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Leo Justin Watson Fieldhouse 160260579 ARC3001 - Architectural Design 2019/20

CONTENTS REFLECTIVE REPORT - p5 CHARRETTE - p9 PRIMER - p13 FIELD TRIP - p30 STAGING - p41 REALISATION AND SYNTHESIS - p67 CULTURAL BIBLIOGRAPHY - p133 BIBLIOGRAPHY / REFERENCES / FIGURES - p136 APPENDIX - p139

REFLECTIVE REPORT

Throughout the year I feel I have developed new skills that have informed and improved the progress of my project each step of the way. At the beginning of the year within Primer, before even starting to think about creating the form or programme of a building, we were exposed to a new way of thinking about architecture. In the past years, at the very start of projects, I would have begun with the standard site analysis, rather than going in depth into the research and theory and allowing that to form the beginnings of a project. This way of working can be seen clearly in the projects by Koolhaas and OMA, with research being a driving force for their design and even having a dedicated studio to research, AMO. The Primer stage introduced me to the concept of systems, which in turn made me look at Coventry in a completely different way to how I would normally. Having to create models of these systems interacting was a challenge at the time, as in some cases I was trying to physically represent an intangible system. Thinking about how that intangible system could manifest itself in physical form in Coventry was something I thought about to try and start the model. For example, looking at religion within the city and seeing that as the Cathedral in a physical sense, yet also understanding the intangible community aspect of the system that it also includes was something that I explored. Community and the social side of architecture is something that I have always been drawn towards. In my dissertation at the beginning of the year I looked at the social benefits of self-build housing and I feel that this interest was subconsciously brought forward within the beginning stages of my design project. However, the further I developed my dissertation the more I started looking at the political side of the argument, reading the views of anarchist writers such as Colin Ward and looking deeply into the work and theory behind Walter Segal. This theoretical and political thinking coincided with starting to think about the politics, infrastructures and systems within the city of Coventry. I started to look at the theory behind ‘third places’ by Ray Oldenburg within the Staging part of the year.

Researching for my ARC3015 Theory into Practise essay during the beginning phase of realisation exposed me more to the theory behind diagramming and what they can offer during the process stage of a project. With diagrams allowing for creative stimulation and possibilities to present themselves rather than just simply explaining situations (Martinez et al., 2014). Layering the diagramming I had done and thinking more about what I had produced made me further think about the important aspects that I had drawn upon on the site. This relation to the site is what ended up being the major contributing factor to the building’s form and language developed through realisation and synthesis.

Model produced within Primer where I was modelling two systems interacting with one another.

During realisation my building slowly started to develop into the form and language it would eventually adopt. The structure of my project played an important role in my design as I have used the steel frame primary structure of an existing building within mine and extended it both vertically and horizontally. The ARC3013 tech report made me think about the structure of my building in a more realistic way, rather than just as a conceptual tool as I was doing before working on the report. The environmental side of the report also allowed me to develop my façade, which includes perforated copper panels that are in place both for aesthetics but also to allow for solar shading on the south face of the building. This technical integration also developed my concept of nature within my building through the patterned shadows that it created in the interior. The ARC3014 professional practise essay was a module that explored elements of the profession that I had never had to consider before and was extremely helpful in the understanding of the logistics of the practise that I will take forward with me in the future.

Diagrammatic drawing (Author, ARC3015)

Through the synthesising of my project I have been able to visually represent my project fully for the first time during the year. With every individual aspect from realisation coming together into a collection of drawings. It offers an ending to the journey to which I have been on during the year, from the very early stages research-based work within Primer. I feel that each stage of the year has flown fluidly into one another, with ideas and concepts naturally developing as the year progressed. This has in my opinion allowed for a continuous narrative to be present in my project.

The systems such as education, religion and communication to which I explored made me look at certain elements of Coventry in a critical way, developing an understanding of some of the social aspects that I wanted to change and improve. Within staging I built upon the theory and analysis done in Primer and the further understanding of the site that I had developed during my visit to Coventry. This allowed me to build a scheme and project that I felt benefited the city and created an escape for the residents from the continually commercialised third places within our cities. The composite spatial drawing that I did within staging started to make me think about the programme of the building and the spaces that I wanted to create. It was an extremely helpful way in which to visually represent my scheme before having a form or any type of massing. However, I feel that this drawing, although helpful in the way it represented spaces, didn’t end up playing a massive role in forming the shape of my building as the site was the greatest influence.

Atmospheric drawing exhibiting elements developed through the tech integration within my project Spatial composite drawing produced within staging

CHARRETTE

For the charrette in which I took part in we were to take a number of rubbings of different material facades around Newcastle City Centre. We firstly were taking them from around the architecture building, whilst exploring the varied materiality that was present and seeing the markings that they were making from using the charcoal and paper. We then moved towards the sidewalks and streets around Monument in the City Centre where we would do the same, exploring the materiality of buildings around us through creating patterns from the rubbings. After collecting a large number of rubbings as a group we came back to our space and started to try and collage the different pieces suitably together. We also drew maps of the areas in which we took the rubbings to then project over the collage for the final charrette exhibition. We extended the collage from the wall to the floor to show the patterns we had collected not only from buildings but also the ground around the City Centre.

PRIMER REFLECTION

The primer stage of the project at the beginning of the year introduced me to a completely new and different way at looking at architecture. Being introduced to the idea of systems and how they can act within cities and spaces was something I had never looked at before. Mapping these systems allowed for a visual representation which was seen through each individualâ&#x20AC;&#x2122;s work within the studio. Having to model that system was at first challenging and something I didnâ&#x20AC;&#x2122;t fully know how to approach. This challenge made me have to think more in depth about what I wanted to show and what I had understood from researching the systems that I was looking at. The final immersive model brought me into looking at the idea of creating an escape from the city of Coventry for its residents. This along with my initial research on the systems of education and religion, to which I mapped and modelled allowed for my project to have a strong base to which to grow from.

PRIMER

System “a set of things working together as parts of a mechanism or an interconnecting network; a complex whole.” (Oxford English Dictoinary)

System ‘a system is any group of interacting, interrelated, or interdependent parts that form a complex and unified whole that has a specific purpose, where all the parts are interrelated and interdependent in some way, as without such interdependencies, we would not have a system but just a collection of parts.’ (Kim, 1999, p. 2)

Synonyms Structure, Organization, Order, Arrangement, Complex, Apparatus, Network, Administration, Institution

Figure 1 - Right, System of Infrastructure

INTRODUCTION TO SYSTEMS

One of the first tasks of the year included bringing an image for each of the following themes: kinetic art, change, infrastructure, unplanned, interface, disrupt, engage, diagram, body centric. This was where we started to explore themes within systems and some of the themes that we would carry through the year in the studio.

HOUSING

PLANNING

FLOODING

NATURE

CLIMATE

FOOD

TRANSPORT

COMMUNICATION

SURVEILLENCE

We were then introduced to the public realm map of Coventry as seen in the image to the right, to which we were allocated a specific region within it. Then as a group we came up with a number of both tangible and intangible systems as seen on the opposite page that we could later map onto Coventryâ&#x20AC;&#x2122;s public realm within the City Centre.

CRIME

PHYSICAL HEALTH

POWER

SOCIAL INTERACTION

DAYTIME ECONOMY

KNOWLEDGE

HOUSING

POLLUTION

EDUCATION

SIGNAGE

MENTAL HEALTH

MANUFACTURING

EMPLOYMENT

CLASS

POLITICAL

Figure 2, Top left - Ghosts in the Machine Studio (not my photo) Figure 3, Top right - Ghosts in the Machine (not my photo) Figure 4, Bottom - Public Realm Map

MAPPING SYSTEMS

The two systems that I was allocated included education and communication. To be able to map these systems I researched the area, thinking about schools, universities, nurseries, museums etc. for the education system map and aspects such as telephone boxes, and places of social interaction for the communication system map. Through mapping these two systems and researching them I learnt a lot about Coventry City Centre and the dynamic of these two systems within it. I was especially interested when looking at education as it showed there was a clear divide between the university area and commercial shoppping area of the city. Creating a possible split between communities within Coventry and something that I later looked at in more detail. On the opposite page there is the composite map that we put together as a studio, which includes all the maps that we individually created being placed ontop of the public realm area of Coventry we were focusing on. The four smaller images are a few of the maps by other people in the studio that were helpful later within my project when thinking about all the systems that are present in my scheme and they are active within Coventry. N

DIAGRAM KNOWLEDGE TITLE IN COVENTRY

This map shows educational building in the location. Educational buildings provide knowledge to Description the people. 0

Top - Education Map Bottom - Communications Map

100

Key University educational buildings

Public educational buildings

125

Figure 5 - Composite Map (group work) Figure 6 - Nature Map (groups work) Figure 7 - Community and Political Map (groups work) Figure 8- Social Interaction Map (groups work) Figure 9 - Knowledge Map (groups work)

JG BALLARD BOOKS

We were then allocated a chapter to read from one of four JG Ballard books, which include Drowned World, High Rise, Concrete Island, Kingdom Come. Whilst reading the chapter we were to pick a protagonist and analyse how they engage with systems and infrastructures within the book. From this we were to create a drawing/diagram that shows the systems and character we have chosen and the interactions that we had seen. My drawing can be seen on the opposite page, exploring the character of Maitland.

â&#x20AC;&#x153;In his aching head the concrete overpass and the system of motorways in which he was marooned had begun to assume an ever more threatening size.â&#x20AC;? (Ballard, 1974)

Figure 10 - Book covers for High Rise, Drowned World, Concre Island and Kingdom Come

UNION MAPPING

After having mapped two systems across the whole of Coventry City Centre, we were then asked to produce a model that would sit on, or under our large base model of the public realm, within a given area. Every individualsâ&#x20AC;&#x2122; models were to be integrated into the large base model so all the different systems would be visually overlapping and interacting with one another. After having explored 2D mapping of education and communication earlier I chose to focus on education within my area of the public realm for my union mapping, and how it interacted with the system of religion. My area of the public realm sees the new Cathedral and a lot of the Coventry University buildings sit side by side. I was interested in the relationship between the two systems and how over time the site has seen a change in the hierarchy of these particular systems. Through the union mapping I tried to represent this with a model that allowed for two entities to move up and down in response to one another. With this representing the importance of religion on the site in the past, and how education now dominates the area in regards to the university and its students rather than the community that the Cathedral would have once brought.

Photos of my original moving model, experimenting with a moving mechanism

Figure 11 - Photos above of Primer exhibition (group work) Figure 12 - Image, right. My model with the concept behind it illustrated

IMMERSIVE INTERFACE MODEL

We were then allocated another chapter to read from Ballards 4 books, again picking an antagonist and focusing on the systems and infrastructures that are active. Thinking about how the character engages with a system or multiple systems, whether it is tangible or intangible, the implications that they have on the antagonist. We then had to either take that character and the system they are interacting with within the chapter or take the character and place them into Coventry and choose a system they could interact with. Then produce an immersive and interactive model that portrays how the character interacts with a given system. For my immersive interface model, I went back to the system of communication that I had earlier mapped and researched within Coventry. Whilst mapping the system I looked at all the placements of old telephone boxes, with them being iconic to British culture. A lot of new ‘telephone boxes’ provided by BT are also scattered across Coventry, with this introduction of new technology it has seen the old red phone box across the country become surplus to requirements. The idea that the phone box in its very design is something that allows for communication, it is ironic now that on a busy bustling street, this can be the only place to escape the noise and rush of the city. This paradox of an ‘anti-communication telephone box’ is what I tried to create for my immersive model. A place where one can escape to.

Figure 13,14 and 15 - Photos (left) showing how old telephone boxes have been repurposed

Photos of my immersive ‘anti-comunication telephone box’ model

STUDIO MANIFESTO

GLOSSARY Tangible Real and able to be shown or touched.

Animate To make someone seem more happy or active

As a studio we came up with our ‘manifesto’ stating some declaration of motives, which voice some of the views within the group.

Intangible Something that exists but cannot be touced, exactly described, or given an exact value.

Scale To make someone seem more happy or active

• Information is useless unless compared/being given in context • Design must be thought through at all scales • Key to employ abstract, perhaps uncomfortable techniques • Models can create an experience for a user, through them being dynamic, interactive and engaging • 1:1 scale can offer the most effectiveness when portraying information • The resistance to a system should be considered as well as the function of the system itself (seen through mapping our systems) • Important to explore intangible, hidden aspects (systems) of Coventry • The public realm which forms the basis for our study is the most accessible part of the city, thus being the most important • All dimensions of an issue should be considered (looking at Ballard’s novels we highlighted who runs/owns the systems • Key to look at systems from the point of engagement, to the wider system and the overlap with other systems • To create and establish a narrative from what we have explored

Interface A connection between two pieces of electronic equipment, or between a person and a computer, a situation, way, or place where two things come together and affect each other.

Static Staying in one place without moving, or not changing for a long time

Network A large system consisting of many similar parts that are connected together to allow movement or communication between or along the parts, or between the parts and a control centre. Interaction An occasion when two or more people or things communicate with or react to each other. Immersive Seeming to surround the audience, player, etc. so that they feel completely involved in something. Systematic A systemic problem or change is a basic one, experienced by the whole of an organization or a country and not just particular parts of it.

We also noted some weaknesses that have stemmed from our research of Coventry and systems within Primer, which include:

Time The part of existence that is measured in minutes, days, years, etc., or this process considered as a whole.

• We need an awareness that Coventry isn’t a ‘typical’ city either spatially or socio-economically or historically • There is a geographical limitation of the tight focus on the City Centre • As a group we don’t know how it feels to be in the city • We have approached the research rather from a scientific and data-based perspective • We need to be conscious of our own preconceptions when we visit the city • We haven’t been able to experience the city from the individual’s perspective

Change To exchange one thing for another thing, especially of a similar type.

Dynamic Having a lot of ideas and enthusiasm Kinetic art Involving or producing movement Infrastructure The basic systems and services, such as transport and power supplies, that a country or organization uses in order to work effectively

Disrupt To prevent something, especially a system, process, or event, from continuing as usual or as expected Engage To become involved, or have contact, with someone or something: Diagram A drawing that explains how a system, machine, process, plan, etc., operates or is organized Body centric Having the stated thing as your main interest

We also as a group we created a glossary of terms that are important to our studio (included in group primer booklet) which can be seen on the opposite page. Figure 16 - Ghosts in the Machine Studio

FIELD TRIP COVENTRY TURIN IVREA MILAN

Figure 17 - Right, Ghosts in the Machine Studio

COVENTRY

After having studied and researched Coventry within Primer and having mapped and modelled the different systems that we had identified within the city centre it was interesting to then finally visit the city to which we had looked at so extensively. Coventry had been chosen to be the 2021 UK city of culture so when visiting it was important to think about the possibility of my brief incorporating this within it. The visit involved us looking at Basil Spenceâ&#x20AC;&#x2122;s new Cathedral, built to replace the old Cathedral that was destroyed during the Blitz in WW2. We then made our way to the edge of the ring road that surrounds the city centre of Coventry. Walking back towards thwe centre, and the main shopping district we could witness how the cityâ&#x20AC;&#x2122;s design after the WW2 Blitz bombings had shaped the public realm and the spaces it created.

Figure 18 - Above, Ghosts in the Machine Studio

TURIN

After having visited Coventry we made our way to Turin, Italy. Here we explored a lot of the open public spaces that are very common in the city. This linked back to what we were studying as a studio wthin Primer, looking at the public realm in Coventry. We went to a number of different buildings over the few days we were there, with one of them including the Teatro Regio di Torino, which exhibits incredible interior space. Another buildng we visited was the repurposed Lingotto Fiat Factory. Designed by Renzo Piano, it saw the creation of a new public space for the city.

Lingotto Fiat Factory, originally built 1923, Rebuilt in 1989, Renzo Piano The new work explores creating a new public space for the city. Teatro Regio di Torino, rebuilt in 1973 by Carlo Mollino

IVREA

During one of the days we were in Turin we took a day trip to the neighbouring town of Ivrea. The town was designed mostly between the 1930s and 60s by leading Italian urban planners and architects, and is based around the ideas of Community Movement. This sees great similarities to the urban planning that was done in Coventry during the same time, thus was interesting to see the layout of Ivrea after having been to Coventry.

MILAN

On the final day of the field trip we travelled to Milan to look around the Fondazione Prada, which houses a complex of buildings designed by Rem Koolhaas of OMA. I was incredibly inspired by the adventurous and unique architecture that differed greatly from each building on the site. The way in which he played with different materials, including the gold leaf that covers one of the old buildings was something I had never witnessed before.

Photographs by Author of the Fondazione Prada, Rem Koolhaas

STAGING REFLECTION

The staging part of the project allowed for more in depth research and analysis of what I had been looking at during Primer and trying to manifest a scheme from that research that would eventually become a building. The trip to Coventry helped massively in understanding the site and looking more closely at how individuals react to the systems that are present there. Through Primer, and the systems and infrastructures I had looked at, I became interested in the idea of ‘third places’ and what ‘third places’ were currently present within Coventry. Exploring the idea of creating an escape from the city centre for the community and taking one of the main forms of ‘third places’ to a more open and natural orientated environment. For me staging offered a time where I could think about the theory behind my project before conceptualising and manifesting the physical building itself.

STAGING

COVENTRY’S THIRD PLACE NEW PUBLIC LIBRARY Coventry

The outline of the brief is to propose a new Public Library for the city, moving it out of Coventry’s shopping and commercial area. The building function comes from the exploration of Ray Oldenburg’s theory of ‘third place’, and how he thought that the increasing privatisation and commercialisation of public spaces was effectively eroding the institutions such as community centres and public libraries, and also the democracy and social cohesion that they foster. The newly proposed site for the Public Library is located next to Coventry Cathedral, and is situated by a number of green spaces that are currently not fully utilised, an element that is explored both through fuether site analysis and eventually within my design concept. The brief explores systems such as education, knowledge, community and nature. Whilst thinking about what a Library can offer both in the present day but also looking at what it needs to offer in the future with the way in which information is consumed having changed dramatically in the last century.

Figure 19 - Edited map of Coventry City Centre from Google Maps

A LOST CITY During the Second World War Coventry was extensively damaged and destroyed due to it being targeted as a major centre for war production. The map on the opposite page shows the extent of that destruction, with the buildings highlighted in black representing those that remain in full or partially from the 1880s, with everything else having been destroyed. Between the years of 1880 and 1960, 95% of the ancient city was â&#x20AC;&#x2DC;lostâ&#x20AC;&#x2122;. The building highlighed in red is the Cathedral ruins that are still present today, being incorporated in the new design by Basil Spence. The aerial image shows buildings before the Blitz that are now almost all destroyed .

Figure 20 - Top left - 1930 aerial image of the area around Coventry Cathedral Figure 21 - Top right - Winston Churchill visit to Coventry Figure 22 - Bottom - Edited map showing destroyed buildings

A SITE OF CHANGING IDENTITY 1900s

Having explored the interactions between education and religion during Primer I carried on my research looking at these two elements within the site. I started to look more in depth in the physical changes through history on the site and therefore the changing systems. The historical maps of my site on the opposite page show the changes that this specific area of Coventry have gone through during the 1900s. In the maps from 1900s and 1930s there is a large number of manufacturing works before they were destroyed during the 1940 Blitz. In the map from the 1970s you are able to see how the universtiy buildings have started to populate the east side of the site and how the new Cathedral takes up a larger area than it did before being damaged. The two earlier maps show that there used to be a number of houses on the site, however having been destroyed, they have been replaced with university / college buildings as well as more open and public space. With the homes being destroyed and not rebuilt, there has been a loss of community feeling around the area.

1930s

Figure 23 - Historical photograph of children in a street in Coventry

1970s

Figure 24 - Collection of historical maps outlining the change on the site

SPATIAL SITE TIMELINE

This timeline is showing the cityâ&#x20AC;&#x2122;s spatial useage change mainly in terms of the church institutions and university buildings within my site and also further afield within the ring road area.

THIRD PLACES The third place in Coventry is heavily focused around the idea of consumerism. Inside the ring road the pedestrianised public areas include high numbers of shops, cafes and restaurants. These places can be thought of as third places for the community, however marginalise certain groups of people. Third places are more relaxed environments in which people feel comfortable and to which they return time and again to socialize, relax, and to enjoy the company of those around them. Spaces such as coffee shops and restaurants, which are rife within the city centre of Coventry are always going to be more about consumption rather than community and culture. Furthermore these establishments may be public, however they are not free, as you are expected to purchase goods in order to sit and use the ‘third place’.

THE LIBRARY AS A THIRD PLACE

The eight charactersitcs that Oldenburg outlines that make a third place are as follows: • They are neutral ground and there is no obligation to stay or go. • They are levellers; that is, there is a sense that social status does not matter in this space. • The main activity in the space is conversation. • These spaces are accessible and accommodating. • They have regulars who set the mood of the place. • Third places have a low profile; they are not pretentious or ostentatious. • They are rather playful in nature. • They provide a level of belonging that feels like a home away from home. A Library can be a place of congregation for the community. Encompassing a wide range of functions and programmatic spaces. It can combine spaces such as book collection, cafe, museum, art gallery, play area, performace space and music space. “The digital paradigm has entailed profound social, cultural and economic changes which have redefined the social function of the library” (Bonet Peitx, 2017). The internet has removed the libraries monopoly on knowledge and needs to incorporate other spaces to be successful in bringing the community and culture together. A sense of conversation is one of the key factors outlined and is something Libraries can produce, creating a feeling of knowledge being shared within and betwen communities rather than just a place to read a book.

Figure 25,26,27 - Images of cafes in Coventry City Centre

PROGRAMME AND POTENTIAL SPACES

After having explored and researched the concept of ‘third places’ and developed a base to which to grow my programme from I decided to diagram the types of spaces that I might want to incorporate within my building. Initially I did the bubble diagram, exploring the hierarchy of the spaces and connections that they maight have with one another. After this I then created my spatial composite drawing, further visualising the spaces and areas that I felt key to my ‘third place’ for the community within Coventry and to create a ‘new living room’ for the city.

Programme Bubble Diagram

Compostie Spatial Drawing

PROJECT DASHBOARD

PROTAGONIST STORIES

During staging I produced an initial project dashboard, that summarised some of my early aims within my project. Producing this allowed me to pick out key aspects of what I was researching and what I wanted to bring forward within my project. It it something that has been useful to come back and refer to when developing my project, especially at the start of realisation .

Exploring the different types of people that spaces will be designed and thought out for within my building and scheme. Both in terms of the interior and exterior public space. The public library is a place for all members of society and can be a thriving hub of community and culture if designed correctly. The programme, functions, spaces, areas and rooms all need to think about the individual and how they will want to interact with the space.

ELAINE

TONY

TOM

Elderly woman who lives on her own and wants a place where she can feel part of the community of the city. She used to be a potter and painter who would love to pass on her knowledge and skills to other generations in an informal manner.

Homeless man who has been living on the streets of Coventry for 10 years. He is not computer-literate and needs help to apply for jobs and be taught how to use a computer. Wants to use the resources that could be available within public libraries to help get out of the situation that he is in at the moment. He wants to feel welcomed and have a safe space within a library to get off the streets during the day.

Teenage boy who spends a lot of time on the streets in the city centre, and finds it hard to find a free place to relax and socialise with his friends. Struggles to find a space to go to other than that of his home and school.

MOVING THE LIBRARY

Placing the library next to the cathedral. An institute and building that would used to have been the epicentre of community. Something that has declined massively over time within churches as there are a lot fewer people within the UK who go to Church and socialise. It is also something that has declined within libraries with the emergence of the digital age. Moving the public library to an area next to the cathedral, thus bringing the community back to the area of which it used to thrive is a key factor for the projcet. Also moving it away from the city centre, which is dominated by commercial and consumerist spaces that act as non-free third places.

Diagram showing the main types of areas that are present in the city centre of Coventry and how they relate to one another spatially

A SITE SPLIT IN TWO

EXTERIOR PUBLIC REALM 1

From researching about the systems of education and religion and how they interact with one another in Coventry it was then interesting to be on the site and see the physical split between these two systems in person. As shown on the map opposite there is an obvious divide between the educational buildings and the Cathedral, with the open square in the middle acting as the bridge between the two.

Through my visit to the site I identified three main exterior public spaces within and around the site, all of which being very close to one another however the connection between the main open public space (3) on the east side of the Cathedral and space 2 is blocked and intefered with by the old SU building.

2 1

Left - photographs of the west side of the site, which includes Coventry Cathedral Right - photographs of the east side of the site, which includes the University buildings

ENTERING THE SITE

The main access to the site and one which sees the most foot fall is from the West, this being from the City Centre. What is interesting about the site is that it is fully pedestrianised, with there being a large open square in front of the Cathderal steps. It is then very important to understand the circulation and movement of people on the site and what aspects of this circulation I wanted to keep or change.

Photgraphs taken at the site showing all the main ways to which to enter the site

GREEN SPACE

On and around the site there is a lot green space, which didn’t seem to be being used by the public at all, and in some cases being guarded off from people. This was potentially something I wanted to address within my scheme when thinking about the design of my public exterior space. The system of nature feels isolated in the site and not something that is interacting with other systems that are present. Allowing a scheme to play on the idea of nature, and creating a ‘third place’ for the city to escape to through the greenery of the site is an element I wanted to explore.

MATERIALITY

From looking at the materiality of the buildings around the site, you can see how the University buildings that have been built following the new Cathedral have tried to respond to the materials that are present within Basil Spenceâ&#x20AC;&#x2122;s design, particularly emulating the use of the blue/green coloured Westmorland slate. However apart from the materiality there is a lack of connection or relationship between the University buildings and the Cathedral on the site. With the big open square sitting in the middle not having a purpose or any interest as a large public space.

REALISATION AND SYNTHESIS REFLECTION

After feeling I had developed a good amount of theory and concept from Primer and Staging, the realisation stage of the year was where I really started to try and come up with the language and form that my building would take. This was heavily influenced by what I had done in staging, with the early massing taking shape from the site analysis and nature narrative I had begun to develop. I feel It did take me a while to achieve a form and language I was happy with due to me not always modelling and drawing my thoughts and ideas but rather thinking about them. I have learnt the importance of physically representing oneâ&#x20AC;&#x2122;s thoughts and ideas, especially during the realisation stage of the year. I feel I have experienced realisation and synthesis as one long stage of the year, with the synthesising of my project allowing me to represent the atmosphere and concept more clearly than I was able to do during realisation.

REALISATION AND SYNTHESIS

RELATIONSHIP TO THE CONTEXT

Following straight from Staging where I had identified a lot of aspects of the site that I wanted to explore and develop through the realisation of my building I started with the idea of incorporating the nature around the old Studentâ&#x20AC;&#x2122;s Union within my concept. Wanting to bridge the gap between the two densely wooded areas through my building, it became certain especially when visiting the site that I would most likely have to demolish or partially demolish the existing building that is highlighted in red, this being the old Studentâ&#x20AC;&#x2122;s Union. I would eventually incorporate the buildings existing structure, however at the

10m

25m

50m

INCORPORATING COLUMNS From examining the site within staging I was drawn to the concept of incorporating nature within my building and having my project be an extension of the two green spaces either side of it. The use of columns within my building felt like a good place to start designing from, taking inspiration from both the green areas of the site but also the park next to my house where the photographs to the right show the linear qualities of the tall thin tree trunks which reach high into the sky. Another element that I took inspiration from was Coventry Cathedral. When walking around I was drawn to the tall thin columns that are completely exposed, and that attach to the timber ceiling, as if you are under a canopy formed by trees. The images of my experimental models on the opposite page explore different grids of columns from 4m to 8m intervals between them. This allowed me to explore the atmoshphere that the different density of columns created from the ground, even before fully conceptualising massing and form.

Top - Photographs of Bingham Park Bottom - Photographs of the inside of Coventry Cathedral

Left - 8m grid experiment Middle - 6m grid experiment Right - 4m grid experiment

EXISTING CIRCULATION

One of the main aspects that shaped the volume of my building was the circulation that was already present on the site. I experimented with different volumes on the ground level, with some cutting the circulation of the path that enters the site from the East as seen in the photo to the right. I then looked at possibly creating a new path that would bridge through the unkept green space and meander through the trees, exhibited in drawing? The final decision to bridge over the existing circulation path from the east formed the shape of my building especially on the ground level, and also creating opportunities to have bridges from the two main volumes at the upper levels to keep them feeling connected. Before too heavily concentrating on the overall form and shape of the building, it was important to understand the relationship I wanted my building to have with the context around it and less this shape the massing to start with.

Massing sketches exploring adapting circulation to the site through the volume of my building

CREATING FORM

Models exploring the form and massing of my building at the beginning stages. The initial massing explores referencing the Cathedralâ&#x20AC;&#x2122;s saw tooth facade, and occupying the entirety of the ground floor. The next model visually represents the ideas previously discussed about keeping the path accessible that enters the site from the east. This inturn creates a bridge connecting the two volumes. For this more developed massing I also created a rotunda that referenced the Chapel on the side of the Cathedral. Another massing I experimented with keeps both the rotunda and bridge elements from the previous model however starts to explore a more angled facade, creating overhangs and balconys on the different floors. Finally as I explored and developed the massing more I allowed the rotunda to move inside and out of the floor planes, exposing it at different levels.

Collection of sketches from my notebook during the early stages of Realisation

Figure 28 - Massing models also used within my ARC3013 Report

REFERENCING SURROUNDING CONTEXT

The rotunda that makes its way all the up my building structure, came from referencing the chapel that is attached to the side of the cathedral to the west of my proposed building. It is of the same diameter and height of the chapel. When designing it was important to consider the scale of the new structure as it was key for the volume to not feel as it would be competing with the cathedral that sits very close within the site. Sketches to the right show some of my initial ideas, thinking about whether the cyclinder such be the hidden behind the main facade or stand out and be the dominant volume.

Initial sketch studies, playing with the effect the rotunda will have within my building

EXISTING STRUCTURE USE

With my project including the demolition of the old Students Union and with that building having a steel frame structure, which include beams and columns, it seemed wasteful to not use the buildings primary strucure and incorporate it within mine. Having previously explored different layouts of columns within the site I now had an existing set of columns for my structure to work around.

Figure 29 - Left, Existing Student Union building on site used in ARC3013 Figure 30 - Right, Steel frame that is to be used within my buildings structure used in ARC3013

On the opposite page there is a collection of some of my plan designs that show how the rotunda that works its way all the way up my building originally was positioned in the centre of the main volume. This felt too hidden, thus making me change the placement of it so it would be on the outer layer of the building on some floors and then fully enveloped by the facade on others. I found it difficult to design the layout of my building at a scale of 1:200 as my buildingâ&#x20AC;&#x2122;s footprint is so large, meaning I was hand drawing the plans quite small. For my second iteration of plans I decided to draw them at 1:100, which helped me understand the scale of my building better and the needed spaces from my initial programme. Above is a composited image of a large collection of my diagrams, plans and sketches that I have done over the year laid out over my bedroom floor. This form of sketching and diagramming has been one of the main ways in which I have informed and developed my designs, especially at the early stages of Realisation.

Collection of 1:200 and 1:100 hand drawn plans

FACADE MATERIALITY

The choice to use Patina Copper as my buildings facade came from both the surrounding buildings, but also the trees directly on the site. Wanting to have a natural looking colour was important to connect the building with the surrounding nature. The adaptability of metal as a facade also became useful later on when thinking about the affects that perforations within the panels could have.

Figure 31 - Top left, Sarphatistraat Offices, Steven Holl Architects Figure 32 - Top right, New Science Building Figure 33 - Bottom left, Peckham Library Figure 34 - Bottom middle, The Genevieve and Wayne Gratz Centre Figure 35 - Bottom right, Sarphatistraat Offices, Steven Holl Architects

COPPER FACADE PERFORATIONS

The experimental models on the page oppposite look at different patterns that could be used for the perforated Copper panels that make up my facade. The pattern cut out of the metal is important from both sides of the panel, but what is especially key is the shadows that it creates within the interior. Some examples of the type of effect I wanted to try and create can be seen in the images to the left with both buildings taking on different approaches in respect to the shadows that are cast. The image of the light dappling through the trees onto the grass is the first inspiration I got for creating this lighting effect, trying to bring the feeling of nature into my building. With the models I started with big and small circles cut out, however felt the shadows that were created were too regular and not random looking enough. I then varied the size of the circles in one of the models which created an aesthetic I was more interested in. My fifth study looked at very small openings in the perforated panels, however I didnâ&#x20AC;&#x2122;t feel this let in enough light. My final design, which I have implemented across my buildingâ&#x20AC;&#x2122;s facade is inspired more by the shapes of the leaves in the trees around the site. This then created an impression of light dappling through the leaves.

Figure 36 - Top left, Sarphatistraat Offices, Steven Holl Architects Figure 37 - Solar shading screen Figure 38 - Bottom, Birmingham Library

Work also used within ARC3013 Report

Images showing Christus Pavilion, Institute of Science and Innovation for Bio-Sustainability and Metropolitan Park South Access. These all exhibit the effect that I am trying to achieve through my use of perforated copper on the facade infront of some of my windows. This effect can be seen in the image on the opposite page that I did using my model.

Figure 39 - Left , Christus Pavilion Figure 40 - Middle, Institute of Science and Innovation Figure 41- Right, Bio-Sustainability and Metropolitan

LINE DRAWING PERSPECTIVES Collection of perspectives in black and white, thus allowing me to examine and show the spatial qualities without the materiality of the building being a distraction. With the images that include shadows it also lets me represent more clearly the impact my building has on the shadows, especially the image that shows the effect my perforated copper panels over the windows have on the interior space.

FLOATING WALKWAYS

Within the third floor of the Library the ceiling height changes from being 3.5m high to around 6m high. This change in ceiling heights was experienced when I visited the Fondazione Prada Torre building in Milan by OMA, giving a different atmosphere on each floor subtly by the room heights. The change in my building allowed me to incorporate the ‘floating walkways’ as seen in the images on the opposite page. These are accessed through two spiral staircases on either side of the floor, with the walkways circulating over the main floor space, connecting circular ‘floating pods’. This further explores my concept of escapism, allowing the users of the Library to explore away from the main circulation and escape even within my building. It also plays on the system of nature, creating a sense for the users that they are walking among the trees through the columns. The sides of the walkways are made from the perforated copper panels that make up the facade of the building. This was partially inspired by Steven Holl’s Sarphatistraat Offices as seen in the images to the left. Having the perforated copper panels incorporated within the building

Figures 42, 43 and 44 - Sarphatistraat Offices, Steven Holl Architects

Perspective Image of the entrances to my building, where you have to walk through a collection of columns that both stand free of the building and vertically extend into it. This feature took inspiration from some of the precedents explored on the page opposite where there are large amounts of columns defining the exterior and interior spaces. Figure 45 - Left, Matmut Atlantique Stadium by Herzog & de Meuron Figure 46 - Top, Wuxi Taihu Show Theatre by Steven Chilton Architects Figure 47 - Right, Crematorium Baumschulenweg by Shultes Frank Architeckten

ISOMETRIC VIEW

Thid drawing shows how the columns from the buildingâ&#x20AC;&#x2122;s structure venture out into the green space connecting the two and even occuying some of the large open public square, drawing people through the site more than was done previously. The positin of my roof and full southern exposure to the sun meant that there was a perfect position to place solar panels and produce a source of renewable energy to power part of my building.

Early on within my renders I chose to implement noise to my drawings, allowing for the images to appear more â&#x20AC;&#x2DC;livelyâ&#x20AC;&#x2122; and give a sense of movement. It also in my opinion created imagery that felt more part of one scene allowing the trees and landscape to almost blend with the building, creating a more nature orientated drawing. This was an important element to express with the concept of nature being key to my project.

SITE PLAN 1:1000 0m

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CHILDRENâ&#x20AC;&#x2122;S PLAY AREA

Perspective of the childrenâ&#x20AC;&#x2122;s floor within the Library that encourages play and social interaction between the users. Having a place where children want to be and experience the space will encourage a sense of learning at the same time. The climbing is positioned directly next to a window that looks onto the dense wooded area to the east of the building, allowing for the children to escape and feel a part of the nature around them, despite being inside.

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ROOF GARDEN

Perspective drawing representing the roof garden that is accessible from the fourth and final floor of the building. This acts as the exterior bridging between the two green areas either side of the Library. The columns protrude from the roof of my building to form part of the lanscaping within the roof garden and allow the concept of the columns acting as trees to be present even when not in the building.

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REDESIGNING GREEN SPACE

The perspective on this page shows how the columns are coming from the trees into the Library and forming the grid structure to which my building is built upon. The columns extending out to the large open public space allows there to be a strong relation between the square and Library. The redesigning of the green space to have more inviting benches and aesthetic landscaping that imitates that on the garden roof also extends that connection between the nature and the building.

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Plant Room Toilets Book Return Staff Room/Office Open Library Reading Space

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FULL BUILDING ISOMETRIC IN CONTEXT

The way in which by building reacts to the context and the materiality of the others on site can be seen fully in this isometric drawing. This relationship was key within my research during staging and the work I did in realisation in order to have the effect of sitting into the site buildings but also the nature around the Library.

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WORKSHOP

ARCHITECTURE ON SOCIAL MEDIA

It has never been easier to indulge yourself with all types of architecture, with the use of the internet and other apps apps such as pinterest and instagram. An array of other student work from around the world, architectural competition designs and world-renowned buildings are accessible for all. I have used Instagram throughout the year to find inspiration of concepts, form and styles, both in terms of architectural drawing as well as architectural design. To the right is a collection of screenshots that I have taken throughout the academic year, exhibiting designs and styles, which I believe in some way or another have influenced the thinking of my project and shaped my design decisions even if very minutely.

In one of the workshops put on by the school I had the chance to have a go at plaster casting. I created patterns using foam board to which would then make reliefs after pouring the plaster into the mould and then finally removing the mould. The results left me with a cuboid showing different patterns on each facade. When doing the workshop I thought about how I could use these to posssibly create reliefs of my facade when modelling my final design.

SOCIETY AND POLITICS IN ARCHITECTURE

COVID-19 ARTICLES - IMPACT ON ARCHITECTURE

The last few months have seen the world as we know it change in so many ways, with the affects of the Covid-19 Pandemic having an impact on every single person in the world. It has shone a light on the way in which we as a society use public space within cities, something that as a studio we have looked at extensively during the year. It has shown the importance of adaptability within design especially in terms of public buildings and offices. Zhu Pei says that ‘we need to rethink the relationship between humans and the environment, and the possibilities that space may initiate’ (Shuang, 2020). It can also be said that the pandemic could have an influence on the architectural language that will be present in near future, with their possibly being a “shift from the clear separation between the exterior and interior to the blurred boundary between buildings and the environment” (Shuang, 2020). This relationship between building and environment is something that my project has explored during the year before the emergence of the pandemic. Reading a number of articles around the future of architecture has made certain elements of the architectural proffession become more amplified, aspects that I think as a studio we we exposed to at the beginning of the year anyway.

For my dissertation I looked at the role of self-build housing within the UK, with particular interest in Walter Segal. The photographs to the left are ones that I took while visiting the houses in Lewisham, London that were built using his self-build method. I have always had an keen interest in the political and social side of architecture, however researching my dissertaion and exploring the possibilities of SelfBuild housing drove this interest further during the year. The aspect of politics and society within architecture has seen involvement within my design project as well, with the Urban Sociologist Ray Oldenburg’s theory of a ‘Third Place’ shaping the beginning stages of my project and scheme.

Figure 48 - Collection of screenshots from Instagram (not my work) Figure 49 - Jingdezhen Imperial Kiln Museum / Studio Zhu-Pei. (ArchDaily, 2020)

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BIBLIOGRAPHY

FIGURE LIST

Figure 1, infrastructure system, https://media.fugro.com/media/images/default-source/services/highways.jpg?sfvrsn=79a53b1a_ Figure 2, Photo taken by Matthew Margetts Figure 3, Photo taken by Matthew Margetts Figure 4, Public realm map emailed by Cara Lund Figure 5 - Composite Map (group work) Figure 6 - Nature Map (groups work) Figure 7 - Community and Political Map (groups work) Figure 8- Social Interaction Map (groups work) Figure 9 - Knowledge Map (groups work) Figure 10 – Book covers https://images-na.ssl-images-amazon.com/images/I/51V2HhOaL1L._SX325_BO1,204,203,200_.jpg https://encrypted-tbn0.gstatic.com/images?q=tbn%3AANd9GcTttGNZgivcQiBm9nmEwClFjHbJjRnKGBinFlm-iVJYAXj6tDnI&usqp=CAU https://upload.wikimedia.org/wikipedia/en/thumb/7/78/ConcreteIsland.JPG/220px-ConcreteIsland.JPG https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1398108885l/21963875.jpg Figure 11 – photo from studio Figure 12 – photo from studio Figure 13, 14 and 15 Moss, S., 2020. Ringing The Changes: How Britain’S Red Phone Boxes Are Being Given New Life. [online] the Guardian. Available at: <https://www.theguardian.com/technology/2019/aug/27/ringing-the-changes-how-britains-red-phone-boxes-are-being-given-new-life> [Accessed 16 November 2019]. Figure 16 – Photograph taken by Matthew Margetts Figure 17 - Photograph taken by Matthew Margetts Figure 18 - Photograph taken by Matthew Margetts Figure 19 – Edited google maps image, https://www.google.co.uk/maps/ Figure 20, Aerial image of Coventry https://i.pinimg.com/originals/d7/c5/0a/d7c50a91237166fb3eb7b8be6f7b85f0.jpg Figure 21 - https://1d4vws37vmp124vlehygoxxd-wpengine.netdna-ssl.com/wp-content/uploads/2008/08/ churchill-in-coventry.jpg Figure 22, - map of destroyed buildings in coventry - http://www.coventryrebuilt.com/wp-content/uploads/2018/01/Coventry-Change-Map.jpg Figure 23, old picture of coventry - https://www.historiccoventry.co.uk/memories/ballhill1920s.jpg Figure 24 – Historical maps Figure 25 - starbucks - https://live.staticflickr.com/8323/8117106670_ef425842a8_b.jpg Figure 26 - costa - https://c.yell.com/t_galleryFit,f_auto/02c349a9-7b88-4547-9c9f-dfc8b116f07e_image_ jpeg.jpg Figure 27 - nero - https://s0.geograph.org.uk/geophotos/05/74/22/5742272_64af171e.jpg Figure 28 – Massing models also used with ARC3013 Figure 29 - Existing Student Union building on site Figure 30 - Steel frame that is to be used within my buildings structure

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Figure 31 - Sarphatistraat Offices https://images.adsttc.com/media/images/5004/eae7/28ba/0d4e/8d00/0e9b/ newsletter/stringio.jpg?1360691626 Figure 32 -New Science Building, https://images.adsttc.com/media/images/5804/8b70/e58e/cee1/5200/01c9/ newsletter/New_Science_Building_Credit_Hufton___Crow_(6).jpg?1476692844 Figure 33 – peckham library , https://4.bp.blogspot.com/-VzIw4BXeVXM/U-D6JtRPc_I/AAAAAAAACRo/ vJzijFP9swA/s1600/peckhamlibrary.jpg Figure 34 - The Genevieve and Wayne Gratz Centre, https://architizer-prod.imgix.net/media/139343266373205216_51322.jpg?q=60&auto=format,compress&cs=strip&w=1680 Figure 35 - - Sarphatistraat Offices , https://mapio.net/images-p/6607316.jpg Figure 36 – dappled light through trees https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/Apple_ orchard_dappled_light_at_Boreham%2C_Essex%2C_England.jpg/1599px-Apple_orchard_dappled_light_ at_Boreham%2C_Essex%2C_England.jpg Figure 37 – https://neufertcdn.archdaily.net/uploads/photo/image/198494/full_Shading_Screens_Bruag_Formboard_top_ pine_18mm_Perforation_10100_1.25_scaled_Private_Home_Visperterminen_4.jpg?v=1587597543 Figure 38 - https://www.archdaily.com/426491/critics-react-to-mecanoo-s-birmingham-library Figure 39 christus pavilion - https://pro2-bar-s3-cdn-cf.myportfolio.com/8d89819f234bd0bdd70fbd1e6784837c/ba80ee9070b12d6410a4ca57_rw_1200.jpg?h=7f337beedf72374fb200b9a3fca3e56e Figure 40 - Institute of Science and Innovation for Bio-Sustainability - https://images.adsttc.com/media/images/5819/ccb2/e58e/ce93/3600/00fd/slideshow/JM_IBS_096.jpg?1478085801 Figure 41 - Bio-Sustainability and Metropolitan - https://images.adsttc.com/media/images/5126/e649/b3fc/4b11/a700/042c/large_jpg/256072413_accesopolidura_8.jpg?1414429554 Figure 42 - Sarphatistraat Offices , https://images.adsttc.com/media/images/5004/eae7/28ba/0d4e/8d00/0e9b/ newsletter/stringio.jpg?1360691626 Figure 43, - Sarphatistraat Offices , https://stevenholl.sfo2.digitaloceanspaces.com/uploads/projects/project-images/IwanBaan_Sarph_stadgenoot_sha_8998_WH.jpg Figure 44 - Sarphatistraat Offices , https://media.offexploring.co.uk/photos/rahjah/photos/P1010077.jpg Figure 45 - Matmut Atlantique Stadium by Herzog & de Meuron Figure 46 - Wuxi Taihu Show Theatre by Steven Chilton Architects, https://images.adsttc.com/media/images/5bb6/ab36/f197/cc28/0e00/00c2/slideshow/1.jpg?1538698033Figure Figure 47 - Crematorium Baumschulenweg by Shultes Frank Architeckten, https://images.adsttc.com/media/ images/50fe/e3a5/b3fc/4b67/6900/0004/slideshow/krematorium-berlin_04_photographer-mattias-hamren. jpg?1414592474 Figure 48 - Collection of screenshots from Instagram - https://www.instagram.com Figure 49 - kiln museum https://images.adsttc.com/media/images/5ed6/0150/b357/6538/ab00/0616/slideshow/WX20200602-152757_2x.jpg?1591083326

Augé, M., 2008. Non-Places. London: Verso. Koolhaas, R., 1978. Delirious New York. Oxford University Press. Koolhaas, R. and Mau, B., 1998. S, M, L, XL. New York: Monacelli Press.

pei-reflects-on-covid-19-s-impact-on-architectural-design-and-education> [Accessed 13 June 2020]. Chantzaras, C., 2019. Architecture as a system and innovation design discipline. FormAkademisk - forskningstidsskrift for design og designdidaktikk, 12(2).

Hewitt, M., 2019. What Is Beauty In Architecture Today - And Are We Afraid Of It?. [online] ArchDaily. Available at: <https://www.archdaily.com/911737/what-is-beauty-in-architecture-today-and-are-weafraid-of-it> [Accessed 13 November 2019].

Kim, D., 1999. Introduction To Systems Thinking. Waltham, Mass: Pegasus Comm.

Chatel, M., 2019. Studying The “Manual Of Section”: Architecture’s Most Intriguing Drawing. [online] ArchDaily. Available at: <https://www.archdaily.com/793424/studying-the-manual-of-section-architectures-most-intriguing-drawing> [Accessed 9 November 2019].

Krull, R., 2017. What’s A Library To Do? On Homelessness And Public Spaces - The Millions. [online] The Millions. Available at: <https://themillions.com/2017/10/whats-a-library-to-do-onhomelessness-and-public-spaces.html> [Accessed 15 June 2020].

Quintal, B., 2019. 121 Definitions Of Architecture. [online] ArchDaily. Available at: <https://www.archdaily.com/773971/architecture-is-121-definitions-of-architecture> [Accessed 26 October 2019].

PUTNAM, R., 2000. BOWLING ALONE. [S.l.]: SIMON & SCHUSTER.

Ballard, J., 1974. Concrete Island. Jonathan Cape.

National Institute of Building Sciences, 2019. Library | WBDG - Whole Building Design Guide. [online] Wbdg.org. Available at: <https://www.wbdg.org/space-types/library> [Accessed 13 April 2020]. de Moor, A., 2019. Mapping The Social Innovation Ecosystems Around Public Libraries Together: The Czech Connection(S). [online] Making CommunitySense. Available at: <https://makingcommunitysense.net/2019/03/19/mapping-the-social-innovation-ecosystems-around-public-libraries-together-the-czech-connections/> [Accessed 17 November 2019]. Md Rian, I. and Sassone, M., 2014. Tree-Inspired Dendriforms And Fractal-Like Branching Structures In Architecture: A Brief Historical Overview. Discover Society. 2017. Reimagining The Library As An Anti-Café. [online] Available at: <https://discoversociety.org/2017/04/05/reimagining-the-library-as-an-anti-cafe/> [Accessed 17 November 2019]. Sullivan, M., 2017. Designing For Community: 10 Essential Library Spaces. [online] http://demcointeriors.com. Available at: <https://www.demcointeriors.com/blog/designing-community-10-essential-library-spaces/> [Accessed 10 November 2019]. Bonet Peitx, I., 2017. [online] Bid.ub.edu. Available at: <http://bid.ub.edu/pdf/38/en/bonet.pdf> [Accessed 17 November 2019]. Pei, Z., 2020. “We Should Treat Nature Sustainably”: Zhu Pei Explores COVID-19’S Impact On Design And Education. [online] ArchDaily. Available at: <https://www.archdaily.com/940758/interview-of-zhu-

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Introduction

A Case Study

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Figure A8

What Koolhaas has done with the CCTV Headquarters and De Rotterdam is challenge the conventional idea and form of a skyscraper. Talking about De Rotterdam Koolhaas said:

Figure A9

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“The overall effect we tried to achieve was that as you move to different parts of the city, the building also suggests a new identity or different identities. I think it’s boring if a single building is the same from every angle. That is almost inevitable for skyscrapers. But this building is not the same from any angle, and perhaps this is the case even more with CCTV” (Frearson, 2019). The effect Koolhaas talks about can be seen in figures 12-15, which show both the buildings at different angles.

Koolhaas said “The biggest part of our work for competitions and bid invitations disappears automatically. No other profession would accept such conditions. But you can’t look at these designs as waste. They’re ideas; they will survive in books.” (Spiegel Online, 2019)

The building is clad in 24 carat gold and, with one of the smallest footprints of the site, emerges from the masses below, quietly and in complete uniqueness with the way it reflects light and juxtaposes the subtlety of the detail work of the new designs and the plainness of the materials in the immediate pre-existing context. This adaptation alongside preservations has not only allowed contextual connections to form with the urban

Jacob Botting

Koolhaas is less interested in conforming to one individual form and style of architecture but rather questioning the ideas and beliefs of others. It was in his first book ‘Delirious New York’ that he interrogates the idea of a ‘programme’ within architecture and the statement from Louis Sullivan that “form follows function”. Figure 11 shows The Guaranty Building, which was built in 1896 by Louis Sullivan and follows this theory that Koolhaas questioned. Koolhaas fashioned the phrase “cross-programming”, with him exploring the idea of having room programmes that have unexpected functions. For example he proposed to have hospital units for the homeless integrated within the Seattle Library project (2004).

“One of OMA’s accomplishments is therefore that they manage to run a profitable business whilst producing an enormous amount of ‘waste’. This way of working blurs the distinction between the research, concept and design phases.” (Medium, 2019)

Hope Francis Foster C - Site JAtmosphere Luo Kyros D - Programme JAtmosphere

Accompanying It is hard to pintext down the architectural style of OMA to one specific description. OMA and Koolhaas’ buildings are often described as being part of the deconstructivism movement, however this is a desciption that Koolhaas himself has rejected.

Model making is a massive aspect of their design proccess with them producing huge quantities of models for projects. The concept behind this is that from this they will have an extensive library of materials that can be revisited in later projects.

Another aspect of their design prcoess that is unique and unlike a lot of other firms the size of OMA, is their participation in a large amount of competitions, which allows for more creativity within the designs as there isn’t a client restricting the process.

K o o l h a a s

Architectural Style

Accompanying text To understand and define what the style of architecture Koolhaas and OMA project it is key to look into their process of designing. Their style of designing is what shapes their projects into some of the most influential contemporary buildings in the world.

Dan Thompson BTypology KMateriality

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Architectural Process

Located in Largo Isarco, south of Milan city centre, in the place of a former distillery that dated back to the 1910s, the complex hosts a variety of galleries that are home to an equally varied collection of artworks. The project, led by Dutch architect Rem Koolhaas, aimed to preserve what was there while re-establishing the site to fit a new purpose, this included not only

Leo Fieldhouse A - Architects/Designers G - Spatial Sequence

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In 2015, The Prada Foundation welcomed a new complex to their repertoire with the addition of three new buildings, each of its own typology.

K o o l h a a s

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Haunted House

Research is also a key element to Koolhaas’ and OMA’s design success. The theories and ideas that Koolhaas explores in his books ‘Delirious New York’ and ‘S,M,L,XL’ are explored further within the projects of OMA.

The Fondazione Prada is another project that questions the typical form and also function of the buildings typology. Spatially it doesn’t act as a normal art gallery does with it containing a very diverse set of spatial environments. “OMA’s main design objective was to counteract today’s limited gallery typology”. (Tory-Henderson, 2019)

Figure A10 Figure A16

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Haunted House

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K o o l h a a s

Architects The Office for Metropolitan Architecture (OMA) is an architectural firm from the Netherlands and is based in Rotterdam. It was founded by architects Rem Koolhaas and Elia Zenghelis, as well as artists Madelon Vriesendorp and Zoe Zenghelis in 1975. They state on their website that “OMA is an international practice operating within the traditional boundaries of architecture and urbanism”. (OMA, 2019) The Firm is guided by its founding partner and main figure Rem Koolhaas. The practise has offices in 6 different countries and employs over 300 architects.

OFFICE FOR METROPOLITAN ARCHITECTURE

The main face of OMA, Rem Koolhaas was born in 1944 in Rotterdam, Netherlands. Koolhaas worked as a journalist for a short period of time as well as trying his hand at screenwriting before he studied architecture. It was at the Architectural Association in London during the late 1960s and early 70s where he was a student. One of the key aspects of Koolhaas’ carreer is the way in which he uses books and research to lead to designs, with him asking questions to try and develop architectural ideas.

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De Rotterdam Rotterdam, Netherlands 2013

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Fondazione Prada Milan, Italy 2015

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Seattle Central Library Seattle, USA 2004

This Study of typology brings the ‘Haunted House’ designed by Rem Koolhaas (Milan, Italy) into its architectural context, this will be achieved through an investigation of how other architects have approached the challenge of creating a building with a similar functional. Even though these four buildings vary in appearance, they each provide a solution to creating a well-functioning art gallery.

The ‘Tate modern’ has a clear similarity in footprint to the ’Prada Foundation’, this being said, the ‘Tate Modern’ has much less exhibition space in comparison to its overall volume. The ‘Prada Foundation’ utilizes the majority of its available space for exhibition areas.

McCormick Tribune Campus Center Chicago, USA 2003

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CCTV Headquarters Beijing, China 2012

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Casa da Musica Porto, Portugal 2005

Exhibition Space : 11,000m2

Exhibition Space : 7,827m2

Haunted House - Prada Foundation

Modern Tate Fig.B.3

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‘Nottingham Contemporary’ is one of the largest contemporary art dedicated galleries in the United Kingdom yet it by no means in competition with the ‘Prada Foundation’, this not only demonstrates a difference in approach to scale, between Italy, and the United Kingdom but also the approach to style. The ‘Prism Contemporary Art Gallery’ is not intended to be compared to the overall complex of the ‘Prada Foundation’. The comparison is actually between itself and the ‘Haunted House’ within the ‘Prada Foundation’, which has a footprint of only 151m2, this with the four floors in mind, establishes an estimated floor area of 604m2, which is close to the ‘Prism Contemporary’s’ 700m2. References

(Bottom Right) ‘Prism Contemporary Art Gallery’ References (Los Angeles) will also be used as a comparison of material use and scale in relation to ‘The Haunted House’

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Footprint of building/s - 1393 m2

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Perimeter of building/s - 630 m

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Footprint of building/s - 411.4 m2

Exhibition Space : 700m2

Exhibition Space : 3000m2

Perimeter of building/s - 165 m

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Footprint of building/s - 15,155 m2

Perimeter of building/s - 489.5 m

(Bottom Left) ‘Nottingham Contemporary’ (Nottingham, UK) will be used as a comparison of material use and scale in relation to ‘The Prada Foundation’.

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Footprint of building/s - 8543 m2

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(Top RIght) ‘The tate modern’ (London, UK) will be used as a comparison of scale, relating to ‘The Prada Foundation’.

Koolhaas has always questioned the idea of programme. A theme that was popularised in the 20th Century with the rise of modernism, through such thinking, ‘form follows function’. The way in which the field of architecture looks at the interaction of space has been hugely influenced through the designs and References theories of Koolhaas and OMA.

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I will be using the following buildings as comparisons:v

Koolhaas is thought by many to be one of the most influential architects of his generation, and viewed as a provocateur within the field. In addition to this, he is revered for his contribution to the cultural landscape through his urban thinking and design, having designed masterplans for suburban Paris, Hong Kong and areas of the Libyan desert.

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Typology

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To the right is a collection of buildings designed by OMA, which are located all around the world. It is not obvious from looking at the images that all these buildings are designed by the same architectural studio, as they differ greatly from one another in terms of their individual form.

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Perimeter of building/s - 88 m

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Each of the galleries shown, establishes a very strong character through the use of a very prominent material.

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‘Prism Contemporary’ maybe shares the least similarities to the ‘Prada Foundation’ and ‘Haunted House’ however, the use of hight to create atmosphere is present, not externally but internally, this is achieved by creating a double height celling in the entrance area. It also utilizes the angular design seen in all four of the developments.

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Three New buildings was insert within 7 1910s existing buildings. The complex will host Fondazione Prada’s array of events, relating to disciplines including cinema, design, architecture, philosophy, fashion and performance.

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Upon approaching the site, there are a couple different access routes you might take, the most natural path takes you through the opening at the gate and down an exterior passage way where the Haunted House becomes immediately visible. From there you can enter the building and then up into the stairwell.

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1 Reception 1 Office The Koolhaus/OMA method of design development is through the use of model 2 Cafe Office Space making. Their office’s extensive library of materials means that the “focus in model 2 Technical Area building is on material...and craftsmanship. Instead of a digital high-tech station, 3 Lounge an old-fashioned architectural ‘experimental laboratory’ was set up...thus 4 Library paving the way for experimentation.” (Detail, 2016) For the Prada foundation, a large scale ‘mock-up’ was constructed with playful 1 Office materials, as much to establish the variety of the spaces within the site as much as

2 Technical Area any technical or spatial information.

“What may appear as a bricolage or mixture of elements, fragments from the & Storage space) field of art and architectural history, works rather like a laboratory for processing knowledge.” (Böck, 2015) The playful use of materials is carried through to the final design, Wainwright writes oif the Prada Foundation “The same material continues inside, as if these blocks have been hewn from a solid mass of metal foam – a nod to the office’s own design process, carving blocky massing models from styrofoam.” (Wainright, 2017)

Figure.E.1 - Foundazione Prada model of an exhibition space using bright and explorative materials

Figure.E.2 - Playful Render of Haunted House from OMA booklet

Figure.E.3 - Early and large scale model of the entire Foundazione Prada, focusing on the variety of internal exhibition spaces

Figure.E.4 - Colourful Render of a Room in the Haunted House showing the introduction of new materials and colour into the existing structure

After and alongside the modemaking process is the use of playful and colourful renders. The identification of unique spaces within the existing industrial typology was important in the development of Koolhaas’ concept and is clearly expressed in these images

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Milan is a metropolitan city with various links to surrounding cities. Lying just below the city centre, Largo Isarco, where the Prada Foundation resides is no different. The diagram demonstrates the location of each of these links; connections through buses, trams and main metro lines that can take you into Milan Central station and from there further through Italy. The site almost gets lost in the area, nestled into a wider industrial typology the density of the area hides the foundation within itself, with only the prominence of the Torre and the Haunted House rising above the rest to orient the foundation within the wider context.

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The Fondazione is not a preservation project and not a new architecture. Two conditions that are usually kept separate here confront each other in a state of permanent interaction – offering an ensemble of fragments that will not congeal into a single image, or allow any part to dominate the others.

‘Prism Contemporary’ boasts the first facade in the United States to be constructed entirely out of a resin-based composite polycarbonate. Although this does not relate to the materials used in the haunted house, it shows a similarity in materiality exploration.

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‘Nottingham Contemporary’ has many similarities to the ‘Haunted House’ in terms of materiality. They both make use of exposed concrete, ‘Nottingham Contemporary’ boasts pre cast concrete with an engraved style finish, whilst the ‘Haunted House’ uses the most natural form of concrete in the most structural content. ‘Nottingham Contemporary’ also includes hints of gold plated References elements, showing the popularity of the concrete and gold combination.

‘Nottingham Contemporary’ shares many similarities to the ‘Haunted House’. One of the most visible features would be the box form used, creating sharp edges and corners. Another shared feature between these two galleries, would be relating to the use of multiple hights exposed in the exterior, this creates a statement of importance to the building itself. References

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Much like the ‘Haunted House’ the ‘Tate Modern’ makes use of a singular material. However, this material has been used to give a complex facade with multiple depths, creating a sculptural texture. Both buildings overuse their singular material, though this may seem extreme and bland on first glance, it in fact gives tremendous character in close analysis.

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The ‘Haunted House’ in design is fairly simple, with no grand features present, but due to the use of 200 23.75kt gold leaf’s being used for exterior finish, the building becomes an instantly recognisable icon. The inside dramatically contrasts to the exterior, with exposed concrete from the original 1910 distillery.

Much like the ‘Prada Foundation’ making use of the pre-existing 1910 distillery, the ‘Società Italiana Spiriti’, the ‘Tate Modern makes use of the 1947 ‘Bankside Power Station’, by by Sir Giles Gilbert Scott, which closed in 1994. This re use of buildings has provided both developments with an interesting characteristic of verticality. Both developments contain two structures which have clear importance due to their height in comparison to the average roof hight.

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However, the more interesting of routes is through the café entrance. Each threshold takes you through into a different section of building with a completely different feel, the thresholds expand and contract and glimpses of gold here and there guide you into the entrance, the experience is more intimate and personal as you get to understand the direct context and develop a relationship with that before then moving into the entrance way and through into the stairway into an equally intimate space, and through and up, with the gold exterior revealing itself in a more gradual and sensitive fashion through openings rather than all as one upon direct approach.

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The form of these buildings have a unique individual style in comparison, however they do share similar characteristics. Each building has a focused characteristic of heights, either internally demonstrated by the ‘Prism Contemporary Art Gallery’ or externally, which is clearly visible in the ‘Tate Modern’.

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Best of Detail Material + Finishes. (2016) [online] Available at: https://issuu.com/detail-magazine/docs/978-3-95553322-9-bk-de-en-best-of-_e602084682eccc/11 [Accessed 10 Dec. 2019]. Wainwright, O. (2017). Rem Koolhaas crafts a spectacular ‘city of art’ for Prada in Milan. [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/ architecture-design-blog/2015/may/06/rem-koolhaascrafts-spectacular-city-of-art-for-prada-milan [Accessed 10 Dec. 2019]. Böck, I., (2015) Six Canonical Projects by Rem Koolhaas: Essay on the History of Ideas. Available at: http://www.oapen. org/viewer/web/viewer.html?file=http://www.oapen.org/ document/574658 [Accessed 10 Dec. 2019].

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Figure.E.5 - The ‘‘jury’ making their verdict on the playful model of the proposal

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“The design process in the [OMA+AMO] office is organized rather like an architectural school…

The Koolhaus/OMA method of design development is through the use of model making. Their office’s extensive library of materials means that the “focus in model building is on material...and craftsmanship. Instead of a digital high-tech station, an old-fashioned architectural ‘experimental laboratory’ was set up...thus paving the way for experimentation.” (Detail, 2016)

“What may appear as a bricolage or mixture of elements, fragments from the field of art and architectural history, works rather like a laboratory for processing knowledge.” (Böck, 2015) The playful use of materials is carried through to the final design, Wainwright writes oif the Prada Foundation “The same material continues inside, as if these blocks have been hewn from a solid mass of metal foam – a nod to the office’s own design process, carving blocky massing models from styrofoam.” (Wainright, 2017)

This circulation makes the visitor have to explore numerous different spatial qualities in order to find the entrance to the building. You see how OMA have created relationships between the new and old structures to create unique spaces.

The picture here is very early in the design process and so modelling is still playful - it must be noted that the Haunted House does not yet have its now famous Golden Sheen, this came later as a simple but playful intervention. Figure.E.1 - Foundazione Prada model of an exhibition space using bright and explorative materials

Figure.E.2 - Playful Render of Haunted House from OMA booklet

Koolhaas stated, “We didn’t work with contrast but on the contrary, we tried to create a situation where old and new can work very seamlessly together and are sometimes actually merged together so that you cannot tell at any one moment whether you are in a new or an old situation,” (Frearson, 2019). This can be seen in the image where the ground floor of the Haunted House transitions into part of the new build seemlessly.

Working with a site model was key to the design process due to the richness of the industrial site and its strong historic identity as a Gin distillery from the early 20th Century “For Koolhaas, the collaboration with Prada…offered the opportunity to reinvent a historic identity and gave the corporations…a peculiar materiality to destabilize the brand image” (Böck, I., 2015)

Image from inside reception area looking at the ground floor of the Haunted House.

To enter the Haunted House you first have to leave the area in which the reception is located and move into a sheltered outdoor space. Here you have to turn back on yourself to face the smaller and rather hidden entrance of the Haunted House.

Designers “develop a large variety of design studies” and then “present their ideas to a ‘jury’ made of Koolhaas, other office members, and guest critics, who reviews proposals, assesses the potential, and chooses those that should be worked out further.” (Böck, I., 2015)

For the Prada foundation, a large scale ‘mock-up’ was constructed with playful materials, as much to establish the variety of the spaces within the site as much as any technical or spatial information.

Photograph showing view towards the Haunted House and entrance into the lobby/reception area.

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Photograph of the door you have to exit to move into an outdoor space that then leads you to the entrance to the Haunted House.

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Spatial Sequence The original volumes of the Hanuted House have not been changed, with OMA deciding to preserve and enhance the existing building. This results in sequences of single rooms on each floor, which allows an intimate and almost domestic spatial scale to be present.

Figure.E.3 - Early and large scale model of the entire Foundazione Prada, focusing on the variety of internal exhibition spaces

Figure.E.4 - Colourful Render of a Room in the Haunted House showing the introduction of new materials and colour into the existing structure

Böck, I., (2015) Six Canonical Projects by Rem Koolhaas: Essay on the History of Ideas. Available at: http://www.oapen.org/viewer/web/viewer. html?file=http://www.oapen.org/document/574658

Figure.E.6 - Picture of the Haunted House in the gin distillery before Koolhaas’ interventions

Second Floor

Photograph looking at the entrance of the Haunted House, as well as the door the visitors have to exit.

Figure.E.7 - Intersection of the old and new - expressed in materials

Böck, I., (2015) Six Canonical Projects by Rem Koolhaas: Essay on the History of Ideas. Available at: http://www.oapen.org/viewer/web/viewer. html?file=http://www.oapen.org/document/574658

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“Without transforming the original volumes, the architecture project has

preserved and enhanced the building by reinforcing the structure and gilding its external surface.” modern but subtle materials are used to modernise the Haunted House yet keeping its raw industriality internally where “the sequence of single rooms preserves an intimate spatial scale.” (Gober & Bourgeois, 2019) Despite the ‘intimate preservation’ which Koolhaas’ has executed, the final realisation is dynamic and playful - “New, old, horizontal, vertical, wide, narrow, white, black, open, enclosed – all these contrasts establish the range of oppositions that define the new Fondazione.” (Frearson, A. 2019)

‘preserved and enhanced’ - New mate-

rial inclusion in the adjacent with the old window frame

The complex uses the outdoor space as a connection between the differing spatial typologies. This outdoor space is truly public as visitors only have to pay to enter the buildings, which allows the open courtyard that is surrounded by both new and old buildings to be fully utilised.

‘intimacy’ - The relationships established once in the distillery between buildings is not lost in some rooms but is changed in others

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Haunted house as 1920s old building has been reinforced, but its not visible from outside. It is the pre-existing element that more attracts attention due to its coating in 24-karat gold leaf.

But there are some structure of the old existing building kept and combined with new struture as the momemt created between the past and the present.

With the layout of the new buildings within the complex you feel that Koolhaas is encouraging the visitors to explore and experience the public outdoor spaces as much as the new spaces within the actual buildings. Visitors also need to curate their own pathway round the site to experience the exhibitions on show.

The entire design and concept can be encapsuated even in the exterior of the Haunted House - traditional architecture with a playful - yet somehow tasteful and elegant modification - “the shi

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The image at the bottom left also shows this as it looks at a domestic sized door way as soon as you come up the stairs, which leads into an intimate and quite dark exhibition space. The tight spaces and sharp corners are not usually expected qualities within the exhibition space typology.

Diagram showing the numerous amounts of routes visitors can take in order to explore the Fondazione Prada complex.

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Within the Haunted House you move from floor to floor via the narrow staircase, which winds itself around a metal cage where a lift sits within it, which is to only be used by those who are physically unable to use the staircase. The old concrete stairs remind you that you’re in an old industrial building, something you forget when looking at the gold leaf exterior. The spatial quality here differs hugely to some of the other gallery spaces within the Fondazione Prada complex.

The Fondazione Prada brings three new builds to an existing former industrial complex. Due to the Prada being a collection of old and new buildings forming a complex of different individual spaces, it doesn’t act spatially as a typical art gallery usually does. There is a sense of exploration that you get as an individual walking around, which is mainly due to the non-linear layout of the architecture. It is not always obvious where you should venture to next, leading the individual to think more about the spaces that Koolhaas has created.

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Koolhaas and OMA wanted an “ensemble” of “exhibition spaces… to differ as much as possible from one another” (Bianchini, R. 2019.) and achieved so through select interventions in the “old factory buildings and warehouses [which were] upgraded with new finishes and fenestration, while the additional structures were designed to suggest a similar industrial character, despite being built using modern materials and techniques.” (Frearson, A. 2019)

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What this does mean in terms of the circulation of the gallery spaces is the route that has been created forces visitors to go back on themselves through the same spaces to exit the floor where they entered it.

Photographs taken by Leo Fieldhouse (2019)

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The covered outside space that visitors experience before entering the Haunted House. This large, open airy space contrasts massively with the small, domestic sized Haunted House.

Best of Detail Material + Finishes. (2016) [online] Available at: https://issuu.com/detail-magazine/ docs/978-3-95553-322-9-bk-de-en-best-of-_ e602084682eccc/11 [Accessed 10 Dec. 2019]. Wainwright, O. (2017). Rem Koolhaas crafts a spectacular ‘city of art’ for Prada in Milan. [online] the Guardian. Available at: https://www.theguardian. com/artanddesign/architecture-design-blog/2015/ may/06/rem-koolhaas-crafts-spectacular-city-of-artfor-prada-milan [Accessed 10 Dec. 2019].

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But the podium beside it, It is one of the most representative buildings of the complex. is built in steel frame structure. Altogether 540 tons of steel were used in the Podium.

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Image showing how the spaces outside can be utilised as much as those inside the buildings. References

Frearson, A. (2019). OMA’s Fondazione Prada art centre opens in Milan. [online] Dezeen. Available at: https://www.dezeen.com/2015/05/03/oma-fondazione-prada-art-centre-gold-leaf-cladding-wesanderson-cafe-milan/ [Accessed 7 Dec. 2019]. Bianchini, R. (2019). Prada Foundation Milan part 1Rem Koolhaas’ architecture. [online] Inexhibit. Available at: https://www.inexhibit.com/case-studies/ prada-foundation-milan-part-1-rem-koolhaas-architecture/ [Accessed 7 Dec. 2019]. Gober, R,. & Bourgeois, L,. (2019) ROBERT GOBER / LOUISE BOURGEOIS – Fondazione Prada. [online] Available at: http://www.fondazioneprada.org/ project/louise-bourgeois/?lang=en [Accessed 7

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‘ensemble’ - The celebrated mixture of architectural typologies and materials surrounding the Haunted House, and an example of the ‘ungarish’ implementation of Golden cladding

All photos taken by Jacob Botting (2019)

Steel frame structure of Podium & its primary structure

Image of a model of the complex by OMA, which shows the huge variety of building typologies, and the overall spatial configuration of the site.

Steel frame structure of Podium & its primary structure

Photographs taken by Leo Fieldhouse (2019)

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Truss Structure for Cantiliver on First Floor

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Reticulated Steel Beams as Floor Structure

Miesian Inspiration Podium is a clear Miesian inspiration. To create maximum freedom for exhibition space, only 6 pillars are used on the ground floor in primary structure. The use of steel has made it possible to create a light volume, without middle supports and independent of the existing structures The floor is made up of reticulated steel beams, the structural lattice is completed by bracing wall and pitch in steel elements. which has truss in it.

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Emphasis on a horizontal view, at ground level, is glazed, while on the upper floor it is characterized by an aluminum foam covering (aluminum foam), deliberately designed for the Prada Foundation project.

Mies van der Rohe’s New National Gallery

Prada Foundation Podium structure

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Because of the materiality of the building not only do variations in the time of day affect the atmosphere inside but as do variations in the weather. During the day, the frequent openings provide light into the spaces; the windows are deep set and as a result create amplified thresholds for the light to enter through, this creates tonal gradients in an otherwise monochromatic interior space; casting shadows and light through openings and into corners and crevices, creating a changing sense of enclosure as you move about the space. As the weather becomes less pleasant and the fog descends, as it did on our site visit, a juxtaposition is created in colour and light. The greyer the sky becomes, the more intensified the gold cladding feels, through a starker contrast. Little gold flecks immerge against the white backdrop form the edges of exteriors walls where the windows are fitted. Even on the gloomier days, the gold still permeates the inside spaces. By night the intensity of the gold has lessened, but as the sun goes down the concrete coves, especially the stairwell, begin to pervade unto themselves. The spaces become darker but with the use of artificial lighting, small gaps of relief are created as you travel up.

Scale: 1:1500

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The ‘Prada Foundation’ has took consideration its neighboring buildings facade colour scheme, this has been demonstrated through the mapping displayed on page. The majority of the ‘Prada Foundation’ uses a similar colour pallet. However the ‘Haunted House’ has a much more vivid colour, in order to show its importance and to contrast from the rest of the development, and the surrounding buildings.

The final effect is a delicate and fluctuating building, almost “supported” by the existing structures, although independent of them, in an approach that combines lightness with a strong visual impact, the common thread that characterizes the entire intervention of the Prada Foundation.

References

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“…the most surprising and now visible effect of this it is like gold and the light reflected from gold contaminates the whole environment. As soon as the light changes, the effect of this small intervention is very visible from the whole complex.” Rem Koolhaus The protagonist interacts with this gold contamination in various ways. First introduced just past the café, interspersed with a mixture of materials but nevertheless draws you forward past a threshold from a wider space with a greater public sense to a more intimate space, with only few people being allowed into the haunted house at any given time. From this you are allowed into a tight staircase, guided by frequent intervals of light; glimpses of gold from the occasional window; up into the quiet gallery spaces.

Spatially, there is a weight and density to the feeling of being inside the gallery spaces, with walls almost a metre thick, crossing thresholds from room to room gives the feeling of compression before entering the open space again. The joining of the walls, floors and ceilings are finished finely, creating a fluidity to the concrete, as if each element is a part of the last. These connections can also be seen in the tower; there is not only this sense of completion within the site through this “contamination of gold” but also connections down to the finest detail, this encourages a natural circulation of the space and a feeling of having-been while simultaneously moving forward.

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Prada Foundation

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The ‘Haunted House’ is in fact a rather unremarkable building in terms of design, the centre piece of the building is in fact the materiality. The gilded 24 (23.75)kt gold building highlights the focal point of the overall ‘Prada Foundation’ original function of the distillery.

The ‘Prada Foundation’ uses multiple materials throughout the development, this being said, it does try to stay to quite an industrial pallet in order to keep the link between its modern function and its previous function of a distillery. This not only gives a rich contrast in materials, but it gives the foundation a strong material character. From the diagram on screen, you can see where some of the most prominent materials are present, as you can see from the central image (map) the richest contrast of materials is centred around the ‘Haunted House’.

References

To cover the most important aspect of the distillery in gold leaf was a rather controversial move to make, however surrounded by old industrial materials and keeping the connections between these materials exposed, provided the building to become a piece of art itself. When light hits the gold leaf, it creates a warm glow which is then translated onto any surrounding materials, which creates a calming atmosphere, this is most prominent in the window reveals. Rem Koolhaas, the designer of this building has been very careful in terms of what he kept from the old distillery and what he has refurbished, or replaced, this can be seen most in the stair case and elevator shaft. As you can see from the bottom right image, there is a clear contrast in age of material, the grey metal being the more modern elevator shaft, the original concrete stair and finally the rusted metal which acts as the bridge between the ages. References The roof of the ‘Haunted House’ is mostly represented through the top right image, this exposed concrete has been kept un finished, leaving its years of existence on show. The top floor of the ‘Haunted House’ contrasts greatly to this, shown in the bottom left image, it is clear to see the more finished approach.

Riccardo Gialloreto, Fondazione Prada, (2019) [online] <https://issuu.com/riccardogialloreto/docs/monografia_fondazione_prada-compres> [Accessed 12 December 2019].

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title of page Material Prada Foundation

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Bibliography

“Behind The Building: The Fondazione Prada By OMA”, Journal, 2019 <https://architizer.com/blog/practice/materials/fondazione-prada-oma/> [Accessed 12 December 2019] BIANCHINI, RICCARDO, “Prada Foundation Milan Part 1- Rem Koolhaas’ Architecture”, Inexhibit, 2019 <https://www.inexhibit.com/case-studies/prada-foundation-milan-part-1-rem-koolhaas-architecture/> [Accessed 12 December 2019]

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Bibliography

“Caruso St John Architects, Hélène Binet · Nottingham Contemporary”, Divisare, 2019 <https://divisare.com/projects/112961-caruso-st-john-architects-helene-binet-nottingham-contemporary> [Accessed 12 December 2019]

A - Architects OMA. (2019). OMA OFFICE. [online] Available at: https://oma.eu/office [Accessed 11 Dec. 2019]. Medium. (2019). Rem Koolhaas — designing the design process. [online] Available at: https://medium.com/next-iteration/rem-koolhaas-designing-the-design-process-7f1328821f70 [Accessed 11 Dec. 2019]. SPIEGEL ONLINE, G. (2019). Interview with Star Architect Rem Koolhaas: ‘We’re Building Assembly-Line Cities and Buildings’ - SPIEGEL ONLINE - International. [online] SPIEGEL ONLINE. Available at: https://www.spiegel.de/international/zeitgeist/interview-with-star-architect-rem-koolhaas-we-re-building-assembly-line-cities-and-buildings-a-803798-3.html [Accessed 11 Dec. 2019]. Frearson, A. (2019). De Rotterdam represents new ambition in architecture says Rem Koolhaas. [online] Dezeen. Available at: https://www.dezeen.com/2013/11/27/de-rotterdam-rem-koolhaas-transcript/ [Accessed 11 Dec. 2019].

“Fondazione Prada / OMA”, Archdaily, 2019 <https://www.archdaily.com/628472/fondazione-prada-oma> [Accessed 12 December 2019] Mark, Laura, and Laura Mark, “OMA Completes Milan’s Fondazione Prada”, Architects Journal, 2019 <https://www.architectsjournal.co.uk/news/oma-completes-milans-fondazione-prada/8682423.article?search=https%3a%2f%2fwww.architectsjournal.co.uk%2fsearcharticles%3fkeywords%3dprada> [Accessed 12 December 2019]

Tory-Henderson, N. (2019). Fondazione Prada - arcspace.com. [online] arcspace.com. Available at: https://arcspace.com/feature/fondazione-prada/ [Accessed 11 Dec. 2019].

“Nottingham Contemporary Art Gallery By Caruso St John Architects”, Architects Journal, 2019 <https://www.architectsjournal.co.uk/home/nottingham-contemporary-art-gallery-by-caruso-st-john-architects/5210778. article> [Accessed 12 December 2019]

G - Spatial Sequence

“Prada Foundation In Milan - DETAIL Inspiration”, Inspiration.Detail.De, 2019 <https://inspiration.detail.de/prada-foundation-in-milan-113171.html> [Accessed 12 December 2019]

“Prism Contemporary Art Gallery / P-A-T-T-E-R-N-S”, Archdaily, 2019 <https://www.archdaily.com/91290/prism-contemporary-art-gallery-p-a-t-t-e-r-n-s> [Accessed 12 December 2019]

To combat some potentially awkward construction details and to create a series of seemingly infinite planes, Koolhaas utilises this technique multiple times.

“Rem Koolhaas On Prada, Preservation, Art And Architecture”, Archdaily, 2019 <https://www.archdaily.com/771156/rem-koolhaas-on-prada-preservation-art-and-architecture> [Accessed 12 December 2019] “Tate Modern”, En.Wikipedia.Org, 2019 <https://en.wikipedia.org/wiki/Tate_Modern> [Accessed 12 December 2019]

The technique, as seen in these oictures is to form a recess near the intersection of both material planes.

“WHAT IS THIS GOLDEN BUILDING? Haunted House At Fondazione Prada In Milan | Cultural Italy”, Culturalitaly.Com, 2019 <https://culturalitaly.com/italy-travel-blog/what-golden-building-haunted-house-fondazione-prada-milan> [Accessed 12 December 2019]

C - Site

The intersection between the Haunted House (old) and the lobby (new) stretches the golden plane

Fondazione Prada | Prada Group&quot;, Pradagroup&lt;https://www.pradagroup.com/en/perspectives/stories/sezione-excursus/fondazione-prada.html&gt; [Accessed 1 December 2019]

This ‘near-miss’ philosophy is one that is continued throughout the entire Foundazione - a large cantilevered building is “just missing the building across the courtyard” (Wainwright, 2017)

The two images to the left of the screen provide example to the industrial materials used in the foundation, the wooden floor is both hardwearing and visually attractive, whilst the metal column portrays a completely different messages of structure and age.

“About Us”, Nottinghamcontemporary.Org, 2019 <https://www.nottinghamcontemporary.org/about/> [Accessed 12 December 2019]

“Facts And Figures | Tate”, Tate, 2019 <https://www.tate.org.uk/about-us/projects/constructing-tate-modern/facts-and-figures> [Accessed 12 December 2019]

“simple geometry for flexible performance is paired with monumentality; plastic materials connect to glass, wood to layers of gold” (Böck, 2015)

This means that one of the planes - in both these instances the vertical seems endless.

“A Genuine Gold Leaf Tower For Prada Foundation | Manetti.Com”, Giusto Manetti Battiloro, 2019 <http://www.manetti.com/en/2015/04/28/gold-leaf-tower-for-prada-foundation/> [Accessed 12 December 2019]

“Drippin’ In Gold In Italy’S Fashion Capital – Museeum”, Museeum.Com, 2019 <https://www.museeum.com/drippin-in-gold-in-italys-fashion-capital/> [Accessed 12 December 2019]

The ‘bricolage’ of elements that make up the Foundazione Prada mean there are many points at which complex or unusual materials meet others.

The overall Prada Foundation, creates a satisfying solution to merging both an 1910 industrial distillery and a modern contemporary art gallery, through the use of contrasting materials as seen by the provided images.

B - Typology

&quot;Fondazione Prada&quot;, En.Wikipedia.Org, 2019 &lt;https://en.wikipedia.org/wiki/Fondazione_Prada#Venues_in_Milan&gt; [Accessed 1 December 2019] &quot;Headquarters Of The “Prada Foundation” At Largo Isarco, Milan (Italy) – Milan Ingegneria&quot;, Buromilan.Com,2019 &lt;http://buromilan.com/en/project/prada-foundation-in-milan-largo-isarco-italy/&gt; [Accessed 1 December2019]

The whole site is artfully constructed of different contrasting materials and elements and this technique is part of that masterful delivery.

&quot;Master Plan For Fondazione Prada In Milan By OMA Rem Koolhaas | Floornature&quot;, Floornature.Com &lt;https://www.floornature.com/ceramic-innovation/architectural-solutions/master-plan-fondazione-prada-milan-oma-rem-koolhaas-13437/&gt; [Accessed 1 December 2019] &quot;OMA: Fondazione Prada Headquarters In Largo Isarco, Milan&quot;, Designboom | Architecture &amp; Design Magazine &lt;https://www.designboom.com/architecture/oma-fondazione-prada-headquarters-in-largo-isarcomilan/&gt; [Accessed 1 December 2019] Gialloreto, Riccardo, Fondazione Prada, 2019 &lt;https://issuu.com/riccardogialloreto/docs/monografia_fondazione_prada-compres&gt; [Accessed 12 December 2019]

E - Concept and Design Development

The images to the left of the screen provide example to the more modern materials. The 24 (23.75)kt gold leaf, the aluminium foam cladding, and the joining materials all at first glance provide a simple aesthetic, however upon closer inspection a clear level of complexity can be seen References in the connection of these materials.

Best of Detail Material + Finishes. (2016) [online] Available at: https://issuu.com/detail-magazine/docs/978-3-95553-322-9-bk-de-en-best-of-_e602084682eccc/11 [Accessed 10 Dec. 2019]. Bianchini, R. (2019). Prada Foundation Milan part 1- Rem Koolhaas’ architecture. [online] Inexhibit. Available at: https://www.inexhibit.com/case-studies/prada-foundation-milan-part-1-rem-koolhaas-architecture/ [Accessed 7 Dec. 2019]. Böck, I., (2015) Six Canonical Projects by Rem Koolhaas: Essay on the History of Ideas. Available at: http://www.oapen.org/viewer/web/viewer.html?file=http://www.oapen.org/document/574658 [Accessed 10 Dec. 2019]. Frearson, A. (2019). OMA’s Fondazione Prada art centre opens in Milan. [online] Dezeen. Available at: https://www.dezeen.com/2015/05/03/oma-fondazione-prada-art-centre-gold-leaf-cladding-wes-anderson-cafemilan/ [Accessed 7 Dec. 2019].

References

Gober, R,. & Bourgeois, L,. (2019) ROBERT GOBER / LOUISE BOURGEOIS – Fondazione Prada. [online] Available at: http://www.fondazioneprada.org/project/louise-bourgeois/?lang=en [Accessed 7 Dec. 2019].

Wainwright, O. (2017). Rem Koolhaas crafts a spectacular ‘city of art’ for Prada in Milan. [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/ architecture-design-blog/2015/may/06/rem-koolhaascrafts-spectacular-city-of-art-for-prada-milan [Accessed 10 Dec. 2019].

Wainwright, O. (2017). Rem Koolhaas crafts a spectacular ‘city of art’ for Prada in Milan. [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/architecture-design-blog/2015/may/06/remkoolhaas-crafts-spectacular-city-of-art-for-prada-milan [Accessed 10 Dec. 2019].

The intersection between a metal grid wall and some metallic stairs

L - Threshold Böck, I., (2015) Six Canonical Projects by Rem Koolhaas: Essay on the History of Ideas. Available at: http://www.oapen.org/viewer/web/viewer.html?file=http://www.oapen.org/document/574658 [Accessed 10 Dec. 2019]. Frearson, A. (2019). OMA’s Fondazione Prada art centre opens in Milan. [online] Dezeen. Available at: https://www.dezeen.com/2015/05/03/oma-fondazione-prada-art-centre-gold-leaf-cladding-wes-anderson-cafemilan/ [Accessed 7 Dec. 2019].

Böck, I., (2015) Six Canonical Projects by Rem Koolhaas: Essay on the History of Ideas. Available at: http://www.oapen. org/viewer/web/viewer.html?file=http://www.oapen.org/

Wainwright, O. (2017). Rem Koolhaas crafts a spectacular ‘city of art’ for Prada in Milan. [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/architecture-design-blog/2015/may/06/remkoolhaas-crafts-spectacular-city-of-art-for-prada-milan [Accessed 10 Dec. 2019].

All photos taken by Jacob Botting (2019)

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In the ground floor threshold between the Haunted House/Lobby and the Outside courtyard is the use of a large PVC strip curtain. This makes the visual connection bewteen the two spaces more ethereal and murky, and introduces a playful tactile experience as to advance through the space you have to pierve through the large plane.

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As you venture outside, the ground uses a number of materials, and unlike those junctions discussed earlier - they meet harshly with one another to create a quasi-mosaic. There seems little reason for these material changes - as these are not positioned in strict thresholds however Koolhaas’ extensive use of interesting materials is part of what makes him and OMA so renowned.

The use of such an industrial material arguably harks back to the distillery’s past, but is employed in a manner which reflects its new experiential use.

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Figure.Title.0 - http://rrretail.net/2018/04/26/the-prada-foundations-new-rem-koolhaas-designed-tower/

Figure A1 - https://static.dezeen.com/uploads/2010/07/dzn_Rem-Koolhaas-golden-lio.jpg A2 - https://rotterdaminfondtrc.imgix.net/48/4856b606-9cb9-42ca-a119-f14c2f46553e/d4952f9d-d3a0-4cc5-952a-e21438dfb3b9.jpg?fit=max&auto=format A3 - https://images.adsttc.com/media/images/554a/f3af/e58e/ce42/3b00/012d/newsletter/PORTADA_01-Fondazione_Prada_Photo_Bas_Princen.jpg?1430975399 A4 - https://i.pinimg.com/originals/eb/df/71/ebdf71018517cd79f8b8de5b6548764d.jpg A5 - https://www.metalocus.es/sites/default/files/styles/mopis_news_carousel_item_desktop/public/file-images/METALOCUS_IIT-McCormick_01_1280.jpg?itok=CCpA682W A6 - https://cdn.archpaper.com/wp-content/uploads/2013/11/CCTV.jpg A7 -https://images.adsttc.com/media/images/552c/8d66/e58e/cebf/5400/0181/slideshow/92748_©_Philippe_Ruault.jpg?1428983133 A8 - https://images.adsttc.com/media/images/589f/7d0e/e58e/cea9/f900/01c1/medium_jpg/SMLXL_Cover.jpg?1486847241 A9 -https://cdn.sanity.io/images/5azy6oei/production/82a7448e6f75c72f066eed83d321befec9de9969-3296x4019.jpg A10 - http://notura.com/wp-content/uploads/2012/02/oma-825x341.jpg A11 - https://upload.wikimedia.org/wikipedia/commons/b/b8/Prudential_Building_2013-09-08_12-21-41.jpg A12 - https://www.designboom.com/weblog/images/images_2/lauren/cctv/cctv14.jpg A13 - https://images.adsttc.com/media/images/528f/b1f1/e8e4/4ece/5800/0219/large_jpg/Streetview_West_Philippe_Ruault_copyright_OMA.jpg?1385148866 A14 - https://images.adsttc.com/media/images/5018/1f65/28ba/0d48/2400/05ea/newsletter/stringio.jpg?1361204397 A15 - https://upload.wikimedia.org/wikipedia/commons/4/41/De_Rotterdam%2C_September_2019_-_01.jpg A16 - https://www.artribune.com/wp-content/uploads/2015/01/Fondazione-Prada-Milano-Oma-2.jpg Figure.E.1 - HUXHUX Design. (2019). Fondazione Prada — HUXHUX Design. [online] Available at: http://www.huxhux.com/fondazione-prada [Accessed 11 Dec. 2019]. Figure.E.2 - OMA for PRADA (2007). Schematic Design [online] Available at: http://www.oapen.org/viewer/web/viewer.html?file=http://www.oapen.org/document/574658 [Accessed 10 Dec. 2019]. Figure.E.3 - Böck, I., (2015) Six Canonical Projects by Rem Koolhaas: Essay on the History of Ideas. Available at: http://www.oapen.org/viewer/web/viewer.html?file=http://www.oapen.org/document/574658 [Accessed 10 Dec. 2019]. Figure.E.4 - OMA for PRADA (2007). Schematic Design [online] Available at: http://www.oapen.org/viewer/web/viewer.html?file=http://www.oapen.org/document/574658 [Accessed 10 Dec. 2019]. Figure.E.5 - Böck, I., (2015) Six Canonical Projects by Rem Koolhaas: Essay on the History of Ideas. Available at: http://www.oapen.org/viewer/web/viewer.html?file=http://www.oapen.org/document/574658 [Accessed 10 Dec. 2019]. Figure.E.6 - Böck, I., (2015) Six Canonical Projects by Rem Koolhaas: Essay on the History of Ideas. Available at: http://www.oapen.org/viewer/web/viewer.html?file=http://www.oapen.org/document/574658 [Accessed 10 Dec. 2019]. Figure.E.7 - Photograph by Charlie Koolhaas from Frearson, A. (2019). OMA’s Fondazione Prada art centre opens in Milan. [online] Dezeen. Available at: https://www.dezeen.com/2015/05/03/oma-fondazione-prada-art-centre-gold-leaf-cladding-wes-anderson-cafe-milan/ [Accessed 7 Dec. 2019]. Fig.B.1 - Arch Plus 355 (2019). PRISM Gallery | Patterns. [image] Available at: http://archplus355.blogspot.com/2011/01/prism-gallery-patterns.html [Accessed 12 Dec. 2019]. Fig.B.2 - Design Week (2019). Tate Modern. [image] Available at: https://www.designweek.co.uk/issues/11-17-april-2016/new-tate-modern-to-be-more-digital-and-get-visitors-participating/ [Accessed 12 Dec. 2019]. Fig.B.3 - Grand Tour (2019). Modern Tate Brick. [image] Available at: https://www.grandtourmagazine.com/magic-brick-new-tate-modern-extension/ [Accessed 12 Dec. 2019]. Fig.B.4 - Milano Today (2019). Haunted House. [image] Available at: http://www.milanotoday.it/eventi/cinema-fondazione-prada-6-2018.html [Accessed 12 Dec. 2019]. Fig.B.5 - Nottingham Contemporary (2019). Nottingham Contemporary. [image] Available at: https://www.nottinghamcontemporary.org/about/ [Accessed 12 Dec. 2019]. Fig.B.6 - Reckli (2019). Nottingham Contemporary Material. [image] Available at: https://www.reckli.com/en/germany/showroom/reference/nottingham-contemporary-custom-made/ [Accessed 12 Dec. 2019]. Fig.B.7 - White, J. (2019). Prism Contemporary Art Gallery. [image] Available at: https://www.archdaily.com/91290/prism-contemporary-art-gallery-p-a-t-t-e-r-n-s/50130b9b28ba0d0658000d76-prism-contemporary-art-gallery-p-a-t-t-e-r-n-s-photo [Accessed 12 Dec. 2019].

The courtyard materials are part of the “contrasts [that] establish the range of oppositions that define the new Fondazione.” (Frearson, A. 2019) Yet there is a drawback however, and Koolhaus’ use of organic burnt wood as flooring has proved too liberal and too bumpy for regulations to handle, and therefore the artful selection of materials is contrasted - and this time conflicted - with bright yellow signs.

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All photos taken by Jacob Botting (2019)

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