Z1P14 by PDF Uploads

VICTORIA APHRA LOWSLEY PEAKE STAGE III PORTFOLIO NEWCASTLE UNIVERSITY BUILDING UPON BUILDING 2019-2020 160221260

CONTENTS

Introduction

p5 p6-7

Illustrated Reflected Report Charrette

p8-9

Primer Phase

p11-24

Field Trip

p25-32

Staging Phase

p33-70 p71-73 p75-139 p141-149 p150-151

Thinking Through Making Week Synthesis and Realisation Thinking Through Making Workshops Cultural Bibliography List of Figures

p152

Bibliography

p153-154

Appendix

p155-159

Case Study

Work added since reviews

INTRODUCTION I wanted to be a member of Building Upon Building for many reasons. During a trip to Florence my love for heritage buildings and Italy was ignited. From a young age I found myself in awe of the past, inspired and fascinated by both the classical and Renaissance periods. Over the course of my graduation project, my new-found understanding of the underlying social, economic, and political context of the period broadened my love of this specific type of architecture and art. This provided the foundations of the philosophy that drove changes throughout all levels of the sociocultural political ecosystem of Paris. Having developed a true admiration for the prolific architectural triumphs for which the country is known, I try to travel whenever possible to Italy, wanting to further my knowledge of the country’s rich history and the legacy of Roman empire, which can be witnessed through buildings such as the Pantheon- my personal favourite. Reflecting on the history of this empire has deepened my appreciation of this building, which in my opinion is the inaugural work of this dynastic empire. My appreciation for Italy’s virile culture has inspired many trips over the past three years, in order to develop my understanding of the rich and vibrant history of the country as a whole. This has provided me with an appreciation of the complexities of the groundwork from which the architectural movements of this country have originated. As my research and knowledge has always been centred on the Classical and Renaissance periods, I was intrigued by the prospect of delving into previously uncharted territory with the Notre Dame the focal point of this year’s brief. This foray into a new period allowed me to learn, analyse and reflect on the Gothic crusade in Paris, and to expand my foundational knowledge of the repercussions of this epoch, which can still be felt throughout the city. One aspect of the studio brief that initially intrigued me was the requirement to engage with the Notre Dame, which I deem to be the iconic symbol of the Gothic period. Its reputation is strongly established throughout the Western World, rendering it to be an iconic monument, though this symbolism has rendered it the subject of many debates on the subject of preservation in recent years. The challenge of proposing a form that would be perceived in conjunction with the Notre Dame daunted me at first, but excited my desire to create a piece that would evoke a sense of semblance with the Cathedral.

REFLECTIVE REPORT

The integrating technology module has been fundamental to the development and enhancement of my proposal. The structural strategy that I initially proposed during the symposium was extremely naive; I did not yet have a developed understanding of the structural ideas that were required for the complex form that I would be designing. Upon adding in columns to create a more solid structure within the centre of the museum’s form, I was able to create a parallel to the regimented internal structure of the Notre Dame. I was able to develop a stronger concept by drawing the visitor’s mind to the Notre Dame, linking with its powerful and renowned provenance. I had no idea of how to approach a building that was a UNESEC World Heritage site, having priceless archaeological grounds underneath and unstable soil conditions due to the Seine being in such proximity. Therefore, I really benefited from the knowledge gained during the technology symposium. As stated, the proposed site is heavily protected. As a result, during the Professional Management Essay when it was required to investigate the criteria necessary for the local planning, I discovered my proposal would cause a lot of debate. Throughout the whole design phases I was conscious of this and wanted to be respectful to the site, consequently my proposal contains materials that will complement the surrounding context.

This year has brought about a range of different experiences which have all been influential to the process of the completion of my degree. Whilst second year projects were very regimented and controlled, with strategy, materiality and site suggestions provided by tutors, my third year allowed far more independence of thought through an allowance for the creation of our own declaration and manifesto. This freedom turned out to be both blessing and hindrance, with our being allowed to work at our own pace, but with a more stringent requirement for thorough and extensive design strategies. As a studio Building Upon Building has, from what I perceive, a completely different approach to the design process to other studios I have encountered or myself been a part of, being fundamentally based on research. The research that I performed was necessary to provide the strong design strategies and manifesto upon which my concepts have been based. These initial concepts have been gradually developed and adapted over time as constant research informed my evolving thought process. Historical analysis has provided the foundation for this project, with ideas established through primer research and derived from studio trip experiences. Fortunately, I have been able to integrate aspects from my dissertation within my initial design process. Having extensively researched and analysed Daniel Libeskind’s design process with specific focus on the Jewish Museum Berlin, I was made aware that projects with such cultural magnitude needed to have strong design philosophies and strategies from which forms are created. In my design process, I have noticed the underlying influence of Libeskind having studied him in such great depth when conducting research for my dissertation, with my proposal being influenced strongly by the historical context of its location and proximity to the Notre Dame.

Realisation Collage

Within the illustrated theory into practice essay, I researched the method of collaging. Through the writing of this essay I was able to glean a deeper understanding of the purpose of collages and their import throughout history, for example their usage for political gain. This socio-political context had never before occurred to me, but my newfound understanding of the features of a collage that can provoke thought and feeling in the minds of views gave my own collages a deeper purpose, and allowed me to be able to use them to explain fundamental aspects of my project. Illustration 1: Jewish Museum Berlin

Primer to Staging Collage

My final year at Newcastle has been eye opening, with each stage of my learning allowing me to truly improve and develop as a designer. Whilst curating this portfolio, I have realised how far my development has extended beyond my design capabilities, into my own personal growth. Over the past three years I have encountered many trials, but the overcoming of these, and learning how to step back, evaluate the issue, and come up with a course of action has inured within me transferable skills that will be useful throughout the course of my life. One of the most prevalent examples of this personal growth is the way in which I take criticism. I have learned that criticism and critiquing are the single most useful aspect of the help I have received from my tutors and peers. I have realised I am an ‘experiential learner’ (Kolb, 1984), and the experience of being repeatedly criticised has allowed me to understand the good intent with which help is given, and seen first-hand the overwhelming improvements I can make to my work through the digestion and implementation of the critiques given by those who are well experienced in the field, but also by those who are able to analyse my work with fresh eyes. Whilst this is not the end to my degree I had initially imagined; I have thoroughly enjoyed all the experiences and challenges. It has taught me to be resilient and adaptable both within the work of my degree and also outside of it.

Illustration 2: Integrated Technology Columns

Axonometic Celebration Piece

CHARRETTE

Charretteď&#x20AC; Commencing the new academic year, Charrette is a week long creative exploration led by various leaders. Each year I get the opportunity to undertake such interesting projects that is not normally within the usual curriculum. This year, I was allocated The Grainger Weigh. The project looked to redesign a corner shop situated within Grainger Market. The shop is plastic free, which is such a topical ideal of the moment. After initial site visits, we were allocated groups. My group was in charge of redesigning the food dispensers. In order to understand the needs, we visited two other plastic free shops to gain a better understanding of elements that were successful and not. An aspects that we deemed important was transparency, so that the customer could visually appreciate the product and the dispenser could be easily cleaned. The next was ability to release and control the product, we found this element the hardest to design and had to create multiple drafts in order to perfect. An interesting aspect to the project was that we were working with a real client who had strong opinions and a strict brief.

Primer Phase At the beginning of the Primer phase I realised I had underestimated the magnitude of the task of sifting through the many differing opinions of various theorists. I was at first overwhelmed by the level of the information I had to process, causing me to struggle to formulate my own thoughts and opinions. I believe that this hindered my being able to quickly develop my own design strategy. Once I stepped back and formulated a plan of attack to methodically sift through information and categorise it appropriately, I was able to thoroughly enjoy the research process and creation of a detailed analysis of the urban change of the Il de la Citeâ&#x20AC;&#x2122;s landscape. The analysis that was conducted during this time heavily inspired and contributed to my final development. Despite turning my initial anxiety over the high volume of research required in this stage into a drive that kept me focused, I once again encountered issues when faced with the Primer exhibition. As a group, we were incredibly ambitious with our exhibition, aiming to create a distorted triumphal arch. Despite trying various methods to build this arch, it eventually proved to be infeasible, and the task had to be abandoned. With hindsight I can see that we did not fully think through the technical requirements this project would require before commencing construction. This experience stressed to me the importance of planning, proving that cutting corners can end up wasting more time than it is likely to save.

PRIMER

PremiĂ¨re Plan de La Ville de Paris

Louis VII DeuxiĂ¨me Plan de La Ville de Paris

1200 Troisieme Plan de La Ville de Paris

1350 Quatrieme Plan de La Ville de Paris

1500 Cinquieme Plan de La Ville de Paris

1600 Sixieme Plan de La Ville de Paris

1700 Septieme Plan de La Ville de Paris

Analysis of the Urban Change This series of Nolli Maps were created during the primer group phase. The series provides an interesting analysis of the development to the whole of the Parisian landscape throughout multiple important historical periods. An interesting observation is that the physical development is centred around the Ile de la Cite, making our site imperative to history of Paris. We then specifically researched the urban change of the Ile de la Cite, creating plans, sections and brief descriptive histories to key periods in French history.

PRIMER

1163 - 1190

Early Construction Inducted as bishop of Paris in 1160, Maurice de Sully decides to replace the old basilica with a building whose majesty and splendour must equal, or exceed, the Temple of Solomon or the heavenly Jerusalem described by Saint John in Revelation. This mythical temple has remained as a central reference for religious architecture. Aware of the symbolic role of a cathedral, Abbé Sully foresaw from the beginning of the construction site the location of the square, so that the spectators and the faithful could immediately feel the greatness of the place, and therefore of God. The first stone was laid in 1163 by Pope Alexander III, but it was not until 1345 that the cathedral acquired the form that is still hers today. The construction of Gothic cathedrals is a phenomenon closely linked to the development of medieval cities from the end of the twelfth century. In 1161, Paris has become the political capital of the Capetian kings since Philippe I, and also has become an important economic centre where a real city of artisans and markets has being built. The construction of a cathedral responds to this double need to welcome more faithful and to radiate the prestige of the capital. After nearly 20 years of work, in 1182, the first part of the cathedral was completed. It already allows the faithful to practice their worship because it includes a choir, with aisles, tribunes, vaults and the beginning of the transept. From 1182 to 1190, three bays of the nave are added to the choir, the aisles and the tribunes – also called triforium (open gallery, located above the aisles). The cathedral thus gains in length and height.

1190-1250

Mid-Construction From 1200 to 1250, the second phase of the work took place, marked by changes in the style of the building. The first portal was built around 1200 and is dedicated to Saint Anne, the mother of Mary. The second portal is that of the Virgin which is facing to the north. Dating from the years 1210-1220, it represents the death of Mary and her ascension to paradise, where she is made queen of Heaven before the eyes of an assembly of angels and patriarchs. In this portal, the sculpture is no longer a body with the wall: one passes from the bas-relief to the statue. The last portal added to the centre of the façade in the 1220s is that of the Last Judgment. In 1230 a nave and butresses were added to the original building. The buttresses are added to support the walls that were raised, as the first nave was considered too dark. One of the fundamental principles of Gothic architecture is the concordance between the interior and exterior of the building. The number and size of the floors visible on the exterior must correspond perfectly to the architecture of the interior of the cathedral. Finally, a span is also added to the transept, to preserve the cross-shape of the building. The South Tower was completed in 1240 and the North Tower in 1244. The latter is carried out under the supervision of Jean de Chelles, the first contractor whose name is known on this site.

1250 - 1345

Construction is finished The use of the warhead cross-vault allows builders to build higher, while freeing the walls of the Notre Dame from their role. They can then be drilled to create wide openings. The Gothic style inaugurates the rose window, a large circular opening subdivided by carved stone frames, usually dressed in spectacular stained glass. The North rose of Notre-Dame has a diameter of nearly 13m and expands to 24 rays in three concentric circles. Dating from 1245, it is dedicated to the Old Testament. A Virgin in majesty, a scepter in her hand, appears in the centre. At the end of the thirteenth century, the cathedral of Notre-Dame de Paris was almost finished. The body of the nave was built, the façade and the towers were elevated. All that remains is to finish were the interior fittings and the bedside, the end of the nave opposite the portals (also called apse). The bedside of Notre-Dame de Paris is customly worked and decorated. A first part of the work was started by Pierre de Chelles. The chapels were completed by his successor, Jean Ravy, at the end of the first half of the 14th century.

1600 - 1750

Catholic Reformation

1789 - 1799

French Revolution

Following the French wars of religion between 1562 and 1598, the protestant ideas of England had started to seep across the channel and into France. The Catholic church needed to combat these ideas of reformation to secure their hold on most of Europe. This movement was called ‘the Counter Reformation’, and included a strong reconnection to Baroque art with a religious theme.

1793 and 1794 were the defining years of the French Revolution, which stemmed from the dissatisfaction with the power-hungry Catholic Church. It was led by the Cult of Reason, an atheist group formed in 1793 by Jacques Hébert which was rooted in a shared hatred for the Catholicism and believed that way of life should be governed by Enlightenment ideas – reason and rationality.

During this time, the Catholic church asserted its authority over the Notre Dame by affirming these themes in the interior decoration and spatial arragement. Under order by the ‘Batiments du Roi’, the reformations focused on the altar and the choir seat. These changes complied with the classical religious Roman characteristics, drawing influence from the Vatican and St Peter’s Basillica. There were strong themes of geometrical lines, uniform colums and semi-circular arches. The altar of the Notre Dame had the most iconic re-design. It had four paralllel twisted columns, similar to Bernini’s sculpted bronze canopy over the altar of St Peter’s Basilica. Thus, the Gothic identity of the cathedral began to be removed and replaced with the Catholic ideas of the counter-reformation.

The anti-religious Festival of Reason, in 1793, manifested the cult’s beliefs by converting all churches into ‘Temples of Reason’. The Notre Dame was a combined symbol of Catholicism and monarchy, thus becoming the main temple for the festival. There were 28 biblical kings’ statues on the Western façade, mistaken to be French kings, that were destroyed and replaced by philosophers’ busts. The Goddess of Reason was worshipped atop of an artificial mountain, replacthe ing Virgin Mary’s statues on altars. Works of art were stolen, and ‘To Philosophy’ was carved over the cathedral’s doors. The Notre Dame also served non-religious purposes such as being a warehouse for storage. The deist rivalry Cult of Supreme Being emerged in 1794, and its festival was led by the arch puritan Robespierre. Similarly, an artificial mountain, constructed of timber and plaster and adorned with flowers and shrubs, was built to symbolize nature’s power and supremacy of mankind. The festival escalated and led to the Reign of Terror, where anyone who was suspected an enemy of the revolution was arrested or sentenced a death penalty. However, despite the consistent revolutions, the French held on to religion as their way of life.

1804-1814 Napoleon I

A Te Deum was celebrated at Notre-Dame on April 10, 1802 for the proclamation of a concordat that recognised the Catholic religion as ‘that of the majority of the French.’ Both Napoleon and Pope Pius VII were in attendance. Napoléon Bonaparte chose the cathedral of Notre-Dame de Paris to be consecrated emperor, which was to take place on Sunday 2nd December 1804 and marked ‘the instantiation of modern empire.’ He thus broke the tradition of the Kings of France who went to Reims to be crowned. For the occasion, architects Charles Percier and François-Léonard Fontaine were tasked with refurbishments. Houses were demolished to clear surroundings of the cathedral, streets surrounding that the cortege would pass would be paved. They designed a neo-gothic style portico which was placed on the forecourt, it was made of wood, card and stucco. Another wooden gallery was built along the side of the cathedral, as far as the 'archivêché' where an enormous tent was erected to form a vestibule. It was here that the Pope and his entourage robed and where Napoleon and Josephine donned their coronation robes. The building was whitewashed with lime and the interior was hung with fabrics and silk, velvet drapes decorated with the coats of arms and insignia of the Empire. The east end of Notre-Dame was augmented with a rotunda, elaborately decorated with tapestries. Ironwork around the choir and two altars was removed. Raised seating was built at the length of the nave and in the clerestories to allow for official representatives from France. Napoleon’s throne was placed on a high platform above the nave in front of the West Door.

1830-1852

The Bourbon Restoration & Viollet le Duc In 1830, Louis Phillipe I was crowned the ‘King of the French’ during the period of the Bourbon Restoration. Following the damage from the first revolution there was a national effort to restore the symbols of the monarchy in France, including restoring and preserving the many dilapidated Gothic and Romanesque Palaces and Cathedrals. The Hunchback of Notre Dame by Victor Hugo was released in 1831 and prompted a national outcry to save the Notre Dame from its ruined state. Viollet le Duc and Jean-Baptiste Lassus won the competition for the restoration of the cathedral. They believed that instead of restoring the cathedral to the exact state that it would have been when it was built, they should “re-establish it in a finished state, which may in fact never have actually existed at any given time.” It was their duty to embody the ideas of the original masons, combined with the contemporary technological innovations, to realise the original concept of the building to a greater extent than it ever could have been. They drew influence from existing Gothic architecture around France to carefully study, rebuild and replace the damaged parts of the building. They restored the 28 biblical kings that had been mistakenly destroyed during the Revolution, along with Christ above the main door and 16 other figures around the building. The decoration inside was restored to its original state, along with the windows of the galleries. A new sacristy was designed in the place of the old one, in a Neo-Gothic style entirely designed by Le Duc. Finally the central spire was redesigned loosely according to engravings from the 14th century, however the new spire was much taller and the Gothic style was greatly amplified.

1852-1870 Napoleon III

Napoleon III ousted King Louis-Philippe I and founded the Second French Empire, which was given high credit for the rebuilding of Paris. Napoleon III dreamed to create a ‘new imperial city whose very streets spoke of the glory of the French empire.’ Haussmann created a well-ordered city, based on a geometric grid with streets running north and south, east and west. He ploughed over the ancient, winding streets of the city, and in their place created broad straight boulevards that were impervious to the barricade, and they could better accommodate the free movement of troops. The new boulevards could also allow for easy flow of commerce. The design of the boulevards was particular, they isolated the iconic monuments. This urban renovation caused a percentage of the population to be displaced. Haussmann forced citizens from their homes as these buildings were torn down to make way for the clean lines of the new city. The wealthy were quickly accommodated. The new boulevards were lined with fashionable apartment houses. It was, as usual, the poor that really suffered. Haussmann designed and created new parks, squares, new sewers, fountains and aqueducts. He rebuilt the labyrinth of pipes, sewers and tunnels under the streets which provided Parisians with basic services. The Ile de la Cite became an enormous construction site, with new government buildings, boulevards, bridges replacing the hundreds of medieval homesteads residing there since the 15th century.

1914 - 1942

WWI & WWII By the first week of September 1914, the Germans had come within thirty kilometres of the Cathedral of Notre-Dame de Paris. During October, a German bomb struck nearby, however there was little to no damage to the cathedral. To ensure no further damage was caused by the war, the West façade was sealed using sandbags to protect it. To celebrate the end of WWI in 1918 the two bells rang in celebration. Not only celebrating the end of the war but the fact there was no damage to the Notre Dame cathedral. In WWII Paris became occupied by Germans. Many of the stained-glass windows were removed in order to protect them from bombing. During Nazi-occupied, Paris German military concerts would take place outside the cathedral. However, it remained open to the public as both a church and a tourist destination. Adolf Hitler had ordered that Paris to be left a “heap of burning ruins”. But, German General Dietrich von Choltitz disobeyed these orders to destroy the city and instead he surrendered it to Free French forces. Subsequently, he was named the “Saviour of Paris”. Although the cathedral was hit by bullets during the war, fortunately only causing scratches to the surface, it emerged largely unscathed. On August 26, the Notre Dame hosted a special mass of thanksgiving to celebrate the liberation and preservation of Paris. The cathedral’s undamaged features were the backdrop to many post-war photos, capturing the heart of the city untouched by the threats of the war.

2019

Notre Dame burns On April 15 2019 at 6:20pm, a smoke alarm sounded during mass but there were no signs of fire. At 6.43pm, a second alarm sounded and a fire was declared on the roof of the cathedral. The roof was covered in scaffolding for current restoration work on the cathedral. The fire spread from the scaffolding, out to the whole roof, as well as the spire. It caused the collapse of the Viollet-le-Duc spire as well as major irreversible damage to the wooden roof. The remainder of the burnt roof lies on the floor of the nave. The stone walls and structure are undamaged by the fire, however, major damage was caused by falling debris to the inside of the cathedral. Thousands of people gathered around the scene, watching as the fire consumed the cathedral’s roof. Some sang Catholic liturgies, whilst others sank to their knees and cried. An atmosphere of sorrow overwhelmed Paris as they watched their beloved cathedral burn. At 7am on the following day, officials confirmed that the “danger of the fire had been removed” with up to a dozen firefighters still on the scene. The main structure had been saved, with the bell towers intact and no major damage to the main rose windows. Two-thirds of the roof had been destroyed with the spire among other debris fallen into the nave, as well as discolouring of the North and South facades caused by the flames and smoke. The damage caused by the fire has sparked major controversy about the restoration of the Cathedral. The damage to the Notre Dame may not have just been caused by the fire, but by an insensitive and unthoughtful perservation project to the building.

PRIMER

1163 - 1190

1190 - 1250

1250 - 1345

1600 - 1750

1789 - 1799

1804 - 1814

1830 - 1852

1852 - 1870

1914 - 1942

2019

Once we had created an analysis of the urban change, as a group we looked to produce visual representations for these phases to be displayed within the Primer exhibition. In order to create a set of cohesive collages we studied and received a workshop from Franz Samsa. During the workshop Franz explained some of his favourite collages, I was inspired by the emotion and information they were able to convey with as little as 3 layers. I furthered these principles we learnt throughout each phase of the project as well as within my Theory into Practice essay.

PRIMER

Fig 2

Fig 1

PRIMER

Group Model The group model was highly successful, allowing us to gain a physical concept of the site before we visited. The model created of the Notre Dame was very intricate and detailed. Through the making of this model I was able to gain a better understanding for the structure within the interior and exterior of the Cathedral.

Primer Exhibition

Fig 3

Fig 4

Fig 5

Fig 6

Fig 7

Fig 8

Fig 9

When discussing the primer exhibition, it was decided that we wanted to create an interactive time-line showcasing the urban change and history of the Il de la Cite. As stated within the primer reflective report we had multiple of technical issues and could not feasible create what we had initially designed. Through improvisation we were able to create a timeline that actively encourage personal interaction. As a result, I feel that visitor was able to understand the history a lot clearer.

PRIMER

Fig 10

Fig 11

Reﬂected

History

Massing Concept 1 

This initial idea was inspired from the research we undertook in the Primer period. I utilised the historical maps that we created throughout the period and overlayed them, creating multiple interesting and distinct forms. Due to my dissertation research, I was aware that I wanted my massing to be a form that was present in the past, creating distinct and important connections with history. As a result, I utilised the curve that surrounded the apse of the Notre Dame, reflecting it, and placing in front of the main facade. The shape created an arch, perhaps, symbolising a triumphal arch which was popularised by Napoleon. Feedback from primer suggested that although it drew on the historical analysis, it would be more convincing if there was a series of moves that helped to form this. The suggestion of framing that was proposed was strong but needed to be developed further along with the narrative.

PRIMER

History History HistoryHistory

Reflected Reflected Reflected Reflected

THE STUDIO TRIP Following in the footsteps of Voilletle-Duc, our studio embarked on a ‘Grand Tour’

Paris Negative space of historical buildings reﬂected through Notre Dame.

Pre-existing building forms layered to create a new form.

Massing

Pre-existing Pre-existing building building forms forms layeredlayered to create to create a new aform. new form. Pre-existing buildingbuilding forms layered createtoa create new form. Pre-existing forms to layered a new form.

Procession

Negative Negative space of space historical of historical buildings buildings reflected reflected through through Notre Dame. Notre Dame. NegativeNegative space ofspace historical buildingsbuildings reflectedreflected throughthrough Notre Dame. of historical Notre Dame.

Massing Massing Massing Massing

Procession Procession Procession Procession

Rome Milan Verona Venice

The massing forms a symbolic arch which creates a procession to the The massing is a extusion from the reflected negative forms. It closes Notre Dame thearch movement of people. and The unisolates the Notre Dame. The massing formsthrough forms a symbolic a symbolic which arch which creates creates a procession a procession to the to the massing The massing is a extusion is a extusion from the from reflected the reflected negative negative forms.forms. It closes It closesThe massing The massing forms through a forms symbolic arch which creates acreates procession to the to the The is the a extusion from Dame. thefrom reflected negativenegative forms. Itforms. closesIt closes The massing athe symbolic a procession Theunisolates massing isthe a Dame. extusion the reflected Notre Dame Notre through Dame the movement movement of arch people. ofwhich people. and massing unisolates and Notre Notre Notre Dame the movement of people. and unisolates the Notre Notrethrough Dame through the movement of people. and unisolates theDame. Notre Dame.

Framing

Framing Framing Framing Framing

Connections Connections to the Notre to the Dame Notre will Dame bewill formed be formed through through the processional the processional walk and walk theand usethe of use framing of framing through through archways archways and windows and windows withinwithin the massing. the massing. Connections to the Notre be formed the processional walk andwalk the and use of throughthrough archways and windows within the massing. Connections to theDame Notrewill Dame will be through formed through the processional theframing use of framing archways and windows within the massing.

Connections to the Notre Dame will be formed through the processional walk and the use of framing through archways and windows within the massing.

STUDIO TRIP

Paris 

La Sorbonne: A Seminar with Jean-Francois. At the start of the seminar, Jean-Francois proposed the question: To what extent has the Il de la Cite been changed? During a slideshow presentation, Jean-Francois talks us through some of the multiple changes that have been employed throughout the Il de la Cite: Haussmann’s interjections, the great fires of the government buildings and so on. He stressed that France as a county is centred on its heritage and landscape and that buildings on the Il de la Cite throughout history have been re-used and re-purposed.

The Cartier Foundation by Jean Nouvel When visiting the Cartier Foundation, I was immediately struck by the glass façade-wall Nouvel had designed. The materiality of the foundation should create a vivid contrast to the surrounds but due to the reflective and transparent nature it enables it to be incorporated. I was particularly interest with this reflective nature and wished to develop it further within my proposal.

The open discussion between Le Sorbonne students and Newcastle started when we proposed: What preservation would you like to see happen to the Notre Dame? One student stated that the interventions on the Notre Dame are driven by an Economic purpose not symbolic. The student was worried that an economic intervention will not give sufficient credence to the area’s heritage. The second student talked about the evolution of the space, stressing that architecture is consistently evolving. The intervention for Notre Dame should give it new aspects but keep the memory of the heritage alive, there needs to be an equilibrium. The third student spoke of how Parisian people never go to the Il de la Cite, due the heavy amounts of tourists they believe it is not true Paris, but as a collective, all beside themselves at the fire, wanting the Notre Dame re-built. Another student believes that Haussmann’s interventions, creating the large boulevards and demolishing the narrow walkways are part of the reasons for Parisians deserting the island. The fire proposes an interesting point in the life span of the Il de la Cite; it is allowing our generation a chance to decide how to proceed: What should the island be? What should it become? The students concluded that there needs to be an equilibrium between tourists and local life. That Parisians need to be brought back into the island. This seminar was incredibly useful as it gave us primary research into people’s true feelings towards the Notre Dame are. It also stimulated multiple thoughts that I wanted to research further such as how I was going to create a proposal that brought back Parisians to the island by giving it a purpose.

Fig 14

The Louvre Pyramid by I.M. Pei This intervention on an already existing building was interesting to visit and understand. The architect wished to solve the problem that arose from an overcrowded and undirected square. The pyramid and underground lobby were commissioned to solve the problems with the Louvres original entrance. The intervention is highly successful. I also find I.M. Pei’s choice of materiality very interesting, the steel and glass contrasts with the original sandstone. I will investigate the use of public squares in more detail within staging.

STUDIO TRIP

Rome The Colosseum Whilst in Rome we received a seminar from a tutor at Notre Dame University. One aspect that I found fascinating was the three separate attempts at preservation on the Colosseum. For me, the most successful is Stern’s intervention (pictured top left.) It does not look to mimic any classical design, therefore, creating a strong preventative step that is visually interesting.

Ideas on Appearing



Whilst on the studio trip I was aware that I needed to analysis the iconic monuments that we were visiting. A key observation that I made was that throughout Rome, when exploring you ‘happened’ upon incredible forms of architecture. This is was due to unconscious landscaping and framing that has built up over many years. This idea was something that I wanted to investigate further within staging.

Bibliotheca Hertziana – Max Planck Institute for Art History The architect has subtly revealed the history of the library throughout the extension. The architect has redesigned the ancient garden to be a contemporary courtyard that monopolizes the viewers eye immediately upon entering the library. The old stepped terrace have also been re-imagined within the stepped balconies that overlook the central atrium of the new design. I really appreciated this buildings interpretation of preservation. The subtle hints to history is something I would like to achieve within my proposal.

STUDIO TRIP

Milan Prada Foundation by Rem Koolhaas alongside OMA For me, this form of experimental preservation was the most radical and exciting to view. It was an incredible experience, there were so many remarkable deliberate design intentions that provoked different responses from all viewers. Koolhaas and OMA created new, interesting relationships between the existing building and the proposed. They have redefined the relationship between old and new. The idea of Old and New is part of our studio specific therefore, I was particularly intrigued to analyse how the y successfully accomplished it. I was particularly taken by the vast material palate that has been chosen and how these materials were utilised and connected.

Verona and Venice ď&#x20AC;

Castelvecchio by Carlos Scarpa Originally a medieval fortress that is set on the riverbanks of Verona. Scarpa renovated it into a museum that features multiple galleries which have all have been intricately intervened on. Within the renovation Scarpa has expertly played with materiality to create fundamental links to history whilst simultaneously being conscious of the buildingâ&#x20AC;&#x2122;s environment.

Querini Stampalia by Carlos Scarpa Scarpa has again expertly revealed the different historical traces within this intervention. On site, I was intrigued by the materiality and the connection points. These ideas on materiality is something that I want to explore further within my proposal.

STUDIO TRIP

Staging Phase Throughout the staging phase I have been developing my relationships and understandings of complex studio themes. This entailed furthering my research into distinct areas that interested me. This section was challenging for me, as I struggled to refine ideas from the readings and develop them into strong design concepts. As a result, my design was not as strong during this process as I would have hoped. However, by discovering and developing my projectâ&#x20AC;&#x2122;s line of enquiry: How can architecture look to celebrate and respect history along with heritage? I was better able to expand and enrich my program to become more tailored towards this thesis. During the site declaration period I found myself drawn to the key ideas of materiality and movement. I realise that on the occasions where I had a strong material idea and influence, my design concepts were far stronger, due to my deeper understanding of these key ideas on which I did not normally focus.

STAGING

Experimental Preservation The key aim of our studio readings was to educate, enlighten and develop our own understanding on how we perceive preservation. Experimental Preservation is the main theme that we explored within interactive seminars that took place during Primer. I learnt that Experimental Preservation is comprised of many faceted layers not only aesthetic ideals but also social and political areas to.



The Il de la Cite is located within the centre of Paris, it is an isolated island which over time has become cut off from the rest of Paris.

I have also derived at the conclusion that both architecture and heritage are ever-evolving processes compared to fixed entities. The concept of experimental and preservation have traditionally been kept separate mainly due to the idea of possibly failing. The word experiment suggests a level of risk, something to avoid when dealing with priceless historical and cultural objects (Otero-Pailos, 2016.)

Site Declaration

Within the Il de la Cite the Notre Dame is found, the main focus of this years Building Upon Building brief. The project aims to create a form of extension to the Notre Dame, to propose a new ‘National Centre of Heritage and Preservation of France.’ An aspect of studio specific places importance on the relationship between the project and the existing architecture.

“Experimental preservationists choose objects that are already there but for whatever reason have dropped out of contemporary culture” - Jorge Otero-Pailos

However, there is a need to experiment with reservation as it is necessary to advance our knowledge on the past and at the same time promote a future. The idea of preservation has the ability to provide multiple possibilities for the field of architecture (Koolhaas, 2016.)

Fig 13

“We are living in an incredibly exciting and slightly absurd moment, namely that preservation is overtaking us.” -Rem Koolhaas

I echo Erik Langdalen’s view that we should embrace experimental preservation with caution (Otero-Pailos, 2016). I believe that preservation work does not in involve changing architecture but changing the way architecture is perceived.

“Architecture is saved from obsolescence and appears contemporary as it is framed and re-framed by preservation as culturally significant.” -Rem Koolhaas

Evgenii Mikhailovskii states that ‘Preservation was the continuous framing and re-framing of a visitors aesthetics experience of architecture.’ (Otero-Pailos, 2016) This coincides with the idea that Preservation and Architecture are an exercise of framing and re-framing our built environment.

“Preservation is always suspended between life and death.” -Rem Koolhaas

Therefore, I was conscious to thoroughly analyse the context on site not only because it will heavily inform my design but so I can also decide the best design approach. The Il de la Cite is a UNESCO World Heritage site, therefore the majority of the buildings within the island are protected. Whilst on site I analysed the different architectural styles within the surrounding context. The site’s landscaping becomes more interesting due to its interaction with the River Seine and the famous riverbanks.

After the extensive research I believe that the phenomenon of preservation has many different opportunities. For me, when a building is undertaking element of preservation it is starting a new era within its many lifetimes.

Fig 12

Materiality

Movement

STAGING

Movement

STAGING

Framing

STAGING

Framing

STAGING

Site Thoughts to Further Develop ď&#x20AC;

Upon revisiting the collected site analysis, trying to formulate lines of enquiry I was clearly intrigued by three key aspects. Materiality, Movement and Framing. Within the Il de la cite the majority of the buildings are formed from the same neutral colour palate, created using Sandstone. I analysed how these materials interacted with each other, intrigued at how they adapted throughout the course of the day. Within the site there is a clear separation of movement. The South West of the square, has a lot more movement and heavier concentration of people compared to less densely populated east. From this I was intrigued to see if I could propose a new controlled journey for people. When traveling around the site, exploring all points of access I was fascinated to see the landscape creating interesting distorted frames of the Notre Dame. This idea of framing was something I really wanted to exploit within my design. I wished to further explore these three key ideas within Staging and utilise them to develop my proposal.

STAGING

Exploring Light 

Gothic architecture exhibits great height, light, and volume (In Good Taste, 2018). Light is showcased through the sizeable windows that disperse light through intricate stained glass that serve to exaggerate and exult the great height of the building, as accentuated by the use of columns. The import placed on light within these Gothic structures correlates with philosophical ideologies prevalent at the time of their construction. These ideologies were derived from philosophers such as Dionysius and Plato, who believed light to be ‘the most noble of natural phenomena… the closest approximation to pure form’ (Von Simpson, 1962). Von Simpson linked these philosophies to religion, considering light to be ‘the most direct manifestation of God.’ It was these philosophies that influenced the architecture of religious structures, with cathedrals built in the Gothic style amounting to ‘a neo-Platonic attempt to materialise and reflect spiritual perfection in the earthly sphere’ (Scott, 2003), these philosophies link to religion as light was considered to be ‘the most direct manifestation of God’ (Von Simpson, 1962). The light experienced in Gothic buildings is a unique, filtered light, coloured and transfigured, loaded with mystery and symbolism (Jantzen, 1979). The light within cathedrals was not just used to illuminate the interior, but also to allow light to pass through the different coloured glass and allow what some call a divine light to enter the cathedral (Alex, 2010).

STAGING

Analysing Elements of the Notre Dame ď&#x20AC;

Response to Climate Crisis Throughout the studio trip the effects of the climate crisis were evident and worrisome. This encouraged me to make my proposal as sustainable as possible without compromising the integrity of my design.

When furthering my knowledge on the site it was important for me to analyse the Notre Dame in more depth.

My sustainability strategy draws on ideas I formulated within the Integrated Technology module. Throughout the build there will be multiple steps to ensure that the building is as sustainable as possible. A progressive building strategy has been utilised through the employment of a smart integrated building management systems. This system has the ability to constantly monitor energy use and therefore, maximises efficiency by ensuring materials are only used when needed.

I started this phase with a reflection on my photos from the site trip. I was intrigued at the how the materiality although all sandstone, had different qualities and evoked different emotions as I travelled the perimeter of the Cathedral. This materiality evolution was due to many aspects, but I was interested in the environmental change. When the sun was not shining on the Cathedral the stone appeared dull but still had warmer tones. When directly in the suns path the cathedral glistened, the sandstone appeared lighter with white tones being revealed. This adaptable material quality really intrigued me, and I wanted to engage with it further. Within the next phase I wanted to understand the structural properties of the Cathedral better. Through this analysis it revealed key aspects that I was fascinated to either contrast or create design interpretation of these fundamentally Gothic characteristics.

A key feature to my building is the landscape strategy which will enhance the ecosystem. Landscaping is a key part to my design philosophy, helping to reintegrate the island back into the city. A specific aspect will be the planting of Plane and Linden trees along the southern facade, overtime these will grown and provide shade for the extensive facade. By planting these trees that are native to Paris it will increase the biodiversity.

Outer Structural Walls

I am aware of the carbon costs that using steel implements onto the planet. However, due to the site being heavily protected, with archaeological sites underneath and unstable soil situations due to the close proximity of the Seine I was recommended steel has a primary construction method during the symposium. The steel that will be used within the project will be sourced from a wholly sustainable, recycled source. If the building reaches the end of its life, the steel within the forms will be de-constructed and recycled.

STAGING

1163 - 1190

1190 - 1250

1250 - 1345

1600 - 1750

1789 - 1799

1804 - 1814

STAGING

1830 - 1852

1852 - 1870

1914 - 1942

2019

2025

Within the Primer phase we researched and studied the Il de la Cite, analysing its urban context throughout history. Learning about the Notre Dame’s past and the many lives it had. I furthered the analysis we started within primer by creating 3D forms of the changing context so I could fully appreciate how the urban landscape changed. This analysis also inspired me to create forms that were present in the past. Barbara Drake Boehm who is the Senior Curator for the Met Cloisters states that the: “Notre-Dame Cathedral is the very soul of Paris and so much more—it is a touchstone for all that is the best about the world, and a monument to the highest aspirations of artistic achievement that transcends religion and time. It has survived so much—from the French Revolution to Nazi occupation—to watch its devastation is excruciating.” This quote has inspired my project greatly, to create a proposal that truly pays respect to the Notre Dame and the many lives it has survived. I have also been intrigued by the idea that preservation gives the old a new life, after analysing these maps I find it inspiring how much the urban context of the Il de la cite has adapted, changed and reinvented itself over the years. I was initially inspired to draw inspiration from history due to my dissertation work where I studied Daniel Libeskind with specific analysis made to the Jewish Museum Berlin. The museum is heavily embedded with deeper meanings, with Libeskind creating an initial form from drawing on maps and connecting locations.

STAGING

A Brief History on Parisian Squares

Exploring Haussmann Ideals The rebuilding of Paris between 1850 and 1870 is a crucial moment in urban history. Hausmann’s treatment of Paris was arguably the first conceptualization of what we contemporarily understand as the modern city. His work showed a new approach to town planning, revolutionising urban logic. The object of Haussman’s work was to address to urban problems of health and traffic, and to see physical design as a remedy for such issues. (Kostof, 1982) This in turn resulted in the reduction of urban tensions by the demolition of old neighbourhoods that were trouble spots. In consideration to the Ile de la Cite, Haussmann’s logic of redevelopment created a new layout for the area with his architectural influence aiming to emphasise geometric harmony and formal relationships. (Chapman, 1953) Though, through his work the island became an enormous construction side, causing controversy and criticism.

The modern concept of the French square was brought about through the professed intent of honouring the monarchy, with the transformation of the compressed triangle of the Palace Dauphine on the Il de la Cite transformed into the Palace de la Concorde, which was unveiled in 1763. Whilst this had the professed intent of honouring the monarchy, it also served to develop the city and create usable public space (Webb, 1990).

Square and Distribution of the Environment of the Cathedral, Reims, France Fig 15

Fig 17

Fig 18

The modifications were carried out after the Revolution with the aim to isolate the Cathedral from its nearest surroundings, to theoretically emphasize its monumentality. (Linazasoro, 2020) Therefore, this project sought to restore the building scales within its nearest surroundings; the pre-existing residential fabric remained untouched. To achieve this the architects implemented platforms, differences in levels, sculpture elements and garden landscaping actions with the aim of

Haussmann's design strategy was to isolate all monuments, removing any urban context around them. As a result I feel that the monuments became disconnected from the rest of the city. This idea has inspired me to rebuild the urban context that once surrounded the Notre Dame in order to reintroduce the Il de la Cite back to Paris.

altering the public areas. (Linazasoro, 2020)

Fig 16

Fig 19

Fig 20

STAGING

Initial Massing Concepts

STAGING

Massing Concept 2: Appearing

Massing Concept 3: Hotel Dieu

This initial massing idea was inspired by aspects of the seminar with La Sorbonne when the loss of historical streets, the old cobbled winding streets was mentioned.

This massing idea relates to an initial concept that was conceived during Primer.

The massing has also been influenced from our studio trip. Whilst exploring Rome, something I admired was the narrow streets, appreciating the multiple paths that you could travel to reach your destination. Whilst on this journey, you may happen upon incredible buildings that were rich with history. I believe this element of â&#x20AC;&#x2DC;happeningâ&#x20AC;&#x2122; enhanced the awe of the building. The monuments were almost hidden by their landscape. Astonishment was heightened by the close proximity of the surrounding context, creating an almost intimate feel with the architecture. The main example of this idea that I analysed was the Pantheon in Rome.

Hotel Dieu was a hotel for the poor, located within the square, in front of the Notre-Dame and extended over the small bridge along the Seine. It was expanded and ravaged several times before it was demolished in 1878. (Soundlandscapes, 2020) Like the Notre-Dame, I was inspired by the history of Hotel Dieu, it endured multiple different lives, functions and forms. Therefore, the proposal looks to be built where Hotel Dieu used to reside, recreating elements from the past I also proposed that another mass be built on the opposite side, this will frame and establish tension between the masses and the Notre Dame.

When developing this idea with research from Primer, I was made aware that throughout history the NotreDame has always been surrounded with urban context, only being isolated by Haussmann. Therefore, this proposal looks to rebuild the urban context and re-create the effect of awe for the Notre Dame.

STAGING

The Nelson-Atkins Museum by Steven Holl

Combining Massing Ideas

 This extension has fused architecture with landscape to create an experimental form that unfolds for visitors as it is perceived through each individual movement through space and time. The extension engages with the existing context, transforming the entire site into a precinct of the visitor’s experience by forming new spaces and angles of vision. The building has achieved a dynamic and supportive relationship between art and architecture. Through the flow of light, art, architecture, and landscape. (Kipnis et al, 2007)

Whilst the previous massing concepts had strong attributes, I looked to combine ideas from all of them to create a more cohesive concept. Within this proposal there is a key focus on history, I was inspired to rebuild the urban context that had surrounded Notre Dame in the past. As Notre Dame’s current context is a product of Haussmann ideals meaning that it is very isolated, like many of the other monuments throughout Paris. The proposal also looks to redefine the Notre Dames square and create various points of tension with the Cathedral.

Fig 22

I have found that this precedents materiality choices have influenced me greatly. Similar to qualities found on site, the masses façades change throughout the hour, day and season which allows for a sensitive relationship to the context. The glass lenses inject varying qualities of light into the gallery. The masses are created through multiple layers of whitened translucent glass which gathers, diffuses, and refracts light. The light passes through multiple layers of diffusion and diffraction taking on an ethereal mistlike quality that fills the volumes. (Kipnis et al, 2007) A main criterion for the proposal was for it to not marginalize the existing building but to create ‘A Complementary Contrast.’ This idea of a Complementary Contrast is something that I looked to recreate within my proposal.

Fig 21

Fig 23

STAGING

Design Manifesto The Paris Musees have tasked me with building an extension to the Musee Carnavalet, a museum which is dedicated to the history of the city. The extension will subsequently be dedicated to the history and heritage of the Il de la Cite with specific relations to the Notre Dame. The extension will also expand on the museum of sculptures, creating a landscape strategy that links with the island, aiming to reintegrate the island back with the city. The project will pay homage to the many lives and layers of the Il de la Cite, drawing on the knowledge gained from Primer. Within the proposal I aim to investigate how architecture can celebrate heritage, seeking to fuse architecture with landscape to create an experimental design that unfolds for visitors throughout.

Studio Specific 1 The relation of New with Old is a key strategy within my project. Primarily I am approaching this theme through materiality. I have been incredibly inspired throughout the studio trip in regard to material choices. We visited specific works that had successfully combined New with Old. I will analyse further the works of Rem Koolhaas and Carlos Scarpa to understand how they effectively combine their new proposals with the existing. Another material influence throughout the project has been Steven Holl. I have been influenced by his extension to the Nelson-Atkins building in Kansas. His materiality choice perfectly compliments the original Sandstone building but also contrasts therefore, creating a new aesthetically pleasing landscape.

Line of Enquiry My direct line of enquiry aims to investigate how architecture can celebrate history and heritage? It will also look to reincorporate the Il de la Cite back to the city.

STAGING

Studio Specific 2 “The term restoration and the thing itself are both modern.” (Voillet-le-Duc et al,1990) Viollet-le-Duc was one of the most prominent architectural theorists of the 19th century who was a champion of Gothic architecture. (Voillet-le-Duc et al,1990) Viollet-le-Duc dedicated his life to the restoration of many of Frances great architectural monuments. He began his career in 1840 with the restoration of the 12th century basilica of Vezelay in Burgundy. This was followed by the restoration of the Sainte-Chappelle, situated on the Il de la Cite. This project was undertook along with Jean-Baptiste Lassus. In 1844 Viollet-le-Duc and Lassus won the competition to design and restore the Notre Dame. (Spurr, 2012) Many believed Viollet-le-Duc invented modern restoration both the theory and the practice (Spurr, 2012), believing that the act of restoration can transform an ancient building into a monument of permanent and transcendent value. Voillet-le-Duc’s definition of restoration dictated that: ‘The work and the thing itself are modern: to restore a building is not to maintain it, repair it, or rebuild it is to re-establish it in a complete state that might never have existed at any given moment.” (Spurr, 2012)

Preservation Manifesto President Emmanuel Macron has made a hasty promise to restore the Notre Dame within five years, in my opinion this announcement is incredibly overzealous and does not commit to a satisfactory restoration effort. My preservation manifesto is derived from Viollet-le-Duc. I concur with Voillet-le-Duc, where within his writings he wrote positively about improving the technology within historic buildings when better materials or systems became available. Specifically referencing within Volumn 8 of Dictionnaire raisonné the example of a gutter, and that if they had been invented at the time of a buildings conception the master masons would have utilised them. When writing about the actual restoration of buildings, Viollet stated three key factors: the importance of structure, materials and usefulness. (Jackson, 2004) Therefore, when the Notre Dame is restored the new supports implemented should be the same weight as before. When the materials are replaced, they should be of better quality than the original to ensure that the new replacement is the last. A successful choice of new materials is also imperative to a successful restoration. The new restored section implemented onto the Notre Dame should also have distinctly different characteristics to the older features. Lastly, it is very important that the Notre Dame is given a new use after the restoration, for it to not only be a tourist attraction. However, I stress that there should be absolutely no rush to the restoration of the Notre Dame. Instead we should seek to celebrate, learn, and understand from the aesthetic of ruin. 68

Studio Specific 2 The proposal relates in multiple different ways to the historical landscape of the Notre Dame and the Il de la Cite. Throughout primer and staging my design proposal has been inspired by the historical landscape of the Il de la Cite. A key design strategy of the proposal is to re-build the urban context that once surrounded the Notre Dame. Within my project I have been heavily inspired by Steven Holl, with specific reference to his extension on the Nelson-Atkins Museum. As a result, within my project I looked to create a building that had some complimentary contrasts with the Cathedral. Opaque - Transparent Heavy - Light Old - New Single Mass – Multiple Masses I looked to further these ideas by analysing and creating design interpretations of the Notre Dame. To create these, I had to heavily analyse the Cathedral. By understanding the structure of the Cathedral, I chose to utilise steel columns, this, I believe is a modern material that reflects similar design aesthetics to the thick stone columns. The steel columns have also been deliberately placed at 4.6m apart, directly correlating with the placement of the flying buttresses. Within the Museum, there is a reinterpretation of a procession that is clearly revealed within plans of the Cathedral. This procession will allow directed circulation to travel through it. My proposal also gains a connection to the Cathedral through framing. I will look to design multiple different frames of the Notre Dame from all points of access.

STAGING

Thinking Through Making

Discussing the Program Private Study

As the brief is very large. I started by linking different elements, trying to find links between each one to create spatial relationships.

Group Study

This exercise created three defined groups, therefore I looked to design three separate massings that had connections through ten-

When Thinking Through Making Week commenced, I was still really unsure on how my project was going to develop. Therefore, I looked back to Primer and to my Site Analysis to seek inspiration. Throughout the project I had been inspired by materiality and reflections. I created multiple masses in different materials to analyse their connections and responses to differing environments. The forms derived from one shape that was disrupted to create multiple pathways. The materials selected where chosen to represent similar textures or materials from site: Wood represents the surrounding landscape or the 'forest within the Notre Dame.' I dyed plaster with yellow food colouring to create a similar tone to the Sandstone buildings. Concrete resembled other elements found within the site and helped to bring textures to the model.

Book Storage

Offices

Library

Cafe

Relaxation

sions, materiality and functions. I have redefined the brief to better suit my line of enquiry.

Artefacts

Interactive Timeline

Outdoor

Cafe

Restaurant

Museum

Relics

Active Archive and Labs

An added element of water helps the investigation into reflections. As the site is surrounded by the Seine, I was interested in seeing if I could form any connections with it. I found the reflections created from the black concrete rather haunting and mystical. The reflection adds another dimension to the materials.

Gift Shop

Conditioned Storage

Private Connection

Crypt

Point of Tension

These ideas of materials and reflections is something I wanted to further develop and further within my project.

Publicly Linked

THINKING THROUGH MAKING

Synthesis and Realisation The synthesis and realisation phases were the most difficult, though the most rewarding stages of my design process. I had to learn and adapt my method of architectural design, as I had been using a set method to tackle every previous project throughout my degree. In first and second year I heavily favoured hand-drawing for all my technical drawings as I was daunted at the prospect of learning a new computer programme. With hindsight I can see that this trepidation held me back and hindered my personal development around my understanding of architectural design. Putting aside my fears of design programmes, I taught myself how to use AUTOCAD, becoming much more computer literate. This overcoming of my fears allowed me to create work that I believe better conveys my thoughts and aims in a far more coherent manner and to a far higher standard than could have been achieved through hand drawing. I think it was in this final stage that I developed the most as a designer. Although I didnâ&#x20AC;&#x2122;t enjoy working alone, as in the studio I was able to use my peers as a sounding board for my ideas, bouncing ideas off one another and creating a sense of urgency in my work, I felt that my personal drive was developed. I learned to motivate myself and noted the benefits of working alone and find myself much more confident with my own abilities to create and follow through on a project of my own volition.

REALISATION AND SYNTHESIS

Kursaal Congress Centre and Auditorium by Rafael Moneo Both these precedents were used to further develop my initial design concept by analysing the way in which they solve the idea of movement.

Weighting the Program By defining my line of enquiry I was able to develop the proposals program further from the initial concepts suggested within staging.

The Kursall Congress Centre looks to create movement through the varying floor levels and staircases. I was also interesting in the innovative use of the cavity wall and the use of materials throughout. Moneo has also successfully and cautiously integrated the building into its surrounding context.

I was able to weight the spaces due to what I deemed more valuable more important within the proposal. As a result, the museum space is considerably larger than others. Fig 24

Fig 25

Museum Bregenz by Peter Zumthor Zumthor has created dynamic and interesting spaces within this cubic and rudimentary form. I found it really interesting how he divided the areas by using harsh wall planes this allowed a direction within open space. Zumthor's materiality palate is also very intriguing. The more solid concrete interior creates a juxtaposition to the glass facade. The materiality choices also successfully showcases the artwork.

Fig 26

Fig 27

REALISATION AND SYNTHESIS

Creating a Perimeter Following on from my research into Haussmann ideals and Public Squares within staging I realised a wanted to de-isolate the Notre Dame. The first step I took to achieve this was to re-establish a new perimeter that surrounds the Notre Dame at a much closer and intimate distance. The massings were then formed around this crude line, creating interesting anglular forms.

Establishing Points of Tension Within the design it was important to make sure all the separate entities were connected. This drew me to form multiple â&#x20AC;&#x2DC;points of tensionâ&#x20AC;&#x2122; between each massings and the Notre Dame. These points of tensions help to frame the Notre Dame and create connections between them. The main tension has been created with the forms directly in front of the west facade of the Notre Dame. Points have been created to correspond with varying interesting details within the facade of the Notre Dame such as the doors or towers. This is very important as it helps situate the forms within the context.

REALISATION AND SYNTHESIS

Redefining the Square

I aimed to re-design the square and subsequently de-isolate Notre Dame. I achieved this by re-defining the square surrounding the Notre Dame, creating a new, smaller perimeter around the Cathedral. Within the west facade a funnel effect was created that directs viewers into a smaller structured square and then subsequently onto another structured square. This encourages three different types of interaction through the frames. The square has also been redefined by the massing proposals.

REALISATION AND SYNTHESIS GIFT SHOP, CAFE AND RESTAURANT DESIGN DEVELOPMENT

LIBRARY DESIGN DEVELOPMENT

Ground Floor

First Floor

Second Floor

Ground Floor

First Floor

REALISATION AND SYNTHESIS MUSEUM AND ARCHIVE DESIGN DEVELOPMENT

Ground Floor

First Floor

Second Floor

Basement Floor

REALISATION AND SYNTHESIS

A Journey through the Buildings As derived from the site analysis and the program development within the staging phase there is a clear separation between the desired journey of the public compared to the private. This has been achieved through the placement of the forms. The public realms occupy the southern space within the site and the more private program is placed along the northern. This separation aims to help include and attract locals to the site.

REALISATION AND SYNTHESIS

Ground Floor of the Museum My program is heavily weighted towards the museum and active archive. Circulation throughout the museum is centred around the two large atriums that travel from the ground floor till the roof. As illustrated within both the primer and staging phase the proposal is curated from an appreciation of history. The program within the museum looks to directly respect the history of the Notre Dame and the many lives it has had. As a result the ground floor of the museum has been designed to display many artefacts, statues and relics that were restored within the archive or rescued from the fire. When designing the space, I wanted to design specific spaces that would showcase these artefacts. I was particularly inspired by the ‘Bells of Notre Dame.’ This encouraged me to design another atrium with a viewing gallery above. The double height atrium will display and showcase the bells without any interruptions. The space also allows and encourages different levels of interactions: from above, below, distanced and personally. This ability to confront the artefacts gives a more personal and developed understanding, allowing the visitor to deepen their respect and awe. Along the north façade of the museum I have designed a specific space to display Voilett-le-Duc’s 12 apostles. The viewing conditions created for the bells will also be applied to the statues.

REALISATION AND SYNTHESIS

First Floor of the Museum The design of the First and Second floors are heavily centred around the journey of the viewer. The journey has been dictated by the specific program which will showcase an interactive timeline of the history of the Notre Dame. This idea of curating a timeline was inspired by the work we undertook in Primer.

REALISATION AND SYNTHESIS

Active Archive Once the visitor has actively learnt about the history and engaged with the Notre Dame, they are encouraged to view physical restoration work within the basement. The basement confronts one of our main studio themes: how to connect old with new. The old retaining wall of the riverbank is exposed allowing the viewer to directly confront the heritage and history of the past. A key design strategy of the project was to create a building that pays homage to the history of the site. By exposing the retaining wall, it allows the visitor to further understand and respect the engineering mastery from the past. The retaining wall also has stepped levels, protruding into the archival space therefore, breaking down visual boundaries between old and new.

The connection of old and new is also made through materiality. The join is celebrated using previously analysed Scarpian ideals. Within the basement there is a distinctly separate area which is private, this is partitioned by an interior glass faรงade. The private entrance is accessed from the riverbank, the entrance is a physical movement through history. The journey of the public visitor is a passageway that leads directly into the already present crypt.

REALISATION AND SYNTHESIS

100

101

REALISATION AND SYNTHESIS

Gift Shop, Cafe and Restaurant ‘Pavilion’ Once the visitor has finished viewing both the museum and the Notre Dame, the landscape ushers them along the riverbank towards a smaller massing. Within this massing, on the ground floor there is a gift shop and café. On the second floor there is a restaurant and bar. A key feature within this pavilion is the outdoor restaurant and bar which has deliberately designed famed views of the Notre Dame.

102

Moving from Public to Private During the development of the program phase, there was a realisation of a distinction between spaces that were for the public and some that were better utilised when private. These ideas also coincidence with the distinct divide between areas of tourists and non-tourists when on site. As a result of this analysis the library has been deliberately placed separate to these more public entities. Situated along the northern area of the site, in front of the western façade of the Notre Dame but away from the ‘journey of tourists.’

103

REALISATION AND SYNTHESIS

104

105

REALISATION AND SYNTHESIS

Ground Floor of the Library Within the library the staircase is one of the main design features of the massing, designed within the centre and to be sculpted out of concrete providing a key space for movement from the ground floor to the first. The library storage subsequently frames the surroundings of the staircase. Within the cafĂŠ there is seating that helps to frame views of the Notre Dame.

106

107

REALISATION AND SYNTHESIS

First Floor of the Library As previously stated the staircase is one of the main features to the design. As the proposal developed, so did the staircase. In order to utilise it more appropriately desks were designed to wrap around. This becomes an interesting feature as it pushes the staircase further. This new desk design will not only be visually interesting but will be an enjoyable space to work due to the surroundings. The development of the staircase also helped create distinct movement for the visitor. Distinct movement has also been created within the cavity walls which is a key design strategy. Within the library the development of the cavity wall has been furthered, utilising the space not only as a transitional but also to create functional spaces. These workspaces will have a calming environment due to the subtle and ethereal white glass materiality.

108

109

REALISATION AND SYNTHESIS

Moving through the Forms As previously stated during precedent analysis, the journey of the viewer has been incredibly important within the whole design process. As the design developed, the massings design techniques enabled a journey between themselves. The restaurant pavilion draws on ideas that arose when analysing Zumthor. The thick concrete walls creating a semi partition to the transitional space. The movement within the pavilion is therefore, clearly directed and purposeful. Within the Museum and Archive there is a equilibrium between ideas proposed by Zumthor and Moneo. The journey within the museum is initially directed by two concrete walls within the first atrium. This provides a pinnacle point within the museum as there are three distinct pathways the viewer can take. When traveling on from these, the journey adopts ideals from Moneo, allowing flow between the cavity walls. The two atriums designed within the Museum are key to the movement. The library employs design ideas from Moneo. With the cavity spaces further developed and utilised. Within all the proposals the staircases are a key design feature, not only for the journey but as individual sculptured pieces. The majority of the staircases employ the idea of â&#x20AC;&#x2DC;donkey stairs.â&#x20AC;&#x2122; These prioritize the movement of the viewer, creating longer and more pleasurable transitional spaces for the viewer to travel.

110

111

112

REALISATION AND SYNTHESIS

113

REALISATION AND SYNTHESIS

Framing the Views Within the proposal two viewing platforms have been designed to frame what I perceive to be the key points of interest within the exterior of the Notre Dame. The first platform is designed to cantilever off the first floor of the Museum, framing the west facade. The platform provides a visual pause from the interactive historical timeline and allows the viewer to appreciate the iconic architecture they have just expanded their knowledge on, hopefully creating a deeper understanding and respect for it and therefore, strengthening their awe. A second viewing platform was created to frame the apse, giving an uninterrupted view of the engineering wonder of flying buttresses. This unspoilt and personal view of the structure helps develop their respect for the cathedral and how revolutionary it was.

114

Playing with Heights Within this project I have been very aware of the large height of the surrounding context. As a result, from the offset I was sure that I did not want my massingâ&#x20AC;&#x2122;s to try and compete or take away from the height of the PrĂŠfecture de Police, Hotel Dieu or Notre Dame. These buildings are from two different eras respectively therefore, I wanted to make a clear separation. Subsequently, I drew in on the design strategy to create a complimentary contrast. To create this contrast angled roofs were designed. This roofscape draws corresponding vertical parallels with the Police Building but also draws the viewers visual towards the Notre Dame, framing it. As if the proposal was in awe of the Notre Dame. The lowest height is 10m, this corresponds to the height of the doors of the Notre Dame, creating visual points of tension. Each floor is also designed at 5m high which coincides with the surrounding buildings meaning views from within are not cut off by ground planes.

115

116

REALISATION AND SYNTHESIS

117

REALISATION AND SYNTHESIS

Framing the Journey As previously stated, framing is a key theme within the project. When on site it was made obvious that a lot of the built urban context that surrounded the Notre Dame, provided interesting visual frames creating new aesthetic visual cuts. Within the design it was important for my building to also create this effect. When approaching from the west the Museum works in tandem with the old PrĂŠfecture de Police. Helping to slowly reveal and distort the visitors initial view of the famous facade. This design technique will help to draw focus to selected areas of the building, in a hope to not overwhelm the viewer and cause a deeper appreciation for the architectural wonder. As a result the approach will not reveal an uninterpreted view until the visitor reaches the redefined square. I have again utilised the old riverbank to help frame the Notre Dame. From this view upwards the Museum will provide an interesting visual join from the bank to the Notre Dame. Celebrating the connection of Sandstone to Sandstone through a mystical white glass. This idea of materiality connection has been studied throughout the project as well as within the integrated technology module.

118

119

REALISATION AND SYNTHESIS

Cavity Wall ‘Inside - Out’ A main design strategy for the project was to create complementary contrasts between the massing’s and the Notre Dame as well as interesting design interpretations. These ideas have helped to make connections between the Notre Dame and the proposal. This idea initially started with a double skin cavity encasing each massing. This was my response to the thick structural walls of the Notre Dame. This idea developed. By studying the Notre Dame I was aware of the ‘secret’ stairs that are concealed within the walls that lead to higher galleries. This inspired the cavity walls to become part of a journey within the project. It created this idea of ‘inside out.’ The cavity walls become a transitional space making the journey of the viewer interesting.

120

121

REALISATION AND SYNTHESIS Concrete

Materiality Analysis When furthering my knowledge on the site it was important for me to analyse the Notre Dame in the proposal’s materiality aims to create a complementary contrast to the Notre Dame and the surrounding buildings. A contrast between old and new materiality. A heavy, single mass juxtaposes the light, reflecting masses.

Gold

The masses are formed of a specialist glass that changes throughout the hour, day and season allowing for a sensitive relationship to the context. This adaptable tonal quality has been present throughout my research and each development phase. Within my integrated technology report, I analysed methods of connecting old with new through research of Carlos Scarpa. I looked to redesign details on various scales. Ranging from shadow gaps, columns and then with the larger connection to the Notre Dame. Through materials I looked to establish a ‘new’ material to connect to the ‘old’ Sandstone. Through development I deduced that either concrete on a larger scale or gold on a smaller scale joins are the most successful.

Sandstone

Fig 28

Fig 29

122

123

MORNING

124

REALISATION AND SYNTHESIS

125

126

SUNSET

REALISATION AND SYNTHESIS

127

128

NIGHT

REALISATION AND SYNTHESIS

129

REALISATION AND SYNTHESIS

Exploring the Structural Strategy The structure is another aspect of the design I looked to create a complimentary contrast and design interpretations within. The structure of the project creates another connection to the Notre Dame as the steel columns are placed 4.6m apart which mirrors that of the flying buttresses. A deliberate materiality choice of steel contrasts with that of the masonry stone.

4.6m

As stated within my reflective report, the integrated technology module has been vital to the development of my design philosophy. By incorporating the inner columns I have been able to further relate my design to the Notre Dame. 4.6m

130

Fig 30

131

REALISATION AND SYNTHESIS

New Landscaping Strategy The landscape strategy titled â&#x20AC;&#x2DC;Paris City of Treesâ&#x20AC;&#x2122; aims to reintroduce and reconnect the Il de la cite with the surroundings. The proposal looks to infuse ideas of wandering through the streets that have carried people through Paris for centuries. The landscaping scheme will have paths leading to intentional views of the Notre Dame. The proposal also looks to transfer gardens into the street. I have targeted these ideas through three key ideas.

132

133

REALISATION AND SYNTHESIS

Sculpture Park As previously stated, my landscaping scheme expands on the Museum of Sculptures. The museum is an open-air sculpture park situated along the bank of the River Seine. The sculpture park stretches just 600m long and contains over fifty sculptures by famous artists including Cesar and Brancusi. When visiting the museum, it has fallen into somewhat disrepair with decay and graffiti. There appears to be a loss of love and appreciation for art within this historical area. (Eutouring.com, 2020) My scheme looks to expand the museum, creating a journey that travels along and through the island. Aiming to create an interesting and enjoyable walkway that is full of culture for the Parisians. I have designed sunken oval seat that looks to be built all along the new pathway. These sculptural seats will provide both views of landscape and art, celebrating Parisâ&#x20AC;&#x2122; rich culture. The seats will encourage Parisians to visit more, relax and enjoy the Il de la Cite. The design of the seats suggests a more relaxed environment whereby someone to lie down or enjoy a picnic with their family. I made a conscious design decision to sink the seats downwards into the bank so they will provide some privacy from the busy streets.

134

135

REALISATION AND SYNTHESIS

Connecting the Landscaping to the Past The redefined squares landscaping has been inspired by Primer, creating another important tie to history. The squareâ&#x20AC;&#x2122;s strategy aims to respect the forms that were present in the past. I simplified the maps that were created throughout each period and overlaid them. This create a plan in which I wanted to investigate how to fuse the materiality of old and new. New materiality has been represented by dark tarmac and the old by cobbles. This choice of materiality will draw a connection to the old winding, cobbled streets of Paris that are evidently missed. There will are also interesting extruded forms that provide places of rest. These will be created out of sandstone to create another connection with the surrounding urban context.

136

137

REALISATION AND SYNTHESIS

Tree Plantation From extensive research on the natural and implemented landscape of Paris I have chosen to rejuvenate and re-plant Plane trees. Plane Trees are found throughout Paris and are rich with history. Napoleon ordered that famous boulevards such as the Champs-Elysees should be lined with Plane Trees. (Daysontheclaise, 2011) By planting these within the site and surrounding riverbanks it will draw connections with these other memorable and iconic areas. As well as creating visual connections to the sculpture museum and along the riverbank.

138

139

Thinking Through Making Workshops The key feature that drives the Thinking Through Making is to develop us as architects. By giving us the opportunity to have hands on approach to building materials and features in a hope that they could be incorporated or inspire areas of our designs. I have found that through these hands-on experiences I have been able to gain a better understanding for materials strengths and weaknesses.

140

141

THINKING THROUGH MAKING

Casting with Hope Stebbing ď&#x20AC; ď&#x20AC;

Hope Stebbing is an artist working in the North-East she has extensive knowledge and practice of working with concrete and plaster as well as using casting practices to inform her work. Within this casting session we explored how textures, pigmentation and form-making can be easily achieved and can be extremely beneficial for the design process. I found this workshop incredibly useful, having never casted properly before. I took ideas from this workshop and re-purposed them within Thinking Through Making Week.

142

143

THINKING THROUGH MAKING

Working with Wood with Guy Scott 

In this workshop Guy Scott, who is a trained architect turned joiner and fabricator of custom joinery commissions, introduced us to some of the basic techniques of working with wood. We explored this by using very thin sections of timber and manipulated them into various shapes and forms through processes of lamination, de-lamination and careful manipulation of wood using moulds, clamps and fast drying glue.

Cooking with Concrete 

In this workshop, Russ Coleman taught us how to cook with concrete, likening the casting process to baking and opening a range of possibilities for using concrete more innovatively. Within the workshop there was a focus on how concrete can be used more sustainably with the addition of recycled aggregates and agents. I found this information so interesting as concrete was a material, I was very interested in using throughout my design process due to its versatile properties. The results of adding these recycled aggregates to the concrete was very successful, creating a rainbow affect within the concrete when dried and polished.

144

145

THINKING THROUGH MAKING

146

147

THINKING THROUGH MAKING

Transforming Object's with Poppy Whatmore ď&#x20AC;

Within this workshop we appropriated DIY methods to create absurd mechanisms for fixings and means of assemblage, juxtaposing a constructive process against methods for taking things apart, namely the constructive antithesis, deconstruction. I found this workshop so enjoyable. I was actively encouraged to think impractically with no end product in sight.

148

149

CULTURAL BIBLIOGRAPHY

Cultural Bibliography My introduction and interest in architecture came through my love of travel. This past summer, I decided to travel to Siena to further my knowledge of the Renaissance. This period is particularly interesting to me not just for the art and architecture but also for the surrounding social and political context. I have always been fascinated by the way architecture can provide a broader depth of perspective and knowledge into a variety of areas including history and literature, and similarly how these disciplines are mutually influential. Viewing Bernini’s gilded lantern within the Siena Cathedral and observing how his influence as a pioneer of the Baroque movement inspired not only other artists but also wider society.

FASHION • PREVIEW COURTESY OF ROBERTS | WOOD, AW19 PRESENTATION

RICHARD QUINN, FOH, RICHARD QUINN, FOH, LFW, AW19, BRITISH LFW, AW19, BRITISH FASHION COUNCIL, FASHION COUNCIL, PHOTOGRAPHED BY PHOTOGRAPHED BY SHAUN JAMES COX SHAUN JAMES COX

LO N D O N FA S H I O N W E E K Friday 13 to Tuesday 17 September. For more information visit londonfashionweek.co.uk

The positive fashion initiative is designed to develop connections

n September, London will yet again become alive and saturated with culture. Fashionistas from all over the world will swarm to London to view the collections from the best creative talent; from emerging designers to heritage labels and internationally recognised fashion houses. London Fashion Week is known for its creativity and innovation and along with the British Fashion Council (BFC) and pride themselves on being on the forefront of culturals times, being the first to promise fur free and now they are the first to open the doors to the public. This will further blur the lines of what was traditionally known as a global trade platform. This year the BFC along with The Designer Exhibition have continued their pledge to focus on the #Positive Fashion Movement. This is an initiative with a platform that has been designed to celebrate industry best practice and encourage future business decisions to create a positive change. The movement is underpinned by three key themes: Sustainability, Equality & Diversity, Craftsmanship & Community. The theme of sustainability focuses on the social, environmental and business governance that will drive a more sustainable fashion future. The BFC is actively encouraging designers to

Setting the

S T A N D A R D S

For this month's London Fashion Week, sustainability and ethics are at the fore Wo r d s V I C TO R I A P E A K E

use environmentally friendly materials that are energy efficient, chemical management, reduced pollution and products that do not harm animals. An extremely important aspect is equality and diversity. This focuses on the representation of people, from the product makers to the staff, students and models who represent the brands. The BFC has found themselves setting the standards for an industry that has begun to strive to represent equality and diversity on a global platform, they have consistently championed the importance of every person working within the industry and that everyone is entitled to be treated with respect. The last pillar is craftsmanship and community. The aim of this is to support the community of talents, skills and craftsmanship that make up the British fashion industry by celebrating the wealth of talent and capability. The positive fashion initiative is designed to develop connections and an understanding between the designers and manufacturers. British designer Katie Roberts-Wood who is behind the studio Roberts Wood has been championing the Positive Fashion movement. As a design studio they are committed to developing sustainable, flexible production methods, valuing a

During the summer of 2019 I worked as an editorial intern for the London based magazine, Absolutely. This opportunity allowed me to investigate and visit a variety of art-based events in the capital. A highlight was my visit to the William Blake Exhibition at the Tate Britain. Blake’s original mind and unique ability to produce, illustrate and publish his own work fascinated me. Following this, I wrote an article for the magazine describing the works and its surrounding historical context. I thoroughly enjoyed this process and had several other articles published. Another topic which I was able to investigate was the sustainability of high fashion. This research influenced my work in third year surrounding the climate crisis. Having already established a core knowledge in this subject area, I was able to expand it to various disciplines within architecture.

A B S O L U T E LY. L O N D O N

Fig 31 23/08/2019 10:40

23/08/2019 10:40

CULTURE • LONDON DESIGN FAIR

“A collaboration inspired by the surface of the moon”

in partnership with ELLE Decoration UK. The exhibition will be designed by architect and artist Ioana Lupasc. The brands will be given a space to transform and are encouraged to think carefully and provide an insight into the features that shape modern bathrooms. This truly bespoke exhibition will spotlight some of the world’s most celebrated bathroom brands, including Laufen and Roca. Adorno is also presenting something new and innovative, Crossovers. Crossovers is 10 curators, 10 collections, 10 global design scenes which has been billed as ‘a cross-cultural collectible design journey’. Curators of all different nationalities, including Denmark, Mexico and Turkey, will celebrate global designers and communities from around the world that are striving to preserve to local design and craft alive. Paola Bjaringer will curate Sweden’s presentation. Born in Stockholm, Bjaringer opened one of the first galleries in Paris to focus exclusively on contemporary collectible design. This year's fair’s Guest Country Pavilion is presented by the United Arab Emirates. Irthi Contemporary Crafts Council will represent the UAE by debuting its first exclusive product collection. Irthi Contemporary Crafts Council operates a pioneering programme of creative, cultural and commercial initiatives. Their main aim is to empower women through craft with another focus on preserving and promoting indigenous craft heritage. Over 40 female

LONDON DESIGN FAIR,GUEST COUNTRY, IRTHI CONTEMPORARY CRAFTS COUNCIL

FA I R

TRADE

As The London Design Fair returns with all new collaborations and exhibitions, Absolutely picks out the highlights Wo r d s V I C TO R I A P E A K E

he London Design Fair attracts 29,000 visitors to the much-loved Old Truman Brewery. The fair, will undoubtedly inspire, fascinate and enthral each member who attends. The fair aims to attract a wide audience and will accommodate the global tastes of many with a hand-picked line-up showcasing the best of contemporary design. Visitors can expect to see over 550 exhibitors from 40 countries with a comprehensive mix of country pavilions, brands, features, experiences, new launches and new talent. In addition there is an opportunity to view the design world’s latest artistic endeavours. Debuting at this year’s fair is The Bathroom Gallery, an entirely new element

Fig 33

ABS_Sep19_London Design Fair_Single pages_USE.indd 15

LONDON DESIGN FAIR, DRAGA AURIEL, ADORNO CROSSOVERS, ITALY

LONDON DESIGN FAIR,KOHLO BY MATTHEW DAY JACKSON FOR MADE BY CHOICE IN COLLABORATION WITH FORMICA

LONDON DESIGN FAIR,STUDIO HANNA WHITEHEAD, ADORNO CROSSOVERS, ICELAND

artisans have made an inspiring collection of handmade items for the audience to enjoy. A collaboration we are very much looking forward to is between American artist Matthew Day Jackson and leading surface solutions company Formica. The pair have created Kolho, a series of tables and chairs for the Finnish design brand Made by Choice. For this collaboration, Jackson has been inspired by the surface of the moon, while Formica has developed bespoke steel press plates which creates a textured laminated surface with depths. They have also played and manipulated plywood forms.

LONDON DESIGN FAIR

takes place between 18-22 September at Old Truman Brewery. Spitalfields, E1 6QR londondesignfair.co.uk

A B S O L U T E LY. L O N D O N

20/08/2019 12:43

INTERIORS • DECOREX

Fig 32

ABS_Sep19_FASHION WEEK.indd 45

LONDON DESIGN FAIR, THE BATHROOM GALLERY, LAUFEN

Fig 34

ABS_Sep19_London Design Fair_Single pages_USE.indd 17

20/08/2019 12:43

CULTURE • FOCUS William Blake, Europe: a Prophecy, c1794

D E S I G N T I M E Decorex International returns with another stellar line-up Words V I C T O R I A P E A K E

WRAPPED BIRCH BY HAZEL THORN, BRITANNIA SILVER & GILDING-METAL 2015 PHOTOGRAPHY BY SHANNON TOFTS

William Blake, Pity, c1795

BLOCK THROW AND STAMP THROW FROM BEATRICE LARKIN

ecorex International is back with new dates, a new venue and brand new exhibits. Taking place at Kensington Olympia between 6-9 October, the event showcases the very latest in high-end design with an exceptional speaking programme and a highly anticipated curation of exhibitions. Visitors will have the opportunity to discover new collections and commissioned pieces from a staggering 400 established and new markers who are the leading names in luxury interiors from across the world. Hugely successful exhibit Future Heritage has been reimagined by critic and curator Corinne Julius. This exhibition is the UK’s leading platform for British crafts and it supports established and emerging makers. Within this exhibit is Hazel Thorn, who creates beautiful and intricate sculptural objects from

Britannia silver and gilding-metal which when combined create distinct textures. Debuting this year is Design Encounter, which brings together a diverse group of interior designers to explore how interiors and technology can combine to offer a personalised experience. The exhibition is curated by architect, John Allsopp, who will be collaborating with six other designers to create installations in six rooms. These six are all leading studios and will offer unique concepts. We are looking forward to seeing what Allsopp and Zachary Pulman, one of the six collaborators imagine up together. Decorex will also showcase the distinct design trends of 2019. The grey tones trend which has been popular in modern design for a long time, due to its ability to enhance interiors, will play a major part within the showcase. There has also been a rise in green tones, which can add drama and an essence of opulence to interior schemes as their correlation to nature creates a sense of calm and serenity. The trend for warmer metals adds elements of luxury to contemporary interiors.

AENEAS COFFE TABLE FROM ANAKTAE

DON'T MISS

Radical and

REB ELLI O U S Experience William Blake’s visionary art the way he wanted it to be seen at Tate Britain Words V I C T O R I A P E A K E William Blake (1757-1827) Albion Rose c. 1793 Courtesy of the Huntington Art Collections

MANDARINS WALLPAPER FROM CHARLOTTE GAISFORD

D E C O R E X I N T E R N AT I O N A L takes place between 6-9 October at Kensington Olympia. Hammersmith, W14 0NE; decorex.com

A B S O L U T E LY. L O N D O N

150

hybrid of technology and artisanal making. Her designs have a determined femininity that blends tactile poetry and dreamlike curiosity with structure, strength and form. Rixo is the brainchild of best friends Henrietta Rix and Orlagh McCloskeys, founded in their London house. The brands philosophy is to always be inclusive and empowering. Rixo’s designers have created a fusion of hand-painted prints and timeless silhouettes to flatter every woman, irrespective of age, size, nationality, season or time of day. Diversity is a huge part of RIXO’s LFW presentations, including models of all ages, sizes and backgrounds. Another British designer, Richard Quinn creates garments with intense attention to innovative fabrics. He focuses on his ability to combine unique handcrafted skill, with a refined high fashion sensibility. Quinn launched his own open access print studio in South London, where he created and prints his eye-catching design. Quinn has been honoured for his value to the community, offering affordable print services to students and emerging designers, with the Queen Elizabeth II Award for British Design.

A B S O L U T E LY m a g a z i n e s

ABS_Sep19_FASHION WEEK.indd 44

CULTURE • LONDON DESIGN FAIR

My love of travelling has allowed me to experience many different cities and cultures. However, I am unable to do this continuously and therefore when I am studying at university, I have benefited from listening to podcasts such as ‘About Buildings + Cities’ by Luke Jones and George Gingell, BBC Four’s ‘In Our Time’ and ‘The Renaissance: A History of the Renaissance’ by Dennis Bride which allow me to expand my knowledge into my varying architectural and historical interests, whilst living in Newcastle. Listening to podcasts has also enabled me to rediscover the knowledge I gained whilst studying Art History for A Level.

RIXO, LIBERATED TERRITORY, NORA NORD IMAGE

ABS_Sep19_Decorex.indd 75

Fig 35 23/08/2019 12:47

his autumn, Tate Britain brings the largest showcase of William Blake artwork to the UK for the first time in twenty years. Showcased are over 300 original works some rarely seen - over multiple mediums, depicting a lengthy period of the artist’s life. William Blake was a man of many talents. A visionary painter, printmaker and poet, he has created some of the most iconic and renowned images in British art. The art is a direct representation of Blake’s struggles to be understood and appreciated throughout his life, periods of political terror, oppression, revolution and war, all manifested into masterpieces with his unique imagination. Throughout

I will always take advantage of the opportunity to visit an exhibition that interests me or which I think I could learn from. There are two from the past year which have resonated most with me: Tim Walker: Wonderful Things at the Victoria and Albert Museum and the Tutankhamun exhibition at the Sachi Gallery. I was inspired by the variety and creative exploration of his work. The exceptional curation allowed the viewer to understand Walker’s creative process and as a result I have drawn on this within my design explorations. Having visited the Tutankhamun exhibition with a little prior knowledge of Ancient Egypt or the surrounding archaeological dig in the 1920s, I was in awe of the ancient wonders on display and the contextual information provided.

his career, he depended on the unwavering support of friends, family, patrons, but most importantly his wife Catherine. Visitors will experience Blake's ambitious art the way he intended. Here you can immerse yourself in a recreation of the exhibition space where Blake first previewed his art in 1809, an ill-fated attempt to create a public reputation for himself as a painter. This allows you to see the impact these works had when they were first showcased. Ambitious, Blake had a dream that was unfortunately never realised: to showcase his work on a larger scale. He envisioned vast frescos sprawled across walls. The Tate has made this dream a reality, utilising digital technology to enlarge and project selected paintings onto the gallery wall. These projections will reinvent Blake as a visual artist within the 21st century. The exhibition will also have a focus on London, the city in which Blake was born and lived for most of his life. The capital was a constant inspiration for Blake, he saw a place where harsh realities could merge with his unique imagination. One of our favourite paintings is Albion Rose; we are excited to see this piece in pride of place at the opening of the exhibition. It is an exuberant depiction of the mythical founding of Britain. Blake’s creation contrasts with the commercialism, austerity and crass populism of the times. Over many years Blake has been an inspiration to many artists, musicians, writers and performers and we are sure this exhibition will influence all that come and enjoy.

Throughout the year I attended multiple lectures from NUAS Small Talks series. All the extra-curricular lectures I attended have provided interesting insights to various architectural areas. But the three that I found most influenced my studies were: David Chipperfield Architects, writer Olly Wainwright and Carmody Groarke Architects. Ryan Butterfield from David Chipperfield Architects presented a lecture titled: Heritage, Conservation and Modern Practice. This lecture was particularly interesting due to my studio’s core theme being centred around heritage. Chipperfield Architects has also been a firm that I have admired for a while and to hear first-hand the principles and core design information was a pleasure. Olly Wainwright’s lecture titled ‘Form Follows Finance’ was incredibly engaging because of its structure and presentation format. I was aware of the social housing problem that the UK faced but following this lecture I better understood how I, as a future architect, have the ability to create change. I found this incredibly inspiring. Andy Groache from Carmody Groache presented a lecture titled ‘Making Sense of Our Time’. This is an architectural practise that I had previously explored when developing my preservation manifesto for the Notre Dame, drawing references from their work on Charles Rennie Mackintosh’s Hill House. Therefore, I was intrigued to listen to a lecture by one of the named partners. Within this lecture Andy stressed multiple different ideas that really resonated with me, boldly stating within the opening moments that ‘architecture must exist on its own terms’. He also proposed many questions throughout the talk, one I am left pondering and still evaluating to this day is: How do you build architecture that matters and survives?

WILLIAM BLAKE William Blake is open between 11 September 2019 to 2 February 2020 at Tate Britain. Millbank, SW1P; tate.org.uk

A B S O L U T E LY m a g a z i n e s

ABS_Sep19_ CULTURE_WILLIAM BLAKE.indd 22

20/08/2019 12:12

Fig 36

151

LIST OF FIGURES

Illustration 1 Vectorworks, 2010. Jewish Museum, Berlin / Studio Libeskind. [image] Available at: <https://www.archdaily.com/91273/ad-classics-jewish-museum-berlin-daniel-libeskind> [Accessed 14 June 2020]. Illustration 2 Peake, V. A. L. (2020) ARC3013: Architectural Technology Integrated Construction. Fig 1 Xuan, Y. Z. (2019) Primer Exhibition. [Photograph]. Fig 2 Xuan, Y. Z. (2019) Primer Exhibition. [Photograph]. Fig 3 Xuan, Y. Z. (2019) Primer Exhibition. [Photograph]. Fig 4 Xuan, Y. Z. (2019) Primer Exhibition. [Photograph]. Fig 5 Xuan, Y. Z. (2019) Primer Exhibition. [Photograph]. Fig 6 Xuan, Y. Z. (2019) Primer Exhibition. [Photograph]. Fig 7 Xuan, Y. Z. (2019) Primer Exhibition. [Photograph]. Fig 8 Xuan, Y. Z. (2019) Primer Exhibition. [Photograph]. Fig 9 Xuan, Y. Z. (2019) Primer Exhibition. [Photograph]. Fig 10 Xuan, Y. Z. (2019) Primer Exhibition. [Photograph]. Fig 11 Xuan, Y. Z. (2019) Primer Exhibition. [Photograph]. Fig 12 Otero-Pailos, J., Langdalen, E. and Arrhenius, T., 2016. Experimental Preservation. Zürich: Lars Müller Publishers. Fig 13 Koolhaas, R., Otero-Pailos, J. and Carver, J., 2016. Preservation Is Overtaking Us. New York: ColumbiaBooks on Architecture and the City. Fig 14 Chancellerie des universités de Paris, n.d. La Cour D’honneur De La Sorbonne. [image] Available at: <https://openagenda.com/jep-2019-ile-defrance/events/a-la-decouverte-de-la-sorbonne_46290?lang=en?lang=en> [Accessed 13 June 2020]. Fig 15 Streets of Paris Pre-Haussmann’s renovation, 2016. The Rue Des Marmousets, One Of The Narrow And Dark Medieval Streets On The Île De La Cité, In The 1850S.. [image] Available at: <https://imgur.com/gallery/ zXOKC/comment/707716415> [Accessed 13 June 2020]. Fig 16 Pissarro, C., 1898. The Avenue De L’opera, Paris, Sunlight, Winter Morning. [Oil on Canvas]. Fig 17 Linazasoro, J., 2020. Projects | Linazasoro&Sánchez. [online] Linazasorosanchez.com. Available at: <http://www.linazasorosanchez. com/?page_id=2&lang=en> [Accessed 13 June 2020]. Fig 18 Linazasoro, J., 2020. Projects | Linazasoro&Sánchez. [online] Linazasorosanchez.com. Available at: <http://www.linazasorosanchez. com/?page_id=2&lang=en> [Accessed 13 June 2020].

152

Fig 22 ACHITECT, 2013. The Bloch Building At The Nelson-Atkins Museum Of Art. [image] Available at: <https://www.architectmagazine.com/ project-gallery/the-bloch-building-at-the-nelson-atkins-museum-of-art> [Accessed 13 June 2020]. Fig 18 Linazasoro, J., 2020. Projects | Linazasoro&Sánchez. [online] Linazasorosanchez.com. Available at: <http://www.linazasorosanchez. com/?page_id=2&lang=en> [Accessed 13 June 2020].

REFERENCES

Otero-Pailos, J., Langdalen, E. and Arrhenius, T., 2016. Experimental Preservation. Zürich: Lars Müller Publishers. Koolhaas, R., Otero-Pailos, J. and Carver, J., 2016. Preservation Is Overtaking Us. New York: ColumbiaBooks on Architecture and the City.

Fig 19 Linazasoro, J., 2020. Projects | Linazasoro&Sánchez. [online] Linazasorosanchez.com. Available at: <http://www.linazasorosanchez. com/?page_id=2&lang=en> [Accessed 13 June 2020].

In Good Taste (2018) ‘Gothic Architecture: Key Elements of the Style’, Invaluable, 10th October. Available at: https://www.invaluable.com/blog/ gothic-architecture/.

Fig 20 Linazasoro, J., 2020. Projects | Linazasoro&Sánchez. [online] Linazasorosanchez.com. Available at: <http://www.linazasorosanchez. com/?page_id=2&lang=en> [Accessed 13 June 2020].

Von Simpson, O. (1962) The Origins of Gothic Architecture and the Medieval Concept of Order. 2nd ed. New York: Bollingen Foundation.

Fig 21 BIANCHINI, R., 2019. Nelson-Atkins Museum Of Art - Kansas City | Steven Holl Architects. [online] Inexhibit. Available at: <https://www. inexhibit.com/mymuseum/nelson-atkins-museum-art-kansas-city-steven-holl-architects/> [Accessed 13 June 2020]. Fig 22 ACHITECT, 2013. The Bloch Building At The Nelson-Atkins Museum Of Art. [image] Available at: <https://www.architectmagazine.com/ project-gallery/the-bloch-building-at-the-nelson-atkins-museum-of-art> [Accessed 13 June 2020].

Scott, R. (2003) The Gothic Enterprise: A Guide to Understanding the Medieval Cathedral. Los Angeles: University of California Press. Jantzen, H. (1979) La arquitectura gótica. Buenos Aires: Nueva Visión. Alex (2010) ‘The Role of Light in Gothic Architecture’, Art History Journal, 6th May. Available at: http://arthistoryjournal.blogspot.com/2010/05/roleof-light-in-gothic-architecture.html Kostof, Spiro. “His Majesty the Pick: The Aesthetics of Demolition.” Design Quarterly, no. 118/119 (1982): 32-41.

Fig 23 Steven Holl Architects, 2016. THE NELSON-ATKINS MUSEUM OF ART. [image] Available at: <https://www.stevenholl.com/projects/nelson-atkins-museum-of-art> [Accessed 13 June 2020].

Chapman, B. (1953). Baron Haussmann and the Planning of Paris. The Town Planning Review, 24(3), 177-192. Retrieved June 11, 2020, from www. jstor.org/stable/40101527

Fig 24 Poltrona Frau, n.d. Kursaal Congress Centre. [image] Available at: <https://www.poltronafrau.com/en/divisions/contract/kursaal-congress-centre> [Accessed 13 June 2020].

Webb, M. (1990) The City Square: A Historical Evolution. New York: Whitney Library of Design.

Fig 25 Kursaal, n.d. The Building Kursaal. [image] Available at: <https:// www.kursaal.eus/en/kursaal-congress-centre/the-building/> [Accessed 13 June 2020]. Fig 26 Behance, n.d. Bregenz Museum. [image] Available at: <https:// www.behance.net/gallery/11136037/Bregenz-Museum-Animation-Peter-Zumthor> [Accessed 13 June 2020]. Fig 27 Kunsthaus Bregenz, n.d. Interior View: Kunsthaus Bregenz. [image] Available at: <https://www.sothebys.com/en/museums/kunsthaus-bregenz?slide=interior-view-kunsthaus-bregenz> [Accessed 13 June 2020]. Fig 28 Peake, V. A. L. (2020) ARC3013: Architectural Technology Integrated Construction. Fig 29 Peake, V. A. L. (2020) ARC3013: Architectural Technology Integrated Construction. Fig 30 Peake, V. A. L. (2020) ARC3013: Architectural Technology Integrated Construction.

Fig 19 Linazasoro, J., 2020. Projects | Linazasoro&Sánchez. [online] Linazasorosanchez.com. Available at: <http://www.linazasorosanchez. com/?page_id=2&lang=en> [Accessed 13 June 2020].

Fig 31 Peake, V., 2019. Setting the Standards. Absolutley London, pp.44-45.

Fig 20 Linazasoro, J., 2020. Projects | Linazasoro&Sánchez. [online] Linazasorosanchez.com. Available at: <http://www.linazasorosanchez. com/?page_id=2&lang=en> [Accessed 13 June 2020].

Fig 33 Peake, V., 2019. Fair Trade. Absolutely London, pp.20-21.

Fig 35 Peake, V., 2019. Design Time. Absolutely London, p.75.

Fig 32 Peake, V., 2019. Setting the Standards. Absolutley London, pp.44-45.

Fig 34 Peake, V., 2019. Fair Trade. Absolutely London, pp.20-21.

Fig 36 Peake, V., 2019. Radical and Rebellious. Absolutely London, p.22.

Linazasoro, J., 2020. Projects | Linazasoro&Sánchez. [online] Linazasorosanchez.com. Available at: <http://www.linazasorosanchez.com/?page_ id=2&lang=en> [Accessed 13 June 2020]. Soundlandscapes’ Blog. 2020. Hôtel Dieu – The Oldest Hospital In Paris. [online] Available at: <https://soundlandscapes.wordpress.com/2013/03/19/ hotel-dieu-the-oldest-hospital-in-paris/> [Accessed 13 June 2020]. Kipnis, J., Holl, S. and McVoy, C. (2007) Stone & Feather. London: England : Prestel Publishing Viollet-le-Duc, E. and Hearn, M., 1990. The Architectural Theory Of ViolletLe-Duc. Cambridge, Massachusetts: The MIT Press. Spurr, D., 2012. Architecture And Modern Literature. Ann Arbor: University of Michigan Press, pp.142-162. Jackson, M., 2004. The Principles Of Preservation: The Influences Of Viollet, Ruskin And Morris On Historic Preservation. Bachelor of Arts. Southwestern Oklahoma State University. Eutouring.com. n.d. HD Photographs Of Musee De La Sculpture En Plein Air Paris. [online] Available at: <https://www.eutouring.com/images_musee_de_la_sculpture_en_plein_air.html> [Accessed 13 June 2020]. Daysontheclaise.blogspot.com. 2011. The Plight Of The Plane Trees. [online] Available at: <https://daysontheclaise.blogspot.com/2012/12/theplight-of-plane-trees.html> [Accessed 13 June 2020]. Publicdomainreview.org. n.d. [online] Available at: <https://publicdomainreview.org/collection/the-notre-dame-cathedral-in-art-1460-1921> [Accessed 14 June 2020].

153

BIBLIOGRAPHY Listed within my bibliography are the books I read to help me gather knowledge on my Graduation Project. Although some texts were not always pertinent to the exact idea I wanted to convey, they developed the opinions and quotes I have already referenced, they stayed with me and helped me formulate my own opinions and I have found them invaluable to my project.

COSGROVE, Denis. 2003. “Heritage and History: A Venetian Geography Lesson”, in SHANNAN PECKHAM, Robert (Ed.). Rethinking Heritage: Culture and Politics in Europe. London: I.B. Tauris, pp. 113-123. HOLLIS, Edward. 2009. The Secret Lives of Buildings: from the Parthenon to the Vegas Strip in thirteen stories. London: Portobello. JOKILEHTO, Jukka. 1999. A History of Architectural Conservation. Oxford: Butterworld-Heinemann. KOOLHAAS, Rem. 1975. Delirious New York: A Retroactive Manifesto for Manhattan. New York: Oxford University Press. KOOLHAAS, Rem and OTERO-PAILOS, Jorge. 2014. Preservation is Overtaking Us. New York: GSAPP Books, Columbia University. MONEO, Rafael. 1992. Comentarios sobre dibujos de 20 arquitectos actuales. Barcelona: ETSAB. MONEO, Rafael. 2004. Theoretical Anxiety and Design Strategies in the Work of Eight Contemporary Architects. Cambridge: The MIT Press.

Goffi, F., 2014. Ime Matter(S): Invention And Re-Imagination In Built Conservation: The Unfinished Drawing And Building Of St. Peter’s, The Vatican. Minnesota: University of Minnesota Press. Phaidon. n.d. How Carlo Scarpa Bridged Past And Present | Architecture | Agenda | Phaidon. [online] Available at: <https://uk.phaidon.com/agenda/architecture/articles/2013/december/13/how-carlo-scarpa-bridged-past-and-present/> [Accessed 30 April2020]. Sherlock, A., 2013. Regional Identity Through The Detailing Of Carlo Scarpa. [ebook] Dublin: Technological University Dublin - City Campus. Available at: <http://file:///C:/Users/victo/AppData/Local/Packages/Microsoft.MicrosoftEdge_8wekyb3d8bbwe/TempState/Downloads/HTCVIIArch4501Stage4SemesterII13-05-13%20(1).pdf> [Accessed 30 April 2020]. Architectuul.com. n.d. Carlo Scarpa. [online] Available at: <http://architectuul.com/ architect/carlo-scarpa> [Accessed 30 April 2020]. Repetto, P. and Arosio, M., 2018. Carlo Scarpa. The Shapes Of Light. [ebook] Repetto Gallery. Available at: <https://www.repettogallery.com/wp-content/uploads/2018/06/ carlo-scarpa-catalogue.pdf> [Accessed 30 April 2020]. Soroka, E., 1979. Carlo Scarpa Connections In Design: A Generic Attitude. Masters. MASSACHUSETTS INSTITUTE OF TECHNOLOGY. dal Co, F., n.d. Scarpa Page. [online] Studiocleo.com. Available at: <http://www. studiocleo.com/gallerie/scarpa/scarpapage.html> [Accessed 30 April 2020]. Walters, J., 2009. Architect Libeskind Builds Politics, Emotion Into Designs | Cornell Chronicle. [online] Cornell Chronicle. Available at: <http://news.cornell.edu/stories/2009/11/architect-new-world-trade-center-discusses-design> [Accessed 14 June 2020].

MONEO, Rafael & SOLÀ MORALES, Ignasi. 1975. Apuntes sobre Ruskin, Pugin y Viollet-le-Duc. Barcelona: Curs doctorat ETSAB.

Ionescu, A., n.d. The Memorial Ethics Of Libeskind’s Berlin Jewish Museum.

RUSKIN, John. 1849. The Seven Lamps of Architecture. London: Smith, Elder & Co.

Libeskind, D. and Bitter, J., 2011. Jewish Museum Berlin. Barcelona: Ediciones Poligrafa.

RUSKIN, John. 1851-1853. The Stones of Venice. London: Smith, Elder & Co. SENNETT, Richard. 1994. Flesh and Stone: The Body and the City in Western Civilization. London: Faber and Faber. VIOLLET-LE-DUC, Eugène-Emmanuel. 1854-1868. Dictionnaire raisonnée de l’architecture française du XIe au XVIe siècles, ‘Restauration’, Vol 8, . Paris: A. Morel Editeur. p.14. VIOLLET-LE-DUC, Eugène-Emmanuel. 1854-1868. Dictionnaire de l’architecture française du XIe au XVIe siècle. Paris: A. Morel Editeur HOLL, S., 2012. Color Light Time. Zurich: Lars müller Publishers. HOLL, S., Pallasmaa, J. and Pérez Gómez, A., 1994. Questions Of Perception. Tōkyō: Ē ando Yū. HOLL, S., 2012. Steven Holl Scale. Zurich: Lars Müller Publishers. KONING, V., 2020. Under The Platanes - French Plane Trees | Mirabeau En Provence. [online] Mirabeau en Provence. Available at: <https://www.mirabeauwine.com/loveprovence/under-the-platanes-frenchplane-trees/> [Accessed 30 April 2020].

APPENDIX, CASE STUDY

Bolk, F., Schneider, R. and Defty, S., 2007. The Jewish Museum Berlin. Berlin: Stadtwandel-Verl. Rowe, C. and Koetter, F., 1998. Collage City. Cambridge, Mass.: MIT Press. Shields, J., 2014. Collage In Architecture. New York: Routledge, pp.pp. 1,2,20. Mikhailovskii, E., 2004. The Methods of Restoration of Architectural Monuments: Contemporary Theoretical Conceptions. Future Anterior, Vol. 1 - Vol. 15(No 1), pp.84-95. Böck, I. and Koolhaas, R., n.d. Six Canonical Projects. p.18. Hollis, E., 2010. The Secret Lives Of Buildings. New York: Picador, pp.pp. 221,222,226,238,239,240. Munoz-Vinas, S., n.d. Contemporary Theory Of Conservation. Barthel, D., 1996. Historic Preservation. New Brunswick: Rutgers University Press. Alivizatou, M., 2012. Intangible Heritage And The Museum. Walnut Creek, California: Left Coast Press.

REGION, B. and DESIGN, G., 2020. Garden Plants To Use In A French Style Garden. [online] French-gardens.com. Available at: <https://www.french-gardens.com/ plants/> [Accessed 30 April 2020]. Garden Guides. 2020. Native Plants Of France. [online] Available at: <https://www. gardenguides. com/139237-native-plants-france.html> [Accessed 30 April 2020]. Orsoni Italy. n.d. Carlo Scarpa’S Works. [online] Available at: <https://www.orsoni. com/project/carlo-scarpas-works/> [Accessed 30 April 2020]. Scarpa, C., Buzas, S., Carmel-Arthur, J. and Bryant, R., 2014. Carlo Scarpa. Stuttgart: Axel Menges. Stott, R., 2019. Spotlight: Carlo Scarpa. [online] ArchDaily. Available at: <https:// www.archdaily.com/638534/spotlight-carlo-scarpa> [Accessed 30 April 2020].

154

155

APPENDIX, CASE STUDY

156

157

APPENDIX, CASE STUDY

158

APPENDIX, PROCESS

159