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ARUZHAN SAGYNAY STAGE 3 PORTFOLIO STUDIO: BUILDING UPON BUILDING

CONTENT PAGE

REFLECTIVE REPORT

Fig.1: Dissertation Cover

REFLECTIVE REPORT_______________________________3 CHARRETTE ______________________________________6 PRIMER__________________________________________ 7 STAGING ________________________________________20 REALISATION_____________________________________ 34 SYNTHESIS________________________________________42 POST-SYNTHESIS__________________________________ 62 THINKING THROUGH MAKING WEEK _______________82 PRIMER TO POST-SYNTHESIS________________________90 CASE STUDY______________________________________92 CULTURAL BIBLIOGRAPHY_________________________ 104 BIBLIOGRAPHY___________________________________ 112

Stage 3 has proven to be one of the most challenging years of my life. But it has also been a year full of growth and self-improvement. A lot of the things changed for me and I had to learn to adjust to them as I go. And while my academic success had to suffer on occasion, ultimately I have made the right choices. One of the hardest things I had to face was being away from home for almost a year. I have taken a month off after my Stage 2 and returned to Newcastle in July to continue working on my Dissertation, as well as my second attempt at the technology module. I also stayed in the city over Christmas break to ensure I could focus during the last couple of months before Dissertation submission. Luckily, my efforts and sacrifices paid off and I have been successful. My Dissertation grade happens to be the highest mark I’ve received in all my four years in Newcastle (including Foundation). This year I have also been a committee member for the Salsa Society. And while it was a fun learning experience, it took a lot of my personal time. My job has included creating designs for advertisement, as well as attending classes and engaging with the society’s members. Additionally, after focusing on my Dissertation for such an extended period of time, I have discovered my passion for writing and joined the Courier. I have written as many articles as my free time would allow for. By the end of the year I have also figured that I would like a career in journalism or publishing. This came as a shock to me after having dedicated the last four years to architecture. Despite all of my commitments, I have also chosen this specific year to finally acknowledge my mental health issues and work on them. It wasn’t an easy road and by no means is it over, but I have made the kind of improvement I never saw coming. Unfortunately, it meant that sometimes I had to make choices in favour of my wellbeing rather than education. I have completely eliminated all-nighters and learned to relax even when

REFLECTIVE REPORT

Fig.2-3: Photographs from the Trip

Fig.4: Perspective View

I felt extremely unprepared for a tutorial or a review. I realised that grades matter, but not as much as my health. However, none of the above is an excuse to not do well in my academic life. In fact, quite the opposite, having the kind of life I could be proud of meant that I only had a stronger desire for success. I have always been a competitive person whose failures could be a real roadblock. But this year I have learned to focus on myself and my own work instead of looking at others. And while I haven’t always produced the kind of quality I wished, I knew I was doing my best. It was all that mattered. Of course, soon after being assigned my studio group, I realised that it is a challenge. The scale of the project alone was a factor in my worries. But it only made me more determined to do better. And as much as I often struggled on the way, I believe I was lucky with my tutors and received the highest level of guidance and support. The Field Trip was both a highlight and a difficulty. While I never expected it to be a holiday, I also didn’t realise how it will drain me. I have enjoyed soaking in all the architectural history knowledge while having the chance to experience it first-hand. And I have also been reminded of the reason I chose to pursue an architecture degree. Yet, it often felt as if I was studying from early morning to late night with virtually no breaks. Not to mention the exhaustion that came with constant walking. Additionally, being an introvert who needs time alone to recharge, I have found it extremely problematic to spend ten full days with my group, without even an evening alone (as I was sharing accommodation with some groupmates). Regrettably, one afternoon I had to make the choice to avoid following a schedule and instead stay at my accommodation. I didn’t want to miss anything, but I also didn’t want to reach my limit and breakdown. Following the trip, I have fallen sick and had multiple symptoms which I couldn’t quite understand. All I knew is that it was hard for me to focus on studying. This led to me spending my entire

Christmas break ill, as the GP hasn’t found anything wrong and couldn’t help me. In the meantime, whenever I felt better, I focused on my upcoming Dissertation submission rather than design. This has resulted in me being unable to attend my Staging review, although I have produced some work for it. With no feedback to go on, I have done my best to pay close attention at the tutorials. I still believe I have put in maximum effort into this project, regardless of the issues I faced. Of course, I realise that sometimes my skills were lacking and I regret not learning more of them throughout my years in architecture. There were often moments when I knew what I wanted to do but had no way of representing it on paper, which only proves that my inability to draw/sketch has been a huge disadvantage, which I should’ve prevented earlier. I have also found it hard to stay creative while always considering the practicality of my design. One thing I tend to do is constrain myself within a frame of rules and possibilities from the very start, which limits my imagination. The lockdown has become the final problem to face. However, it was more of a blessing to me rather than an inconvenience. It allowed me to solely focus on my education at this last stretch of my degree. It eliminated all my distractions (hobbies), and while that made me upset, I was also able dedicate myself to the project. I believe I was lucky to be reminded of what really is important at this stage of my life. All in all, I am disappointed with myself for not honing the required skills when I should’ve and for not being stronger in the light of difficulties. Even though I have put the effort into doing work, it feels like I haven’t pushed the limits of my architectural abilities. Instead, I have stayed within my comfort zone, where it felt safe but didn’t promise any success. If I could do university all over again, I would want to be reminded of how important it is to reach for more than you think you deserve.

CHARRETTE

PRIMER (REFLECTION)

Fig.11: Primer Plan Proposal

Fig.5-10: Charrette Outputs

Primer was an easy and fun start to our academic year. Yet, we, as a group, still had to produce a lot of outputs. It was only logical to split ourselves into smaller sub-groups. I regret choosing not to work on the historical aspect of our requirements, since that research would’ve helped me better understand and incorporate history into my project. Having not conducted the research myself, I realised I didn’t quite link my project to it at the start of my proposal. However, I have tirelessly worked on our vast site model. This meant that throughout the Primer I paid close attention to the plan of the site and location of the buildings. Since my own design process often initially derives from the plan, extensively thinking about it has resulted in a strong massing proposal which has become the basis of my final project.

Frankenstein’s Shop: The theme of my charrette group was recycling and reassembling old existing pieces of household items and toys. The idea was not to recycle them in the typical way, but rather recreate something new by combining the old. Much like Frankenstein himself did with his monster, we are giving new life to used up and worn objects. I believe, I have unsuccessfully created some entities made of old Barbie dolls, some soft furry materials, glass vile and rubber bands. There was nothing new, interesting or useful about them. However, I have learnt my lesson and will attempt to do better while moving out and reusing old objects this year. I do, however, believe that for the exhibition I’ve created a logical layout for photographs of some successful works of my groupmates. The idea was that each image had to have a dialogue with the ones surrounding it: there had to be a similarity, whether that is in colour, shape and form, objects used, softness/elasticity/firmness or in their meaning. Additionally, it was important that we create a conversation with the wall opposite ours.

PRIMER

Process and Final Model Fig.12-17: Model-making Process; Fig.18: Site Model

PRIMER

Final Model Fig.19-21: Site Model

One of the main outputs of Building upon Building Primer had to be our site model. Although, our site encompassed the entirety of Notre-Dame Cathedral surroundings, we were required to model at least half the island. While our whole group split into sub-groups, I realised I will be of most use to the model-making team. One of my first suggestions was to cast the massing of all existing buildings. This mainly came to me due to the fact that I have recently attended a casting workshop. However, there were also visible advantages to casting: it would be cheaper than laser cutting and stacking, neater than using foamboard, and easier/more efficient than cardboard. Having gained approval from the rest of the team, Xuan, Latifa and I have started on the massing, while others have worked on assembling the Cathedral and laser cutting the base. To make the top of our buildings as smooth as possible, weâ&#x20AC;&#x2122;ve used an acrylic sheet as the base for casting. We ensured it was a clear transparent sheet, which meant we could lay it over our printed plans at 1:500 and copy the shapes. We used masking tape to stick together the foamboard in the right form, and clay on the corners and at the base to prevent leaking. The model was only partially successful, as we have misunderstood, or rather miscalculated, the heights of some of the buildings on site. However, the casting provided us with a uniform, aesthetical look for our entire model. In the end, weâ&#x20AC;&#x2122;ve worked on incorporating some trees on site, which were taken from actual twigs. This created some mess but has looked pleasing for a short period of time.

PRIMER Set-Up

Fig.22-24: Primer Set-up

PRIMER

Set-Up Fig.25-26: Primer Set-up

PRIMER Historical Mapping

Fig.27-29: Historical Mapping

PRIMER Historical Mapping

Fig.30-32: Historical Mapping

PRIMER Historical Mapping

Fig.33-35: Historical Mapping

PRIMER Historical Mapping

PRIMER

Historical Mapping and Collages Fig.36: Historical Mapping

Fig.37: Historical Collage

Of course, I have looked into other options, before focusing on a particular one. Although, they came after the primer exhibition, I have attempted to sketch two more massing proposals. The concept of the first one was to combine the existing park on the opposite side of the river with my new massing and connect it to the one by Notre-Dameâ&#x20AC;&#x2122;s side. The bridge of that proposal would act as a nearby viewing point of the Cathedral. The second one focused on the square in front of the Cathedral and was also intended to create and shield views of it depending on where the visitors would access the site from. These concepts are crucial to the development of my final masterplan and well resurface later in the project through other means.

Massing Proposal Fig.38: Additional Massing Proposals

As for my independent work, I have focused on the riverfront for the massing proposal. I often start my designs by looking closely into plans. First thing that I have noticed is the fact that the area surrounding the Cathedral lacks buildings to frame it. Having looked deeper, and comparing the current plan with the historical mappings, Iâ&#x20AC;&#x2122;ve realised buildings used to exist there, but not anymore. It was my intention that with the new massing I will be returning the perception of Notre-Dame from up-close rather than from the distance. I planned to use the new massing to lead the visitors in and lure them closer, before they were rewarded with the full magnificence of the Cathedral. It was originally a rough massing, which later developed into my final proposal.

Another half of the group has worked on the Historical Mapping of the site. They have looked into all crucial periods of change in France, and specifically in relation to Notre-Dame, and have documented it through text, plans, sections and collages. Each collage represents a certain time-frame.

PRIMER

Fig.39: Main Massing Proposal

STAGING (REFLECTION)

STAGING

Precedents and Site Analysis Fig.40: Sketch

Note: All work in the Staging section has not been previously marked, as I was unable to attend my Staging Review. Staging has been one of the hardest periods during this academic year. It happened nearly parallel to our Dissertation submission and I was also suffering from constant illness. However, this has been an interesting part of my design development, much due to the precedents I have encountered on our field trip. I have focused on taking relevant and useful bits and pieces from my precedents and implementing them into my own design. This has been a fruitful journey as they helped me establish my own stance on preservation, as well as figure out the relation of my building to the Notre-Dame. I have also found enjoyment in documenting and stitching together the long elevation collage strip. It proved to be a useful exercise as it greatly affected my design.

Fig.41-45: Precedents

These ideas derive from the existing precedents. Rather than renewing Notre-Dame back to the ideal state, it should become the monument of the past, much like Colosseum (whose own renewal has become a failed unauthentic attempt). Therefore, it is important to make the Cathedral safe, but not recreate its previous form. Additionally, the roof could be covered with glass, to protect the interior from weather and damage. A great example of that would be Fondaco dei Tedeschi in Venice. Originally, there was also an attempt to connect my new massing with the Cathedral and create a walkway around it (example: Castelvecchio), but it was soon abandoned in favour of more pressing matters. Initially, taking example from Hertzian Library, I planned to surround part of Notre-Dame in glass. However, it grew into another idea entirely. As I was coming to the end of my project, I have established the uppermost floor as an exhibition space for leftover parts of Notre-Dame. And since my proposal is made of glass, it is almost as if it acted as a massive glass casing. Similar to the way relics are put inside of them in most museums. Lastly, Fondation Cartier would be mentioned multiple times throughout my project, as I often focus on the continuity of facades, and it acts as the main precedent for the concept of their alignment. Not to mention that my project will also largely encompass the nature and Fondation Cartier is a great example of dealing with trees.

Finally, I am now aware that I should document my models as soon as I have produced them. Due to the lockdown, it was impossible to photograph my massing model on site, which meant I had to photograph it separately and edit them together in Photoshop. National Centre of Heritage and Preservation â&#x20AC;&#x201C; a complex of spaces which provide opportunities to learn about, research on and expand the knowledge on conservation, preservation, restoration and renovation of architecture. It will be accessible both to general public and professionals of the field. Stance on Preservation: Preserving Notre-Dame Cathedral in its current damaged state and keeping the broken fallen pieces in the new proposed Centre for Heritage. However, rather than leaving it in ruins, dangerous parts which could cause harm should be restored and stabilised to allow for Public Access. Fig.46: Typology Sketch

Fig.47: Ile-de-la-Cite Elevation Collage Strip

STAGING

Site Analysis

STAGING Massing Proposal

Fig.48: Staging Massing Proposal

STAGING

Massing Proposal Fig.49: Spatial Requirements

STAGING Masterplan Proposal

Fig.50: Staging Masterplan

STAGING Masterplan Proposal

STAGING Interior Proposal

Fig.51: Staging Ground Floor Plan

STAGING Interior Proposal

STAGING

Framing Views Fig.52-53: Proposal framing Notre-Dame Sketches

STAGING

Framing Views

Fig.54-56: Notre-Dame framed by surrounding buildings

Fig.57-58: Proposal framing Notre-Dame Sketches

While visiting our site in Paris, one of the first things Iâ&#x20AC;&#x2122;ve focused on is documenting the facades and their continuity throughout the island exterior. I have later created an Elevation Collage made of all the photographs Iâ&#x20AC;&#x2122;ve taken during my site analysis. It is clear the only out of place spot is the one on the south of Notre-Dame. Which is where I have located my proposal. I have colour-coded my initial rough plan and elevation to express the programme of each space. I have also labelled the part accessible by public in a green frame, and the one exclusively for professionals of the architecture and heritage field in a red frame. You can notice that originally there was a connection to the Cathedral. However, soon I have started defining the form more precisely and have eliminated the connection, as well as broken down the spaces into separate buildings. I have also begun to contemplate the masterplan and intended for it to serve the same purpose as my building. The original idea was for the park to enclose and partially shield the Cathedral away, causing curiosity and leading the visitors towards the viewing spot in the centre of the park, right in front of the Notre-Dame. I have started detailing out the programme of the public part of the proposal by inserting furniture in approximately appropriate scale. It was soon clear to me that with the vastness of my proposal, Iâ&#x20AC;&#x2122;d have to focus on one specific building. I have also attempted to play with the heights of each part, to recreate and resemble the framing of the Cathedral by other building on the riverfront of the island. On this page, I present both an example and my initial sketches. It has proved to be more complicated by the proximity of my proposal to the Notre-dame. Unlike my proposal, examples in the images were located further away which allowed for more flexibility.

STAGING Massing Model

Fig.59: Massing Model on Site

STAGING

Massing Model Fig.60: Massing Model on Site

REALISATION (REFLECTION)

REALISATION

Iterative Diagrams (Theory into Practice) Fig.61: Programme

Fig.62-64: Iterative Diagrams

The process of my Realisation section has been greatly influenced by my Theory into Practice essay. As I have looked deeper into Iterative sets, I decided to produce Iterative Diagrams to determine my masterplan. This helped me identify the issues I needed to solve. Once the masterplan was resolved, I let myself focus on some more detailed arrangements. I have included a pond (again, thanks to a precedent) and clarified my programme, as well as have made initial attempts at my ground floor plans. However, I wish I could have produced more work by that point in time, as I feel I began falling behind. In my Theory into Practice diagrams I have focused on iterative sets, which proved to be crucial to the design of my masterplan. In the first set I am looking at the direct views of Notre-Dame in the past, present, and with my proposal on site. While the blue arrows show visibility, the red crosses express inability to see the Cathedral from that vantage point. From my first diagram it is clearly visible that in 1300s the Cathedral is largely shielded away by the surrounding buildings, and the visitor is required to enter the small square in front to be able to perceive the Cathedral in all its entirety. While in the present, anyone approaching Notre-Dame can view it even from across the river. However, the magnificence of Notre-Dame becomes lost when it is so readily available to be viewed from far away and it would have a stronger impact on the viewer when it emerges from behind an obstacle. In my last diagram I express how my massing proposal would provide that much needed obstacle. You can also notice red crosses in the park area, which simply means that the height of the trees would hide the view as well, allowing only for up-close visibility.

REALISATION Iterative Diagrams (Theory into Practice)

REALISATION

Iterative Diagrams (Theory into Practice)

Fig.65-67: Iterative Diagrams

Fig.68-70: Iterative Diagrams

My next set is focuses on the access and streets/roads. It is important to view them in combination with the previous set. On the first diagram, yellow arrows mean footpaths and the blue square is the location from which the Cathedral can be observed. In the present and proposal, brown arrows mean car access and green arrows mean footpaths, as well as green rectangles for open public space. To eliminate the huge expanse of open area, I decide to turn it into a structured park with specific footpath lanes. Those areas are still accessible but they become more closed off (with tree canopies) and private (allowing for picnics) as will be seen in my masterplan. However, that still leaves an uncertain tangle of car roads at the back end of the park, which leads me on to my next set of diagramsâ&#x20AC;Ś

First diagram shows my plan for the park as it is. Second diagram expresses the changes required for the improvement of the plan. Pluses mean that something needs to be combined, arrows represent the pushing/ moving of a street, and the question mark for figuring out the purpose of the space. Finally, the last diagram represents the changes which were made and includes my proposal, the resulting car roads and footpaths, as well as views and obstructions.

REALISATION Masterplan Proposal

Fig.71: Realisation Masterplan

REALISATION Masterplan Proposal

REALISATION

Ground Floor in Context and Pond Perspective Fig.72: Realisation Ground Floor

REALISATION

Programme and Ground Floor Plan

Fig.73: Pond View

Fig.75: Massing Programme

After using my iterative diagrams to set out goals and realise the issues, I have fixed and amended the masterplan. It includes parks on either side of the Cathedral and a few lone trees dotted around the site. There is now also a pond in the front of Notre-Dame to reflect its faรงade in a way which creates a scenic view (another opportunity to appeal to the visitors at the viewing location). This was inspired by Sagrada Familia in Barcelona. The building is still colour-coded, and on the right you can see an approximate massing which demonstrates the programme. I have also attempted to detail the ground floor of the building, including the placement of columns (which later becomes a bit more orderly) and the furniture.

Fig.74: Sagrada Familia Pond View

Fig.76: Ground Floor

SYNTHESIS (REFLECTION)

SYNTHESIS

Process: Plans, Sections and Perspective Views Fig.77: Final Masterplan

Fig.78-79: Synthesis Process Plans and Sections

As we have moved onto remote learning and I was unable to access any scanners and printers, I have started using only digital means for producing my work. I have put in a significant amount of work to create a SketchUp model, which later helped me produce my plans and sections. I was also able to take certain views and Photoshop them onto our existing site model (the images of which were available to me thanks to Reuben, who moved the site model to his accommodation before the lockdown). From here onwards, my plan takes on the same fluid and organic form as the park. This is partially due to an attempt to follow the same language as gothic architecture of Notre-Dame (rose windows, curved flying buttresses, interior columns and arches, ceiling). This form also aids my building in integrating with the nature and allowing trees to fit into cut-in shapes of the ground floor.

Fig.80-83: Model on Site Collage

SYNTHESIS Process: Masterplan Proposal

Fig.84: Synthesis Process Masterplan

SYNTHESIS Process: Masterplan Proposal

SYNTHESIS Pause&Clark Diagrams (Technology)

Fig.85: Site Parti Diagram

Fig.86-90: Additive&Subtractive, Symmetry&Balance, Circulation to Use, Heirarchy and Section to Plan Diagrams

SYNTHESIS

Primary/Secondary/Tertiary Structure (Technology) Fig.91: Structural Heirarchy

SYNTHESIS

Detail and Structure Diagrams (Technology) Fig.92: Detail Section

Fig.93-94: Structure

SYNTHESIS

Sunlight Access Diagrams (Technology) Fig.95: Heating Preservation Strategy

Fig.96: Summer and Winter Sun Angle

This seems like the best place to include my Technology drawings, as it’s as good time as ever to clarify the structure, materials and workings of the building. First of all, the primary structure of the building are steel columns and concrete slabs, with a window wall (not curtain wall) as the façade. The entire structure would be sitting on pile caps above concrete piles, to provide a strong foundation reaching high density soil. The ground floor is inset on some occasions to allow for the integration of nature. Most of the façade is glazing, which means that heat will coming through and can be trapped within concrete thermal mass. This will allow for natural heating at night-time when the concrete releases the warmth. However, to prevent overheating, some windows would be more opaque than the others, as will be seen in future images. Additionally, there will be plenty of sunlight both during summer and during winter. In summer, most of direct sunlight will be coming through the roof skylight and passing down through floor openings. In winter, it will access the building through large glazing area. Fig.97: Day and Night Heating Strategy

SYNTHESIS Masterplan Wind Access Diagram (Technology)

SYNTHESIS

Ventilation Diagram (Technology)

Fig.98: Site Wind Access

Fig.99: Ventilation Diagram

My wind access diagrams show how the wind is expected to move on the site and inside the building. For Paris, according to statistics, some of the strongest winds hit from the south-west. In the Masterplan, you can see the location of my building is strategically placed to shield the park and the ruined Cathedral from the prevailing winds. The concept for ventilation of the interior of my proposal is alternating opening. On the ground floor, all entrances are on the North of the building. Thus, it is planned that windows on the second floor open up in the same direction, while windows on first and third floor can only be opened on the south faรงade. The roof skylight should open using remote controls, and the floor openings will allow for ventilation to travel through the building.

SYNTHESIS Precedents

Fig.100-107: Precedents

SYNTHESIS

Ile-de-la-Cite Masterplan Fig.108: Synthesis Masterplan

SYNTHESIS Ground Floor Masterplan

Fig.109: Synthesis Ground Floor in Context

SYNTHESIS Ground Floor Masterplan

SYNTHESIS Rooftop Masterplan

Fig.110: Synthesis Roof Plan in Context

SYNTHESIS Rooftop Masterplan

SYNTHESIS Section 1 in Context

Fig.111: Synthesis Section 1 in Context

SYNTHESIS Section 1 in Context

SYNTHESIS

Section 3 in Context, Plans and Sections Fig.112: Synthesis Section 3 in Context

Fig.113-114: Synthesis Plans and Sections

SYNTHESIS

Perspective Fig.115: Perspective View

POST-SYNTHESIS Amended Island Masterplan

Fig.116: Final Masterplan

POST-SYNTHESIS Amended Island Masterplan

POST-SYNTHESIS Ground Floor in Context

Fig.117: Final Ground Floor in Context

POST-SYNTHESIS Ground Floor in Context

Fig.118: Final First Floor in Context

POST-SYNTHESIS

First Floor in Context

POST-SYNTHESIS Second Floor in Context

Fig.119: Final Second Floor in Context

POST-SYNTHESIS Second Floor in Context

Fig.120: Final Third Floor in Context

POST-SYNTHESIS

Third Floor in Context

POST-SYNTHESIS Section in Context

Fig.121: Final Section in Context

POST-SYNTHESIS Section in Context

POST-SYNTHESIS Inhabited Section

Fig.122: Final Inhabited Section

POST-SYNTHESIS Inhabited Section

POST-SYNTHESIS Ground Floor with Furniture

Fig.123: Final Ground Floor Programme

POST-SYNTHESIS Ground Floor with Furniture

POST-SYNTHESIS First Floor with Furniture

Fig.124: Final First Floor Programme

POST-SYNTHESIS First Floor with Furniture

POST-SYNTHESIS Second Floor with Furniture

Fig.125: Final Second Floor Programme

POST-SYNTHESIS Second Floor with Furniture

THINKING THROUGH MAKING WEEK Process and Result

Fig.126-137: TTMW Process; Fig.138: TTMW Output

POST-SYNTHESIS

Amended Perspective Fig.139: Final Perspective

Although, Thinking Through Making Week happened much earlier, it is only in the final stages of my project that I went back to implement the result. First of all, the process of reaching my final piece is as follows. I have managed to obtain free scrap pieces of glass at a frame shop. However, being scrap, they needed polishing first. I have taken them to the workshop where I was taught how to handle it and how to proceed. Wearing gloves and protection goggles, I used wet sandpaper (supported by a small wooden block for stiffness) to smoothen the edges and the corners of what was possibly a sharp dangerous piece of glass. I went on to clean the surface of it using specific glass washing substance and wipes. Finally, I have used various types of glass film to play with different effects (opacity/reflection/colour tint) and then assembled them into an abstract art piece. This has, in the end, informed the façade of my building. I have decided that the study rooms, lecture theatre and the small gallery area on the second floor would require privacy or diffused lighting, which meant they will have an opaquer façade. The top floor exhibitions space (acting as a glass casing for the leftover ruins of the Cathedral), the café and the ground floor integration with the trees had to be more transparent, while ground floor opposite the park is reflective. This has created the effect of incorporation of nature that I was going for. Transparency allows for the park behind the building to show through, while the reflection of the other park connects on the façade of my building to create a uniform green organic look.

Fig.140: Final Elevation in Context Collage

POST-SYNTHESIS

Elevational Collage

POST-SYNTHESIS Interior Views

Fig.141: Interior Views

POST-SYNTHESIS

Interior Views Fig.142: Interior Views

POST-SYNTHESIS Interior Views

Fig.143: Interior Views

POST-SYNTHESIS

Interior Views Fig.144: Interior Views

PRIMER TO POST-SYNTHESIS Plans

Fig.145-147: Plan Progression

PRIMER TO POST-SYNTHESIS

Plans Fig.148-150: Plan Progression

CASE STUDY Cover Page

Fig.151: Case Study Cover Page

CASE STUDY

Introduction Page Fig.152: Case Study Introduction Page

CASE STUDY Anthony (Part A&L)

Fig.153-158: Anthony’s work

CASE STUDY

Iris (Part B&I) Fig.159-164: Iris’ work

Fig.165-169: Latifa’s work

CASE STUDY

Latifa (Part C&J)

Denisa (Part E&K)

Fig.170-176: Denisa’s work

CASE STUDY Part D: Programme

CASE STUDY

Part D: Programme

Fig.177-178: Site Programming

Fig.182: Bi-fold Facades Section

- Fondazione Prada is a transformation of an industrial complex (distillery) from 1910’s into a range of diverse architectural spaces designed to accommodate exhibitions, offices, cinema, storage and café which total up to 19000m2 of space. - Previously, the distillery was used for warehouses, laboratories and brewing silos. As of two decades ago, Prada took ownership of the complex and has been using it for catwalks, storing props and temporarily exhibiting its collections. - Some of the buildings on site are: ‘Nord’ (North), ‘Sud’ (South), the Café, Library, ‘The Cisterna’, ‘Podium’ which holds the temporary exhibitions, and ‘Torre’, a ten-story permanent exhibition of Prada collection.

- Some of the newer spaces are flexible and could serve more than one purpose, which “promotes unstable, open programming”. One such example is ‘The Cinema’, the seating of which could be transformed into a flat surface, creating a covered gallery space. It also has a mirrored façade surface, making the open public space between the ‘Podium’ and ‘Cinema’ appear larger.

- This project embodies the ideas of both preservation and new architecture. In total, the complex consists of seven existing buildings, as well as three newly built constructions. One of the two previously free-standing structures has been demolished, while the other (‘The Deposito’) has been adapted and is currently used for display and storage. Additionally, “The Haunted House” is an existing structure which has been covered in gold leaf.

Fig.179: Gold Leaf Facade

Fig.180-181: Mirrored Facades

Fig.183: Cinema Section

CASE STUDY

100

Part D: Programme Fig.184: Two Forms composing Torre

CASE STUDY

101

Part G: Spatial Sequence

Fig.185: Alternating Light Conditions

Fig.190-191: Site Access

- According to Detail website, there is “a total of 2,000 m2 of indoor exhibition space across six levels, as well as a restaurant, a bar and a 160 m2 panoramic terrace” in ‘Torre’. The floors are either rectangular or trapezoidal. The spaces also alternate between natural and artificial lighting.

- There are variety of routes available to be taken through the site. However, two of them seem as the most efficient and clear ways to navigate this cluster of structures. Here, I also indicate the stair and ramp/lift access throughout the complex.

Fig.186-187: Torre Interior

Fig.188-189: Exteriors

CASE STUDY

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Part G: Spatial Sequence Fig.192: Torre Primary Staircase

- ‘Torre’ (the ten-story exhibition space) has both the option of an elevator and a staircase. The route visitors are most likely to take is reaching the top by taking a lift and progress downwards through the levels. There is a primary and a secondary staircase divided by a transparent panel within the stairwell. Both line up with each other (which can sometimes create confusion). Due to the variation of floor heights and the levels which need to be accessed, the amount of steps differs from one level to the next. These access spaces are lit up by natural light and contrast with the artificial light which indicates the handrail.

Fig.193: Torre Primary and Secondary Staircase

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Part G: Spatial Sequence

Fig.194: Torre Vertical Access

Fig.197-198: Extra Route created by Bi-fold Facades

- Interestingly, due to ‘Podium’ and ‘Cinema’ facades’ being made with hinged elements of bi-fold doors, as well as ‘Cinema’s’ floor’s ability to lower into a flat surface, the outdoor space could be opened up and extended, and would protrude throughout the middle of the cluster. This, in turn, connects the two buildings and creates an additional route through the site.

Fig.195: Podium Open Facade; Fig.196: Exterior Ramp

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CULTURAL BIBLIOGRAPHY Introduction

CULTURAL BIBLIOGRAPHY

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Casting Workshop

Fig.199: Cultural Bibliography Cover

Fig.200-205: Casting Workshop

While I have had many hobbies and commitments throughout the year, attending the Casting Workshop was the only involvement that has had any effect on my project. It has informed my site model, the making of which I have been part of. At the workshop I have learned how to make negatives to form my future cast, and how clay can be used to create patterns on the cast. I have also realised that it is crucial to use clay on the corners and at the base to prevent leakage. Iâ&#x20AC;&#x2122;ve been taught how to properly mix plaster with water: at 1:1 ratio with plaster being gradually added to water until only a small hill is sticking out of the water, then mixing it with hands to make an even consistency. Fig.206: Site Model

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CULTURAL BIBLIOGRAPHY Trip Visits

CULTURAL BIBLIOGRAPHY

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RIBA Future Architects: CV Workshop

Fig.207-213: Precedents from the Field Trip (Fondazione Prada, Castelvecchio, Fondation Cartier, Hertzian Library and Colosseum)

Fig.214-215: Creative CV

Another highlight of the year was a CV workshop at the start of March organised by RIBA Future Architects. There, I have had the opportunity to hear from architects in practice about what their expectations of a CV are. They’ve also given tips and mentioned things that we shouldn’t do. Later in the evening, I was also able to share my current CV with one of the architects and receive feedback, most of which has been positive. I’ve been told that my CV wild definitely catch attention and draw their eyes to it. It was also appropriately structured and comprehensive. However, I found out that it would be useful to include one or two examples of my work, which I have done following the workshop. I was also able to ask relevant questions and learn more indepth about how architecture companies prefer to recruit. In the end of the night, I had my interview taken for the purposes of documenting the progress of Future Architects, as it is a new scheme which is still in its early stages.

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CULTURAL BIBLIOGRAPHY Photography

CULTURAL BIBLIOGRAPHY

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Photography

Fig.216-221: Photography

Fig.222-226: Photography

Photography has been one of my hobbies since my early teens, yet I was only able to fully engage with it in University. This year I have attempted to broaden my abilities by practicing not only nature photography, but also animal photography, portraiture, self-portraiture and architectural photography. The last one has helped me stay prepared for my Europe trip. But I have definitely enjoyed animal photography the most and would like to gain more experience in it.

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CULTURAL BIBLIOGRAPHY Graphic Design

Fig.227-231: Salsa Society Advertisements and Logo

CULTURAL BIBLIOGRAPHY

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The Courier Articles Fig.232: The Courier Articlesâ&#x20AC;&#x2122; Title Collage

As one of my main commitments, I had to create posters, flyers, leaflets and kit designs for the Salsa Society. I started off by establishing our logo, the colours of which have been based on the Newcastle University logo itself. Next, I had to design the leaflets we were giving out at the Clubs and Societies Fair. I have also designed our Christmas ball poster and very recently a poster to introduce the new committee. I had many other responsibilities on the committee, but the Creative part of it has always been the most fun. It also fed into my Photoshop skills and knowledge and helped me understand the software better. Additionally, I have learned to pay closer attention to detail and have become more creative.

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BIBLIOGRAPHY Precedent List

Castelvecchio Museum (Verona) by Carlo Scarpa; Colosseum (Rome); Fondation Cartier (Paris) by Jean Nouvel; Hertzian Library (Rome) by Juan Navarro Baldeweg; Hiroshi Senju Museum (Japan) by Ryue Nishizawa; II Fondaco dei Tedeschi (Venice) by OMA; Mission Ile-de-la-Cite (Paris) by Dominique Perrault; Park Groot Vijversburg (Netherlands) by Junya Ishigami;

BIBLIOGRAPHY List of Figures Fig.1 – by the Author;

Fig.108-150 – by the Author;

Fig.2 – by Latifa Nawar, edited by Yew Zhi Xuan;

Fig.151-152 – by the Case Study Group;

Fig.3 – by Yew Zhi Xuan;

Fig.153-158 – by Anthony Chau;

Fig.4 – by the Author;

Fig.159-164 – by Iris Guo;

Fig.5-6 – by Sin Ian Si Tou (Yanny);

Fig.165-169 – by Latifa Nawar;

Fig.7 – by Maria Aksenova;

Fig.170-176 – by Denisa Calomfirescu;

Fig.8-17 – by the Author;

Fig.177-185 – by the Author;

Fig.18-26 – photograph by Yew Zhi Xuan, model and set-up by Building upon Building group;

Fig.186-187 – by Dezeen (https://www.dezeen.com/2018/04/26/oma-fondazione-prada-torre-opens-quirky-interiors-renowned-contemporary-art-exhibition-atlas/);

Fig.27-37 – by Building upon Building group;

Fig.188-191 – by the Author;

Fig.38-40 – by the Author;

Fig.192 – by Dezeen (https://www.dezeen.com/2018/04/26/oma-fondazione-prada-torre-opens-quirky-interiors-renowned-contemporary-art-exhibition-atlas/);

Fig.41 – by The Blade (https://www.toledoblade.com/news/World/2012/07/31/30Mrestoration-of-Rome-s-Colosseum-to-begin-in-December/stories/feed/feed/index.rss); Fig.42 – by Architecture Today (https://www.architecturetoday.co.uk/venice-merchant/);

Fig.193 – by Vagabondi Italia (https://www.vagabondiinitalia.it/milano-fondazione-prada/); Fig.194 – by the Author;

Fig.43 – by Divisare (https://divisare.com/projects/332703-carlo-scarpa-federico-puggioni-museo-di-castelvecchio);

Fig.195 – by OKNOstudio (http://www.fondazioneprada.org/project/atlantedelgesto/?lang=en);

Fig.44 – by DETAIL Inspiration (https://inspiration.detail.de/reports-the-new-bibliotheca-hertziana-in-rome-106265.html?lang=en);

Fig.196 – by Bas Princen (https://www.dezeen.com/2015/05/03/oma-fondazione-prada-art-centre-gold-leaf-cladding-wes-anderson-cafe-milan/);

Fig.45 – by ArchDaily (https://www.archdaily.com/84666/ad-classics-fondation-cartier-jean-nouvel);

Fig.197-202 – by the Author;

Fig.46-73 – by the Author; Fig.74 – by Pinterest (https://br.pinterest.com/pin/344947652705280012/);

Sagrada Familia (Barcelona) by Antoni Gaudi.

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Fig.75-99 – by the Author; Fig.100-101 – by Dominique Perrault Architecture (http://www.perraultarchitecture. com/en/projects/3386-mission_ile_de_la_cite_the_heart_of_the_heart.html); Fig.102-103 – by Fondation Cartier (https://www.fondationcartier.com/en/building); Fig.104 – by Dream Idea Machine (http://www.dreamideamachine.com/ en/?p=49094); Fig.105 – by Archaic (https://www.archaic-mag.com/magazine/2019/6/3/park-vijversburg-studio-maks-amp-junya-ishigami-associates); Fig.106 – by Designboom (https://www.designboom.com/architecture/ryue-nishizawa-hiroshi-senju-museum-karuizawa/); Fig.107 – by ArchDaily (https://www.archdaily.com/201238/hiroshi-senju-museum-ryue-nishizawa);

Fig.203-205 – work by Yew Zhi Xuan, photographs by the Author; Fig.206 – photograph by Yew Zhi Xuan, model by Building upon Building group; Fig.207-232 – by the Author;