Braziller

fig.07 | ‘Group site model photo’. (2019) Photograph courtesy of Yew Zhi Xuan.

publications, New York, 1990).

[8] | Viollet-le-Duc, Eugene-Emmanuel & Lassus, Jean-Baptiste. ‘Projet de Restauration de Notre Dame de Paris ’, 1843. (Project Gutenberg, 2006).

[9] | Jokilehto, Jukka. ‘Stylistic resotoration’, in History of Architectural Conservation. (Routledge, 2002). pp. 137-173. [10] | Sennet, Richard. ‘Flesh and Stone - The Body and the Cite in Western Civilization’. ( W. W. Norton & Company, New York, 1996).

[11] | Baudrillard, Jean. ‘Simulacra and Simulation’, trans. by Faria Glaser, Sheila, . (University of Michigan Press, 1994). [12] | Marin, Louis. ‘Utopics: Spatial play’. (Humanities Press, Macmillan, 1984). [13] | Quoting Rem Koolhaas at the Venice Biennale. Wainwright, Olly, ‘Rem Koolhaas blows the ceiling off the Venice

Architecture Bienalle’, The Gaurdian. (5th June 2014). available at: https://www.theguardian.com/artanddesign/architecturedesign-blog/2014/jun/05/rem-koolhaas-architecture-biennale-venice-fundamentals.

[14] | OMA. ‘Venice Biennale 2014: Fundamentals’. available at: https://oma.eu/projects/venice-biennale-2014-fundamentals. [15] | Grenda, Magdalena. ‘Tratteggio retouch and its derivatives as an image reintegration solution in the process of restoration’, CERO Art, No. 01 (2010).

[16] | Baudrillard, Jean. ‘Simulacra and Simulation’, trans. by Faria Glaser, Sheila, . (University of Michigan Press, 1994).

fig.08 | ‘Piranesi’s hypothetical map of Rome’. Piranesi, Giovanni Battista. ‘Piranesi, Ichnographiam Campi Martii antiquae

urbis’, found in Marshall, David. ‘Piranesi, Juvarra and the Triumphal Bridge Tradition, The Art Bulletin, 85 (2003). pp 342. fig.09 | ‘Front cover of Content: triumph of realisation’. (2004) available at: https://oma.eu/publications/content fig.10 | ‘Front cover of Preservation is Overtaking Us’. (2014) available at: https://www.arch.columbia.edu/books/reader/6preservation-is-overtaking-us.

fig.11 | ‘A drawing of Viollet ’s ideal cathedral based on Rheims Cathedral’. (~1870) available at: https://architekturcollage.de/ arbeiten/kathedralen-frankreichs/#uael-gallery-3.

fig.12 | ‘Viollet-le-Duc’s projection of the ideal Gothic Cathedral’. Wood engraving by H.Lavoignat. Fig. 18 of ‘Cathedrale’ from ‘Dictionnaire raisonne de l’architecture’, vol. 2. (1856).

fig.13 | ‘A cartoon of Viollet-le-Duc’. Giraud, Eugene. (1860). available at: https://www.flickr.com/photos/ dalbera/15299606204,

fig.14 | ‘Concept drawing of the Centre Georges Pompidou’. Piano, Renzo & Rogers, Richard. (1972) available at: https://www. rsh-p.com/projects/centre-pompidou/,

fig.15 | ‘Trateggio restoration of the Polyptych of Camaiore’. available at: http://museoartesacracamaiore.cfs.unipi.it/ politticoanguilla/polittico-di-camaiore-integrazione-a-rigatino-del-volto-madonna/.

fig.16 | ‘Poster advertising the new 18 Brinkburn Avenue space’. (2019) Poster courtesy of Jonathan Barker. fig.17 | ‘The shop front of our Charette exhibition’. (2019) Photograph courtesy of Yew Zhi Xuan. fig.18 | ‘fig.16- The construction of the Charette exhibition’. (2019) Photograph courtesy of Jonathan Barker. fig.19 | ‘Brinkburn Avenue’. (2019) Photograph courtesy of Jonathan Barker. fig.20, fig. 21, fig.22 | Photographs courtesy of NUAS, available at: https://www.instagram.com/nuarchisoc/.

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BIBLIOGRAPHY Aureli, Pier Vittorio. ‘The Possibility of an Absolute Architecture’. (MIT Press, 2011) Ballantyne, Andrew. ‘John Ruskin, Critical Lives’. (Reaktion Books, 2015) Barker, Michael. ‘An Appraisal of Viollet-le-Duc and his influence’, The Journal of the Decorative Arts Society, No. 16 (1992). pp. 3-13. Baudrillard, Jean. ‘Simulacra and Simulation’, trans. by Faria Glaser, Sheila, . (University of Michigan Press, 1994). Benjamin, Walter. ‘Selected Writings Volume 3 1935-1938’, trans. by Jephcott, Edmund & Eiland, Howard. (Harvard University Press, 2002). pp. 33-49. Cocola-Gant, Agustin. ‘The invention of the Barcelona Gothic Quarter’, Journal of Heritage Tourism, Vol. 9, No. 1 (2014). pp. 18-34.

Nelson, Grabrun & Gravari-Barbas, Maria & Staszak, Jean-Francois. ‘Simulacra, Archiecture, Tourism and the Uncanny’, in Journal of Tourism and Cultural Change, Vol. 17, No. 1 (2019). pp. 1-12. Otero-Pailos, Jorge & Fenstad Langdlaen, Erik & Arrhenius, Thordis. ‘Experimental Preservation’. (Lard Muller Publishers, 2016). Penner, Barbara & Rice, Charles. ‘Fundamentals’, The Journal of Architecture 20. No. 01. (2015). pp. 165-168 Sennet, Richard. ‘Flesh and Stone - The Body and the Cite in Western Civilization’. ( W. W. Norton & Company, New York, 1996). Spurr, David. ‘Figures of Ruin and Restoration: Ruskin and Viollet-le-Duc’, in Architecture and Modern Literature. (University of Michigan Press, 2012). pp. 142-161. Sutcliffe, Antony. ‘Paris: an architectural history’. (New Haven, Yale University Press, 1993)

Deleuze, Giles. ‘Postscript on the Societies of Control’, October, 59. ( Winter 1992). pp. 3-7.

Van Zanten, David. ‘Designing Paris the Architecture of Duban, Labrouste, Duc and Vaudoyer. (AMIT Press, 1987)

Garcia-Fuentes, Josep-Maria. ‘Barcelona’s Gothic Quarter: Architecture, Ideology and Politics’, in Architecture Reperformed: The Politics of Reconstruction, edited by Tino Mager. (Ashgate, 2015). pp. 334-54.

Viollet-le-Duc, Eugene-Emmanuel & Lassus, Jean-Baptiste. ‘Projet de Restauration de Notre Dame de Paris ’, 1843. (Project Gutenberg, 2006).

Grenda, Magdalena. ‘Tratteggio retouch and its derivatives as an image reintegration solution in the process of restoration’, CERO Art, No. EGG 1 (2010).

Webb, Michael. ‘Temple Island: A study (Megas)’. (Architectural Association Publications, 1987)

Hamerton, Philip Gilbert. ‘Paris in Old and Present Times: With Special Reference to Changes in its Architecture and Topography’. (Seeley, London, 1885)

Whitehead, Kenneth. ‘The Foudations of Architecture - Selections from the Dictionnaire Raisonne’. (George Braziller publications, New York, 1990).

Jokilehto, Jukka. ‘Stylistic resotoration’, in History of Architectural Conservation. (Routledge, 2002). pp. 137-173. Koolhaas, Rem. ‘Delirious New York: A Retroactive Manifesto for Manhattan’. (Oxford University Press, New York, 1975) Koolhaas, Rem & McGetrick, Brendan. ‘Content: triumph of realization’. (Taschen, 2004). Koolhaas, Rem & Otero-Pailos, Jorge. ‘Preservation is Overtaking Us’. (ColumbiaBooks, 2014). Leslie, Marina. ‘Renaissance Utopias and the Problem of History’. (Ithaca: Cornell University Press, 2019). pp. 25 56. Mackay, Robin & Avanessian, Armen. ‘#Accelerate#’. (Urbanomic Media, Falmouth, 2014). Marin, Louis. ‘Utopics: Spatial play’. (Humanities Press, Macmillan, 1984). Marshall, David. ‘Piranesi, Juvarra and the Triumphal Bridge Tradition’, The Art Bulletin, 85. (2003). Mcvicar, Mhairi. ‘God is in the details/The detail is moot: a meeting between Mies and Koolhaas’, in Reading Architecture and Culture:Researching Buildings, Spaces and Documents, edited by Adam Sharr. (Taylor & Francis Group, 2012). pp. 165-178.

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AP P ENDIX

CASE ST UDY

APPENDIX A: CASE STUDY BOOKLET This is my contribution towards the case study booklet. The Punta Della Dogana was restored by Tadao Ando in 2008, who used incredibly sensitive yet bold techniques to transform the dilapidated space into a striking new museum.

102

AP P ENDIX

CASE ST UDY

103

AP P ENDIX

THINKING THROUGH MAKING

APPENDIX B: THINKING THROUGH MAKING: SELLING THE NOTION OF AU THENTICITY For Thinking Through Making Week I explored wood carving for the first time, attempting to carve a Gothic-esque design into a wooden panel. This exploration reflects on the relentlessness of brands attempting to trademark the notion of authenticity in order to sell own their product. By carving the product from hand it appears to be genuine or ‘authentic’ appealing to the consumer’s desire for snapshots and experiences of authenticity.

104

APPENDIX C: CHARRETTE: Group deep mapping of Newcastle

Collection of groupwork from the first day

18 BRINKBURN AV E N U E Our charette focused on the 18 Brinkburn Avenue, a recently abandoned florist. We initially focused on deep mapping, as in mapping more than the physical appearance of the space, but the social, political and economic characteristics of the site as well. In this way we could build up a complete snapshot of 18 Brinkburn Avenue complete with all of the factors that define the space, site and context. The exhibition was a recreation of aspects of the space, with our proposal for greater public interaction with the shop front.

fig.16- Poster advertising the new 18 Brinkburn Avenue space

fig.18- The construction of the Charette exhibition

fig.17- The shop front of our Charette exhibition

fig.19- Brinkburn Avenue

105

C U LT U R A L B I B L I O G R A P H Y

C U LT U R A L BIBLIOGRAPHY: DEGREE SHOW As part of the marketing team for the end of year degree show, I created the Degree Show 2020 posters used to advertise the event. I have also helped to manage and advertise the show on its social media account. In the light of the Covid-19 Pandemic, the usual format of the degree show is unrealistic and we have had to adapt the format of the around the changing restrictions. It has become an enjoyable challenge to curate a show which still displays the work of the school in the best light, regardless of the current circumstances.

106

C U LT U R A L B I B L I O G R A P H Y

P ROXIMI T Y ISLAND [IN PROGRESS] COMPETITION ENTRY WITH ETHAN MEDD & JONATHAN BARKER

COMBINED GRAPH

CO2 LEVELS

Proximity Island is an ongoing competition entry based on the adaptive reuse of abandoned oil rigs. Our narrative imagines that the continued environmental abuse of the planet has rendered large swathes of land inhospitable to humans. As a result, people are forced to live on man-made islands in the ocean, adapted from disused oil rigs. Fossil fuels have become the universal currency as their supply slowly diminishes. Each island is run as its own micro-nation as the world plummets into chaos...

SEA LEVELS

PLASTIC LEVELS

POPULATION GROWTH

GLOBAL TEMPERATURE

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C U LT U R A L B I B L I O G R A P H Y

S M A L LTA L K

fig.20- Andy Groarke giving a Smalltalk

fig.21- RIBA future architects talk

fig.22- Olly Wainwright’s Smalltalk

Smalltalk is the lecture series run by NUAS throughout the year. I have found these lectures incredibly useful for expanding my architectural knowledge beyond that of the university curriculum. One highlight was Olly Wainwright’s lecture on ‘Form follows Finance’. Olly explained how the grand visions of architects are at the whim of the market economy. Another highlight was meeting Bill and Ben from ArchitectureDen, two personal heroes who talked about working in a massive practice such as Make, and balancing architecture with their podcast, ArchitectureDen.

Meeting Bill and Ben from ArchitectureDen

108

INTER-RAILLING In the summer of 2019 I went inter-railling with a few friends around some of the major cities in Europe. We visited Rome, Venice, Vienna, Budapest, Krakow, Prague, Berlin & Paris. This was an incredible experience due to the massive breadth in incredible architecture we visited. Seeing the changes in architectural language and style around Europe was amazing and definitely helped to influence my research and design process during third year.

109

OLIVER GABE ACADEMIC PORT FOLIO 2020 STUDIO 6: BUILDING UPON BUILDING

110