Z1P15 by PDF Uploads

PORTFOLIO Jing

Olyvia

Studio Building

Upon Stage

Tam Building

PORTFOLIO Jing

Olyvia

Tam

CONTENTS Illustrated Reflective Report

Primer

Grand Tour

Field Trip Case Study

Staging

Thinking Through Making

Realization & Synthesis

Charrette

139

Cultural Bibliography

143

Bibliography

152

List of f igures

153

Appendix

154

170244440 Newcastle

University

2019-2020

Studio Building

Upon Stage

Building 3

New work is marked with a

Illustrated Ref lective Report

T his year has def initely been a massive learning curve,

it has challenged me creatively and intellectually, constantly pushing me to achieve more. Whilst having learned many things, the one thing that I truly have understood is the role of culture in architectural preservation and the importance of understanding the context to establish meaningful connections with the existing urban fabric.

Throughout this project, the question of: “What gives me the authority to design a building in Paris? A place I have not had any experience living in nor have any prior substantial knowledge about?” was constantly on my mind. Being someone who was born and raised in Hong Kong, a society that is a melting pot of Eastern and Western cultures, whilst also having received a British education all my life, I have always wondered about the role of culture and identity in architecture. As a non-Parisian, I will never truly be able to understand Parisians’ percepti\ons of the island, what it means to them and what a monumental architecture such as the Notre Dame, represents in their eyes. Does preserving a building equal to preserving a culture? Whilst I can academically acknowledge and integrate various Parisian architectural features into my designs, it is unlikely that I will truly understand the nuances of the Parisian architectural style. However, what I can do is to conduct rigorous research about the site to educate myself on the daily lives of Parisians, how they use the island, and what it symbolizes. Thus, I found Primer and the Grand Tour particularly helpful, as it provided me a chance to put myself in Parisians’ shoes, to gain a f irsthand experience of the island.

During the Primer group work, I identif ied the importance of history and researching as much as possible about the site and surrounding buildings – the most effective and impressive buildings are always underpinned by strong design concepts, derived from the site’s history and the existing connections between buildings on site. I was able to unpick signif icant moments in the cathedral’s and island’s history – particularly Georges-Eugène Haussmann’s interventions – and use them to underpin my design concept.

Illustrated Ref lective Report

ILLUSTRATED REFLECTIVE REPORT

Illustrated Ref lective Report Meeting with Professor Jean Francois Cabestan at the University of Sorbonne

Grand Tour was another pivotal point in the project, as the studio had a chance to speak with Professor Jean Francois Cabestan and some of his students who are also studying architecture. We shared ideas and discussed some of the current problems with the island – namely it has become such a large tourist attraction and have neglected the needs of local Parisians. It was interesting to hear the perspective of Parisians, to hear what they think about the island, and what needs improving. The architectural students were also helpful, as not only did they share their personal experiences, but also had the same values and vision being someone who were also on the journey of becoming an architect, hence could relate to certain ideas. The most insightful questions proposed during the discussion was – “Being a person from Paris, when you visit the Notre Dame of the Louvre, typically

touristic monuments, does that make you a citizen/ local or tourist? What makes someone a citizen or a tourist?”

Illustrated Ref lective Report

T he

This suggests that the lines of national identity are blurred, so what is the nationality of these monuments? Professor Cabestan mentioned that to create national identity is to oppose characteristics of other nationalities, the presence of UNESCO is to allow monuments to be preserved for the world, to be shared. Hence, does the nationality of monuments really matter? Do monuments belong to a particular culture? There is no real answer to these questions, but they were def initely thought-provoking in helping me determine a line of inquiry for my design, ultimately bringing to light the importance of context.

Illustrated Ref lective Report

research process as it made me aware and comprehend the building codes and regulations in Paris, in particular regarding ‘respecting the Parisian urban character’. It states that new builds should integrate with the existing landscape, and take existing facades into consideration, however should not be considered as ‘pastiche’. This module allowed me to take greater consideration in my façade development and choices of materials. It helped me to pay greater attention towards the existing Lutetian limestone facades and to design one that would blend into its surrounding context, yet still contrast against it. It also introduced the structure of an architectural off ice and how the procurement of a building would work in the real world. It presented other factors that would contribute to the design of a building, such as, CDM regulations, and the potential input from other professions – structural engineers, landscape architects etc. It became even more apparent that the design process is never linear and is interlaced with a variety of different factors.

In regard to the theoretical aspect of this project, apart from learning about the history of the site and cathedral, through the ARC3015 Theory Into Practice module, I was able to develop a greater awareness of how we as architects, design. I investigated the use of diagrams, as it is one of the predominant techniques used throughout this project. Whilst it can be argued to be a clinical way of working, I believe that it is an organizational machine that identif ies and creates, a generative tool that bridges ideas to reality. Initially, I found that it was diff icult to f ind a form to integrate into context – I can now attribute that to me being so intently focused on diagraming the building itself and neglecting its exterior interactions. Diagramming is useful for analyzing multiple factors, but one must be aware of what it is being diagrammed to prevent unwanted escalation. This module has taught me that it is not good enough to simply know what or why you are designing, but needing to also be aware of being aware of how you are designing and the effect of using a particular mode/tool of designing has on the f inal outcome.

Illustrated Ref lective Report

T he ARC3014 Professional Practice module aided that

Illustrated Ref lective Report

the integration of technology also helped to push my design further. Throughout the technology module, I always tried to f ind ways that could combine both technology and design to strengthen the design concept, to add greater depth. I feel that my façade development was successful in doing so, as by adopting concrete f ins due to its passive solar shading abilities, it allowed me to initiate a dialogue with the cathedral to continue the repetitive linear qualities of the cathedral’s flying buttresses. I have also learnt how to make use of various site opportunities to generate energy - using the River Seine to source a heat pump. Lastly, I explored ways to work with existing structures – the archaeological crypt of Île de la Cité – certain measures that need to be taken to preserve historical artifacts.

Despite gaining a breadth of design knowledge throughout this year, the biggest takeaway is that it led me to understand the role of culture in architecture and what it means to preserve architecture. It made me become aware of our role as architects to represent culture and the signif icance it has on shaping how we perceive our society. Preservation in architecture has become a great interest of mine and is one I will continue to explore and pursue.

Illustrated Ref lective Report

L astly,

Primer

PRIMER

P rimer

has informed my design by allowing me to truly understand the history of Ă&#x17D;le de la CitĂŠ and the Notre Dame cathedral. The whole of the Primer exhibition was group work, with the exception of individual massing explorations prior to site visit. Our Primer exhibition comprises of a walkthrough timeline of a series of collages, plans and sections, a site model, a video to explain our studio's manifesto, and a stained glass image of Viollet-Le-Duc. Hence, the whole studio was split into groups that specialized in one aspect - I was part of the team that made the collages and series of technical drawings, specif ically focusing on the French Revolution time period, as well as creating the stained glass of Violletle-Duc. Primer highlighted the importance of teamwork and the signif icance of playing to each of our strengths. This was particularly evident when setting up the exhibition as we faced many challenges when hanging the collages. All in all, my experience in Primer has informed my project by providing a strong foundation to develop a strong design concept.

Primer

STUDIO INTRODUCTION : EXPERIMENTAL PRESERVATION

T he

2019 Notre Dame Cathedral f ire gave rise to rigorous debate concerning restoration - if it should be rebuilt to exactly how it was prior to the f ire or reconstructed in a modern and contemporary style. Viollet-Le-Duc was one of the f irst architects who pioneered the concept of architectural preservation, reflected in his restoration work on the Notre Dame. His perspective on restoration follows:

â&#x20AC;&#x153;The term restoration and the thing itself are both modern. To restore an edifice is not to maintain it, repair or remake it, it is to reinstate it in a condition of completeness which could never have existed at any given time.â&#x20AC;? -Viollet- le -Duc

This does not mean that Viollet-le-Duc did not believe in modern technology or new materials. He welcomed them to improve structures to make them stronger, and highlighted that greater attention should be paid to the choice of materials. He welcomed them with the criteria that the original essence of the design and structure was kept and did not impose additional load to the structure, hence "could never have existed at any given time". The main point is to not percieve architecture as a static object as architecture is constantly changing and evolving due to historical and societal changes. Thus, architecture and preservation can be seen as ways to frame or reframe the environment we live in, to create new relationships between space and people. Architecture and heritage are arguably a continuous process as buildings are always constantly under change and transformation. 14

Figure 1: Viollet-le-Duc (Archdaily, 2014) 15

Primer

NOTRE

STUDIO BRIEF : DAME CATHEDRAL

F ollowing the burning of Notre Dame, there is a lot

of discussion surrounding what can be regarded as the ‘right’ way of preserving the Notre Dame. Upon the studio f ield trip to Paris, the studio had the opportunity to meet with Professor Jean Francois Cabestan at the University of Sorbonne to discuss not only the issue of preserving Notre Dame, but also preserving Paris as a whole, after identifying some of the current problems with Île de la Cité. The main issues consist of the island being transformed to become a ‘display island full of monuments’ - its sole purpose being to cater to tourism, thus neglecting the locals and driving them away from stepping foot on the island.

In response to the Notre Dame f ire as well as Île de la Cité, the project surrounds designing a building to host the Centre national du patrimoine et de la preservation (National Centre of Heritage and Preservation of France) within the island. Its design will not only be grounded by ideas concerning experimental preservation, but will focus on reframing the Notre Dame in light of the recent event. In addition to that, my design will also revolve around integrating and reflecting the traditional Parisian urban landscape as the main line of inquiry, highlighting the cathedral's historical and cultural signif icance and changes in Paris’ urban landscape.

Figure 2: Notre Dame Cathedral f ire (Geoffroy Van Der Hasselt, The New York Times, 2019) 16

Primer

PRESERVATION

Primer

MY VIEWS ON EXPERIMENTAL

I n regards to my stance on preservation and restoration

- I believe that to restore a piece of architecture should revolve around highlighting its history whether it be good or bad. Using the Notre Dame for example, the f ire should be remembered in the process of its restoration and the way it gets rebuilt.

Preserving a piece of architecture also does not necessarily mean to rebuild what has been lost, it can be done in nuanced ways with surrounding new builds - the way they frame the architecture being preserved, the connections made with each other, the dialogues that are created etc. The interactions between the monumental object and its surrounding buildings can be a means to preserve or restore it without having to make physical changes to the architecture itself. This is what I aim to achieve with my design of the heritage center - to highlight the cathedral and its cultural signif icance by establishing a relationship with the it through form and materiality, without having to make a physical connection with it.

As architecture is constantly changing and preservation can be seen as a way to reframe our surrounding environment, to create better relationships between people and the urban environment, architecture should most def initely document and reflect changes by using preservation and restoration as a means to achieve that.

Primer

CONCEPT: WALK - THROUGH

TIMELINE

T his exhibition surrounds celebrating the history of the Notre Dame Cathedral, and Viollet-leDuc’s theories on experimental preservation that informed his intervention on the cathedral.

Inspired by Franz Samsa’s collages, the main concept for this exhibition concerns creating a walk-through timeline illustrating the changes made to Notre Dame Cathedral and its immediate surroundings over time. A major motivation informing the decision of a timeline was our exhibition space - as it was a staircase, we wanted to create a timeline that one could walk through when travelling up or down the stairs. As a group, we documented key dates where signif icant changes were imposed on the cathedral and Île de la Cité and reflected those changes in plan and section. To complement them, a collage from each key time period was created to represent and illustrate important historical events. These collages will be hung from the ceiling or mounted on walls, along with the plans and sections, to allow viewers to weave through them, allowing them to “walk through time”. As the landing of the staircase sits in front of a large floor to ceiling window, we decided to create an abstract stained glass image of Viollet-le-duc to highlight this gothic feature and his work on the cathedral. We used coloured tracing paper for its translucent quality allows light through. In addition, we built a 1:500 site model of Île de la Cité and a model of the cathedral to show its current state after the f ire, and lastly, we created a video to explain our studio’s manifesto and to introduce the idea of experimental preservation.

Figure 3: Inspiration collages made by Franz Samsa (Franz Samsa, 2019)

2019 Fire

1914 - 1942 WWI & WWII

1852 - 1870 Napoleon III

1804 - 1814 Napoleon I

1830 - 1852 The Bourbon Restoration & Viollet le Duc

1789 - 1799 French Revolution 1600 - 1750 Catholic Reformation

1190 - 1250 MidConstruction

1250 - 1345 Construction Completion

1163 - 1190 Early Construction 21

Primer

SET

Primer

EXHIBITION

S etting

up the exhibition was, without a doubt, a challenge. We had ambitious goals to hang the collages in a way that would form an arch (referencing the Triumphal Arch) when viewed from the top of the staircase. We tried building a wooden frame to attach to the ceiling to hang the collages from, but after many attempts, we decided to mount the collages on the walls next to its respective plan and section. This was more effective as it truly allowed viewers to weave in between the collages, giving it a greater experiential feel. The stained glass image of Viollet-le-duc invovled sticking multiple pieces of coloured trace on the window, creating an abstract pixel-like image of his face.

Figure 4-10: Setting up primer exhibition photographs (Yew Zhi Xuan, 2019)

Primer

PRIMER

EXHIBITION

Primer

FINAL

Figure 11-17: Final primer exhibition photographs (Yew Zhi Xuan, 2019) 28

Primer

PRIMER

VIDEO

Primer

FINAL

Primer

MASSING

EXPLORATION

Primer

INDIVIDUAL

P rior to visiting the site, I brainstormed

a couple of massing concepts that were rooted in the idea of framing the Notre Dame, as well as the main access routes leading to the square. The form was designed to funnel the flow of people towards the Notre Dame, and to place heavy emphasis on its west facade, most of which Viollet-Le-Duc reconstructed after the French Revolution. The pitched roof and triangular form subtly mirrors the shape of the cathedral doors as well as reflecting the Gothic peaked roofs. However, upon visiting the site, I found that this form neglects other routes of access and actively dictated the way people travel into and through the site. It also does not f it into context nor blends with its surrounding buildings.

Grand Tour

GRAND TOUR

Paris Rome Milan Verona Venice

Grand Tour

PARIS

O ne

of the main features I noticed on the island is the distinct difference between the large squares and boulevards in comparison to the traditional narrow streets. It was interesting to feel and experience the difference in atmospheres. The way these narrow streets frame monuments or building facades gives the island an air of mystery and curiostiy, as well as a sense of grandeur as one slowly approaches the end of the street. I also really appreciated the islandâ&#x20AC;&#x2122;s nicotine yellow palette due to the consistent use of Lutetian limestone.

Grand Tour

ROME

T he Hertziana library was def initely

the highlight of Rome. The use of the glazed light well to introduce natural light into the building was def initely a key feature I admired and have taken inspiration from to implement various atriums in my own design. The combination of materials, white brick, stone, wood, glass all come together to form a sleek and timeless aesthetic and ambient atmosphere. It also helps to contrast and highlight the existing fresco on the ceiling.

Grand Tour

MILAN

O maâ&#x20AC;&#x2122;s

intervention at Fondazione Prada fully encapsulates how the new can be combined with the old to create an interesting dialogue between the two. They do not shy away from distinguishing the new interventions through use of modern materials reflective mirror cladding to reflect the textures of the old industrial concrete complex, the strip of bright orange steel, and polycarbonate against cobbled stone paving in the interior. They create such a stark contrast when paired with the existing materiality, yet blend together harmoniously.

Grand Tour

VERONA

C astelvecchio

by Carlo Scarpa is a restoration project that seamlessly blends the new with the old. Scarpaâ&#x20AC;&#x2122;s interventions can be seen through the tiniest of details - shadow gaps between steps - or through the various ways in how he joins materials - overlapping, placed against one another, leaving a gap in between etc., creates a smooth juxtaposition of textures. The geometries created through these materials are modern yet irregular, but it is this irregularity that allows it to f it in with the old weathered textures and shapes.

Grand Tour

VENICE

A part

from being able to experience Scarpaâ&#x20AC;&#x2122;s use of water and connection to nature, we also had the chance to witness OMAâ&#x20AC;&#x2122;s renovation of Fondaco Dei Tedeschi. Their ability to restore the building to reflect the historical architecture yet also adapt it to commerical use really impressed me. The small details - lining of gold along the inside of the arches - accentuates the interior with a commerically luxurious and expensive feel yet also grounded in Venetian culture and history when paired with the weathered concrete.

Field trip case study

FIELD TRIP CASE STUDY

a group, we analyzed Jean Nouvel's Fondation Cartier for our f ield trip case study. We were each allocated two sections, mine being Programme and Spatial Sequence. We chose the Fondation Cartier due to his use of glass of various transparencies to blur reflections with reality. * My section of the report in included in the following pages in this chapter, and the full report is included in the appendix.

Field trip case study

Staging

STAGING

D uring staging, I was able to establish a design concept that

was informed from the site and connections on it - integrating and reflecting the medieval Parisian landscape. Whilst I struggled f inding a form during Staging, I was able to look back at the main design concept whenever I lost my way. By using some of the research done during Primer, in conjunction with site analysis, it helped me to understand some of the main problems with the island, allowing me to seek solutions through the design strategy. By narrowing down to three main themes - the visual axis, central courtyard, and narrow walkways, I was able to use those restrictions as a starting point for greater form possibilities. My experience through Staging was comprised of a lot of experimenting, reformulating, and testing. Because of all the exploring done through Staging, I became aware of approaches that would not work and those that seem to work better, and ultimatel pushed myself to pay greater attention to the connections on site. 52

Staging

THE

LINE

INQUIRY Journey : narrow

F ollowing

our grand tour to Paris and Italy, as a studio we identif ied that a major issue with the island is that it has transformed into a display island that only caters to tourism, in turn driving away locals. I feel that this distinct separation between locals and tourists can be attributed to the blatant division in urban landscapes following GeorgesEugène Haussmann’s reconstructions during the French Revolution.

REFRAMING

ÎLE

Identif ied in Primer, Haussmann’s reconstructions involved demolishing the traditional Parisian narrow streets to create large boulevards, procession walks, and squares to isolate monuments as a way of revering it. This led to a new arrangment to the urban landscape on the island, leaving only a small fraction retaining the medieval structure.

CITÉ

H THROUG

Palais de Justice de Paris

THE

Greffe du Tribunal de commerce de Paris

streets

Staging

ILLUSTRATING

v s. c e n t r al courtyards

The main feature of the old landscape that I felt really encapsulated Paris was the narrow streets and the journey one would take through them – you would go from an enclosed narrow street to a open courtyard space then back in an enclosed street again. The only common feature bonding the two landscapes are the central courtyards, being one that I aimed to highlight in my design. Integrating and reflecting the medieval Parisian landscape thus became established as my main line of inquiry.

EXPLORATION

Marché aux Fleurs - Reine Elisabeth II

ITS

MEDIEV

PAR

ISIA

LAN

DSC

APE

Hôtel-Dieu

River Seine

Place Dauphine

Saint Chapelle

Préfecture de Police

Cathédrale NotreDame de Paris

Mémorial des Martyrs de la Déportation 55

Staging

ANALYSIS Uniform Order Consistent

Irregular Unpredictable Asymmetrical

Staging

SITE

Sun and wind path

Separation of landscapes

Green spaces

Views

Routes

Staging

ANALYSIS

Staging

SITE

capture the atmosphere and feel of the narrow streets that Haussmann was so determined to eradicate, I did some on-site sketches to convey them. They embody and represent so much of the traditional Parisian landscape, which is aside from the island, how most of Paris is laid out and arranged. These narrow streets are like hidden gems in Paris, and it is such a pity that this valuable piece of Paris is lost and underrepresented on the island.

Staging

THE

LANDSCAPE

STRUCTURED

IRREGULARITY

Staging

UNDERSTANDING

T o understand the arrangment of the traditional Parisian

urban landscape, I f irst created a nolli plan it to identify just how complicated and irregular its shapes are. Whilst it provides a good idea of the overall form, there is still a lack of understanding regarding what this landscape is made up of. Thus, I overlayed an image of the landscape and traced over it - I broke it down to simplif ied geometric forms that make up the unpredictable landscape. In doing so, it highlighted the landscape’s lack of order but also shows that this ‘lack of order’ is seemingly composed and contained at the same time. This coined the term ‘structured irregularity’ - the key word that I feel truly encapsulates this urban landscape.

Staging

T his

conceptual collage illustrates the various themes that make up my line of inquiry. As it revolves around paying homage to the traditional Parisian landscape, the interlocking residential building facades symbolize the weaving down and between the narrow streets in the medieval landscape. The use of the old map also emphasize the importance of these narrow streets and how much of Paris they encapsulate as Ă&#x17D;le de la CitĂŠ used to be f illed with them. The interlocking of facades also represent the connections my design aims to achieve: to establish a relationship with the old landscape, and a dialogue with the Notre Dame. This was inspired by the collages made during Primer - I found that it was an effective way to visually communicate and express ideas.

Staging

THEMES

Staging

ESTABLISHING

approached brainstorming ideas from the inside out, drawing rough spatial diagrams to investigate how different spaces could interact. I started with orthogonal shapes to match the orthogonal shape of the site. The common feature grounding these sketches is a central courtyard featured both in the traditional and reconstructed urban landscape. Thus, not only are these sketches the means to explore form concepts, they also act as programmatic spatial diagrams at the same time, allowing the form to be informed by the organization of spaces and their functions. Through these diagrams, they helped me to hone in on the main themes my design will focus on.

Key Visual axis towards Notre Dame

themes

Journey through enclosed and open spaces

Irregular form Organized chaos of narrow streets 65

Staging

MASSING

Staging

INITIAL

T his shows a step-by-step diagram concerning how I

arrived to the initial massing. It started by extruding the shape of the square, identifying the visual axis and central courtyard. It then involved extruding various rectangular forms and creating openings for cantilevered walkways into the building and across the square.

Staging

Notre

Dame

Point

access

Point

access

D espite

this form catering to multiple access points, reasonating with the various routes to the site found through site analysis, it still seemed out of place or isolated when tested in context. Whilst it does incorporate the themes established earlier - narrow walkways, the visual axis/ procession walk, and the central courtyard - it does not quite encapsulate the feel of the medieval landscape and does not blend in with the surrounding buildings. Hence, I looked back to the site and started to develop more massing concepts that would f it into context.

access

Axis

Visual

Point of access (main)

Thinking Through Making

THINKING THROUGH MAKING

Thinking Through Making

distinguish the coming together of the new and the old, I made use of contrasting materials - the solid, opaque clay against the lightweight, thin balsa wood. The clay symbolizes the existing monumental buildings on Île de la Cité, whereas the wood represents the new addition that is the heritage center to the existing landscape. Using clay was a step out of my comfort zone as it is quite a messy material to work with. However, seeing as I enjoyed molding clay during a previous ‘Thinking through Making’ workshop, I thought it would I would experiment with this material again.

Thinking Through Making

MODEL

Thinking Through Making

FINAL

A notable feature that I incorporated into the model is

the fact that the two materials do not touch - the grooves and ridges allow them to f it together like a puzzle piece, but there is a small gap in the middle so that they do physically join. This was taken inspiration by Scarpaâ&#x20AC;&#x2122;s work on shadow gaps investigated during the Grand Tour. It represents that a connection can be established between the new and the old without a physical one this is a concept that is incorporated into my design as well. This model was the starting point in brainstorming how to develop a relationship or dialogue with the Notre Dame without a literal physical connection - its linearity acted as the inital inspiration for the eventual decision to employ concrete f ins along the facade.

Realization + Synthesis

REALIZATION + SYNTHESIS

D uring

Realization was the pivotal point in the design project, as it when the form came to be. During Staging, I was not very successful with def ining a form as I struggled to f ind one that matches with the context. Through layers of diagramming, found to be an extremely useful tool as identif ied in the Theory Into Practice module, I was able to f ind one that integrates the medieval landscape. By integrating technology, it allowed me to design a facade that not only aids passive solar shade and ventilation, but also strengthened the connections the heritage center has with the cathedral. It made me realize the signif icance of integrating construction when designing and determining a concept, as it is because of the technology of concrete f ins being linear and repetitive that allowed a dialogue to be established with the cathedral's buttresses. Realization and Synthesis was when various aspects of the design process came together to form one cohesive design proposal. 76

Realization + Synthesis

DEVELOPMENT

Site perimeter Continuation of facades from surrounding buildings Visual axis

FITTING

Reducing size of square

Remaining volumes

INTO

CONTEXT

Incoporating themes of medieval landscapes Central courtyard Narrow walkways

Realization + Synthesis

FORM

Incorporating existing archealogical crypt Building footprint informed by the existing history

U pon realizing that previous massing studies

were unconvincing due to appearing isolated on site, and was struggling to f ind a form that would connect with the old landscape, I decided to take a step back and understand the core reason for medieval landscapesâ&#x20AC;&#x2122; irregular shape: they were conf ined by walls and building as much as possible within those walls. Hence, I reapproached brainstorming form with this in mind. 78

Realization + Synthesis 81 80

ITERATIONS Realization + Synthesis

FORM

Realization + Synthesis

A major design technique used throughout this

project is diagramming. Digramming on trace paper helped me to brainstorm form iterations whilst being able to quickly test them in context. It also allowed me to identify existing issues on site and propose design solutions that would help resolve that. The layered technique gives me the ability to see what I have done and improve upon it, or to retrace my steps to remind myself of the original concept when I found myself feeling lost.

Realization + Synthesis

FORM

CONTEXT

prevent developing more forms that seem isolated on site, I made a quick massing model out of foam to place on the groupâ&#x20AC;&#x2122;s site model from Primer, testing the form in context. I f ind using foam really helpful and easy to work with, as there is no pressure to get everything perfect, and is convenient in experimenting with forms on the spot. I was able to analyze how access routes would work with and through my building, and if the form does reflect the central courtyards and narrow streets against the existing buildings.

Realization + Synthesis

TESTING

Realization + Synthesis

EVOLUTION

Primer

Staging

Realization

Realization + Synthesis

FORM

Synthesis

Site analysis

Fitting 88

into

context 89

Realization + Synthesis

THE

EXISTING

CRYPT

Realization + Synthesis

INCORPORATING

T he

Before

incorporation the crypt

After

incorporation the crypt

decision to incorporate the archaeological crypt was due to wanting to establish a connection with the history of the island, to allow the building footprint to be informed by the existing - strengthening my design concept as it is a literal act of â&#x20AC;&#x153;building upon buildingâ&#x20AC;?. Due to the inclusion of the crypt, I shifted the building outwards to allow for pile foundations to be driven down alongside the walls of the crypt, and its superstructure will bridge across the top of the crypt to prevent causing damage to the crypt. Pile foundations are needed as the building is situated next to the River Seine, hence the soil underneath the site is reletively weak and could potentially become waterlogged over time. I created various cantilevers to continue the shape of the massing as well as to accommodate the placement of foundations to be placed either side of the crypt.

Realization + Synthesis

ENTRANCES

Realization + Synthesis

CIRCULATION

A s the building is quite large in size, transparent

glazing and cantilevers are used to signify entrances. Taking the ticket off ice (1) as an example transparent glazing is used to allow people to see large queues of visitors inside, indicating activity. The cantilevers actively invites people to enter the the space below. Transparent glazing is used again in (2) to emphasize the visual axis, allowing views of the cathedralâ&#x20AC;&#x2122;s west facade even when one is across the street, drawing people in to journey on the procession walk. 92

Realization + Synthesis

CONNECTIONS

Realization + Synthesis

SITE

continue existing facades and relate further to the adjacent Hotel Dieu and the Police Prefecture, the height of the heritage center will match up with the heights of said buildings. The levels are also staggered to allow for views to the cathedral and river at each level, and for the opportunity of accessible roof terraces, a very popular Parisian architectural feature.

Massing Height = Height of Hotel Dieu and Police Prefecture

Staggering levels = Views to Notre Dame and River Seine

Transparent glazing Reflective glazing

A s mentioned previously, transparent glazing will

be used to signify enttances due to the indication of activity in the interior. However, the exterior facades facing the Notre Dame and River Seine will make use of reflective glazing to mirror its surroundings, paying homage island and directing attention to the cathedral. In addition, combining technology, reflective glazing also helps to reduce direct solar glare on the building during the summer. As the building is staggered on three levels, different features of the cathedral's west facade will be reflected on the heritage center's facade. 94

Realization + Synthesis

A part

from being a heritage and preservation center, this building will also act as a teaching center specializing in architectural heritage and preservation, a central hub for all architecture schools in Paris. Notre Dame will be used as a current and prime case study example that all students can study and investigate, hence will house auditoriums, seminar rooms and studio spaces. These are next to the laboratory spaces so students can gain hands on experiences with learning about the current work that goes on in the cathedral. The library and archives are semi-public, with a dedicated space in the lower ground floor for restoring and gathering archives.

The lower ground floor houses the underground crypt, exhibition spaces, and a cafe, which opens out to the river bank - the idea is that visitors can visit the existing crypt and exhibition space, make their way to the cafe, exit through the riverbank walkway, and proceed back to visit the cathedral. Lastly, off ices sit above the exhibition spaces to allow for convenient access for exhibition curation.

Typical upper floor

Realization + Synthesis

PROGRAMME

Ground floor

Lower ground floor

Existing crypt Exhbition spaces Cafe Gift shop Teaching center Laboratories Library and archives Off ices Plant room

Realization + Synthesis

GREEN

SPACES

Realization + Synthesis

LANDSCAPING

Old landscape

U sing the same strategy applied to the

building, I’ve adapted the pathways through the green spaces to match up with the main pedestrian routes, encouraging both locals and visitors to enter this space. Both pathways ultimately lead to the walkway along the river, eventually leading people towards the heritage center. The trees outline the perimeter of the green space to create a somewhat

V . S.

secluded ‘haven’ in the middle of the island, separating those who desire peace and quiet amongst the crowded tourist hot spot.

New landscape This space aims to become one where people can relax and admire the view of the river and the cathedral. It will hopefully become a place where locals would want to come back to and spend time here.

Realization + Synthesis

SEATING

T he

pod-like shape aims to foster interaction and communication between people, especially between locals and tourists to help establish a good relationship between the two groups.

Precedent Michael Clyde Johnson Untitled Benches, Patios, Planters in Arrangement (For Ennis Playground) 2015–2016 Ennis Playground, Brooklyn, New York

100

Realization + Synthesis

LANDSCAPING

Figure 18-19: Michael Clyde Johnson's public seating designs (Michael Clyde Johnson, 2015-16)

landscaping the green space behind the cathedral, I’ve taken inspiration from Michael Clyde Johnson’s public seating designs that are composed of three modular cubes. I’ve come up with my own seating designs, composed of 4 modulars constructed from beige concrete to match the heritage center and surrounding buildings for continuation and consistency.

101

Realization + Synthesis

PAVING

U sing

I decided to pedestrianize the site and its connection to the adjacent hospital, and use paving to highlight not only my design concept but the existing crypt below.

Realization + Synthesis

LANDSCAPING

Pre-cast concrete pavings: The paving in the middle leading up to the cathedral will be darker in colour to really emphasize the procession walk, creating a visual path for visitors towards the cathedral.

Sandblasted pavings: Whilst seem to be placed randomly when one is walking over it, it actually outlines the crypt below, highlighting that the form of the heritage center is informed by what’s already existing, informed by history. Its sandblasted surface allows for some light to enter the crypt whilst maintaining privacy for visitors on the ground floor

•

It ultimately indicates activity below, attracting people to the crypts

•

Also used over the exhibition space, creating a monumental and grand interior space with bursts of light coming through

•

102

103

Realization + Synthesis

104

105

Realization + Synthesis

DEVELOPMENT

Realization + Synthesis

PLAN

D eveloping

the plans was def initely a lengthy process. Using the similar notion of diagramming form iterations, developing plans was also a layered process. The plans went through many changes and iterations during this project, whether it was due to developing entrances or changing the circulation routes throughout the building - there was a lot of ref ining of entrances and circulation as I often struggled with clarifying a clear route through a building of such a large size. The constant iteration of plans helped me to identify areas of confusion to improve upon.

106

107

Realization + Synthesis

LOWER GROUND FLOOR PLAN 1 Existing archaelogical crypt 2 Exhibition space 3 Cafe 4 Archives

1:200 at A0

108

109

Realization + Synthesis

GROUND FLOOR PLAN 1 Gift shop 2 Ticket off ice 3 Cloak room 4 Library 5 Archives 6 Laboratories 7 Auditoriums 8 Teaching rooms 9 Study spaces 10 Faculty off ices 11 Entrance to crypt and exhibition and access to off ices

5 1 4

2 7

10 3 7 9 8

1:200 at A0

110

111

Realization + Synthesis

TYPICAL UPPER FLOOR PLAN 1 Open plan off ice 2 Conference rooms 3 Private off ices 4 Meeting pods 5 File storage 6 Library 7 Archives 8 Laboratories 9 Studios 10 Teaching rooms 11 Student reviews / exhibitions space

2 6

3 8 2 3

11 10

1:200 at A0

112

113

Realization + Synthesis

115 114

Realization + Synthesis

DEVELOPMENT

ATRIA

Realization + Synthesis

SECTION

F ollowing the incorporation of

the crypt, developing a cross section exhibiting the connection to the river, Notre Dame, and Hotel Dieu was crucial. It was important to use sections to illustrate various atriums in the buildings. These were not only used to deliver natural light into the building, but also to act as circulation between floors and to roof terraces, connecting with the medieval landscape as central courtyards were a statement feature. In the technology module, I demonstrated light studies to show the dispersion of light, and to show how it can be meant to be enable stack ventilation as well.

116

117

Realization + Synthesis

CROSS SECTION 118

1:200 at A1 119

Realization + Synthesis

120

THE LIBRARY'S ATRIUM

121

Realization + Synthesis

LONGITUDINAL SECTION

122

1:500 at A1

123

Realization + Synthesis

STUDY

CONNECTING

HISTORY

Precedent Royal Collections Musuem: Mansilla + Tuñón Arquitectos

S eeing that the heritage center has established

a connection to its surroundings with its form, I am employing the facade to create a relationship with the cathedral. The facade is made up of pre-cast concrete f ins with reflective glazing in between. The positioning of the f ins references the spacing of the cathedral’s flying buttresses - the buttresses are spaced 4.5m apart, whereas the f ins are spaced half that width, at 2.25m apart.

WITH

Realization + Synthesis

FACADE

4.5m

The reason for this is to reflect that the heritage center does not aim to compete with the cathedral or copy it, but merely to establish a connection with the cathedral, to form a dialogue between the two. The common feature tying the two is the repetition of continuous linearity.

The Royal Collections Museum was what inspired the idea of using f ins to reference the cathedral’s linear buttresses. The museum uses granite pillars to match the linear lines of the Royal Palace. It does not shy away from being a contemporary facade, but it alludes to it by f inding a commonality that is the linear structure of the facade.

Figure 20-22: Facade of the Royal Collections Museum (Archdaily, 2016)

This concept of connecting with what is already existing and history in such a nuaced manner, without a physical connection, really intrigues me and is one that I hope my design achieves through its facade. The idea of referencing the buttresses’ literal spacing helps to make this connection stronger and more conspicuous, enabling the elevation of the heritage center against the cathedral even more powerful. 2.25m 2.25m 2.25m

124

125

Realization + Synthesis

STUDY

PASSIVE

SOLAR

SHADING

VENTILATION

Realization + Synthesis

FACADE

Pre-cast concrete f ins Filters amount of natural light entering the building

Reflective solar contral glazing Allows enough natural light into the building but reflecting and radiating a large amount of the heat from the sun - reduces solar heat gain and also cut down costs for mechanical cooling Its reflective surface provides a certain level of privacy for inhabitants.

Fritted glazing Its coverage helps to reduce solar glare and cut down costs for mechanical cooling of the building.

Operable awning windows Allows for greater cross ventilation through the building - based on inabitantâ&#x20AC;&#x2122;s needs Its ability to tilt outwards and downwards allows protection from rain and shade from the sun whilst still allowing ventilation to take place

126

127

Realization + Synthesis

CONSTRUCTION : STRUCTURE Tertiary Floor to ceiling glazing

Secondary Floor slabs: composite steel floor system Interior non loadbearing walls

Realization + Synthesis

INTEGRATING

Primary Pre-cast concrete lift and stair cores

Primary Steel columns encased in concrete Steel beams

T he structural grid of the building was determined

by the spacing of the concrete f ins, informed by the Notre Dame. The structural columns are spaced 4.5m, lining up with the f ins. Hence, apart from solely serving aesthetic purposes, the f ins also helps to determine the structural arrangment of the building.

128

Primary Bored pile foundations: Reinforced concrete piles

Tertiary Facade: Curtain wall Pre-cast concrete f ins

129

Realization + Synthesis

130

131

Realization + Synthesis

Climate

THE

CLIMATE

crisis : Steel

CRISIS

Realization + Synthesis

ADDRESSING

frame ? Concrete?

T he climate crisis has led

to many debates about using concrete and a steel frame due to their reletively large carbon cost. To compensate that, I would highlight the buildingâ&#x20AC;&#x2122;s durability intended timeframe. Concrete was chosen because it is durable, resistant to weather, low maintenance, and comes in a beige tint to blend in with the surrounding buildings cladded in Lutetian limestone with a similar nicotine yellow hue. It has proven to last for long periods of time with minimal maintenance by the still-standing Roman Forum during our Grand Tour. The concrete f ins are also used to aid passive solar shading and ventilation, reducing costs for air conditioning and mechnical ventilation, aiding sustainbility in another aspect of the building. A steel frame is used due to its quick assemblage and light weight, suitable for the building form - orthogonal yet irregular. It was also suggested to use reinforced concrete pile foundations that is driven down to bed rock due to the proximity to the River Seine, where the soil is unstable and can be waterlogged over time.

132

Working with existing = sustainability ?

structures

T he idea of

working with existing structures such as the underground crypt and the Notre Dame can arguably be sustainability in itself, as one is using what is already there. Building upon existing structures, whether it is simply establishing a f igurative connection or a literal one, one is responding to history, responding to problems that need resolving. It is not wasting material to build new structures simply for the sake of building, but improving on what is needed, using previous structures as a starting point. By not demolishing old structures and building new ones over top of them, it reduces the consumption of time, money, manpower, and most importantly, resources. In the more technical sense of sustainability, working with existing structures provide the opportunity for materials from damaged ruins or buildings to be reused for new builds, reducing the cost and need for new materials, and extending the life span of existing ones. By incorporating existing structures, it opens doors for opportunites to create architecture that not only pays homage to the past, but it helps to establish meaningful, long-lasting urban environments and allows for the potential to reuse existing resources - it is the ultimate act of sustainability.

133

Realization + Synthesis

ELEVATION 1:500 at A1

134

135

Realization + Synthesis

136

137

Charrette

CHARRETTE

D ue to family committments, I was unable to attend Charrette

Week this year. Fortunately, I had the chance to experience and understand some of the work that my group was working on at the exhibition. It revolved around redesigning the loose foods store, "Fruit and Nut Company", at Grainger Market to improve the eff iciency of the day to day running of the store, and to enhance the customer experience. The group proposed a new shop design at the end of the week.

138

139

Charrette

T he group worked with the client to propose a new design

for the store and as part of the shop's branding. As well as redesgining the shop layout and producing floor plans and sections, they also worked on designing protoype gravity dispensers to allow the shop to run effectively. The group also aimed to propose a marketing strategy to enhance their online presence. Despite not having the chance to attend Charrette Week this year, being able to visit the exhibition allowed me to experience the opportunity to learn from my peers.

140

141

Cultural bibliography

CULTURAL BIBLIOGRAPHY

142

143

Cultural bibliography

THROUGH

MAKING

WORKSHOPS

CLAY

MOLDING

Cultural bibliography

THINKING

T his

clay molding workshop focused on understanding the material and its texture. We used clay that can be air dried, hence it was crucial to work quickly and mold the clay into the shape we want before it hardens and cracks. I decided to create a flower-like form, with thin, gentle, flowing petals to test the materialâ&#x20AC;&#x2122;s ability to form into shape. There were various tools to help us: rolling pin, scalpels, chisels etc. It was a fun workshop to understand the texture and properties of clay - I ended up using clay as a main material for the model I made during Thinking Through Making Week.

144

145

Cultural bibliography

THROUGH

MAKING

WORKSHOPS

WOOD

BENDING

Cultural bibliography

THINKING

I n this workshop, the task was to create a door handle using very thin pieces of

wood veneer. It brought insight as to how flexible and malleable wood can be, and that it can be bent to produce various organic curves. Clamps and masking tape were used to help keep parts of the veneer stuck together to create dips. It allowed me to understand just how versatile the material is.

146

147

Cultural bibliography

SAMSA

COLLAGE

WORKSHOP

F ollowing

our Primer project, our studio tutor invited Franz Samsa to give us a collage workshop, as Samsa’s projects were what inspired the walkthrough timeline concept. The workshop was insightful and helpful in guiding us express our ideas.

This collage was made using some of the images that Samsa provided as a warm-up exercise. It was completed in about half and hour, and was meant to teach us about composition and balancing different elements on a page.

This is a self portrait made from Post-it Notes. This exercise was meant to help us with our observation skills and translate that into a visual piece. I chose to focus on my hair as I feel that it is my most def ining and prominent feature. This was a fun yet challenging exercise.

148

Cultural bibliography

FRANZ

Half of this collage was made by myself, and the other half was made by a studio colleague. We were tasked to make half of it without the other person being able to see or plan ahead. It taught us to improvise, work quickly and think on our feet. As architects, we are constantly trained to think and plan meticulously, hence this exercise helped us to have fun with the creative process.

Last but not least, the f inal exercise was to design a collage that represents Paris and our design concept. I chose to use the facades of Parisian residential buildings to represent the traditional Parisian landscape, and to pay homage to the locals who live on Île de la Cité. The interlocking of images also represent the notion of weaving down the medieval narrow streets. 149

Cultural bibliography

FIELD

TRIPS

HONG

KONG

RECREATIONAL

CLUBS

A s my dissertation pertained to investigating the effects

Cultural bibliography

DISSERTATION

of British colonialism on Hong Kong identity and racial segregation through the city’s colonial architecture, f ield trips to various recreational clubs that the British established was crucial to conducting research. Aside from taking photographs documenting particular architectural features and the clubs’ site, I conducted insightful interviews with council members of The Helena May, and the CEO of the YMCA. I was able to understand the arrangement of interior spaces, and if the club buildings’ choice of site or design features suggested hints of racial prejudice in the past.

The recreational clubs visited - The Helena May, Young Men’s Christian Association (YMCA), The Foreign Correspondents’ Club, The American Club, and The Hong Kong Jockey Club

150

151

Bibliography

Allen, S. (2009). Practice: Architecture, Technique and Representation. London: Routledge

Allen, S. (1991). Points + Lines: Diagrams and Projects for the City. New York: Princeton Architectural Press.

Benjamin, W. (1935). ‘Paris: Capital of the Nineteeth Century’, in Eiland H & Jennings M W. (eds), Walter Benjamin: Selected writings, volume 3, 1935-1938. Cambrirdge: The Belknap Press of Harvard University Press.

LIST

FIGURES

Figure 1: Viollet-le-Duc (Archdaily, 2014) Taylor-Foster, J. (2014). Uncovering Viollet-le-Duc's "Unexpected" Career. Archdaily [online]. Avaliable at: https://www.archdaily.com/573855/uncovering- viollet-le-duc-s-unexpected-career [Accessed 13 June 2020].

Bibliography

BIBLIOGRAPHY

Figure 2: Notre Dame Cathedral f ire (Geoffroy Van Der Hasselt, The New York Times, 2019) Nossiter, A, & Breeden A. (2019). Fire Mauls Beloved Notre-Dame Cathedral in Paris. The New York Times [online]. Avaliabe at: https://www.nytimes .com/2019/04/15/world/europe/notre-dame-f ire.html [Accessed 13 June 2020].

Garcia, M (ed.) (2010). ‘The Diagrams of Architecture’, AD Reader. London: Wiley.

Jokilehto, J. (1999). A History of Architectural Conservation. Oxford: Butterworld-Heinemann.

Koolhaas, R. (1975). Delirious New York: A Retroactive Manifesto for Manhattan. New York: Oxford University Press.

Figure 3: Inspiration collages made by Franz Samsa (Franz Samsa, 2019) Franz Samsa. 2019. Installazione “La terra è piatta” di @oltrecollage realizzato in occasione di @wopartfair 2019 insieme a @tim.mer.man @i2a.architettura presso Villa Saroli, Lugano , musiche di Michele Mucci, Bar Capolinea. [Instagram]. 5 October. [Accessed 12 June 2020]. Avalible from: https://www.instagram.com/p/ B3PiBhjFVhJ/

Figure 4-10: Setting up primer exhibition photographs (Yew Zhi Xuan, 2019) Murray, S. (1998). ‘Notre-Dame of Paris and the Anticipation of Gothic’, The Art Bulletin, 80(2), pp. 229-253, accessed 12 October 2019 from JSTOR, doi:10.2307/3051231

Figure 11-17: Final primer exhibition photographs (Yew Zhi Xuan, 2019) Otero-Pailos, J, Langdalen, E, & Arrhenius, T. (eds). (2016). Experimental Preservation. Baden: Lars Müller Publishers.

Sollazzo, A. (2001). Digital Van Berkel: Diagrams Processes Models of UNStudio. Rome: Edilstampa S.r.l

Sennett, R. (1994). Flesh and Stone: The Body and the City in Western Civilization, London: Faber and Faber.

Vidler, A. (2000). ‘Diagrams of Diagrams: Architectural Abstraction and Modern Representation’, Representations, pp. 1-20, accessed 17 Febuary 2020 from JSTOR, <https://www.jstor.org/>

Figure 18-19: Michael Clyde Johnson's public seating designs (Michael Clyde Johnson, 2015-16) Michael Clyde Johnson. (2015-2016). Untitled Benches, Patios, Planters in Arrangement (For Ennis Playground), 2015–2016. Michael Clyde Johnson. Avaliable from: http://studio.michaelclydejohnson.com/Untitled-Benches-Patios-Planters-in- Arrangement-For-Ennis-Playground [Accessed 10 June 2020].

Figure 20-22: Facade of the Royal Collections Museum (Archdaily, 2016) Archdaily (2016). Royal Collections Museum / Mansilla + Tuñón Arquitectos. Archdaily. Avaliable from: https://www.archdaily.com/793984/royal-collections- museum-mansilla-plus-tunon-arquitectos [Accessed 10 June 2020] Figure 23: Back cover page - studio group photo (Latifa Nawar, 2019)

Viollet-le-Duc, Eugène-Emmanuel. (1854-1868). Dictionnaire de l’architecture française du XIe au XVIe siècle. Paris: A. Morel Editeur. 152

153

Appendix

FIELD

TRIP

CASE

STUDY

Appendix

154

APPENDIX

155

Appendix

156

157

Appendix

158

159

Appendix

160

161

Appendix

162

163

Appendix

164

165

Appendix

166

167

Appendix

168

169

Appendix

170

171

Appendix

172

173

Appendix

174

175

Appendix

176

177

Jing

Olyvia

Tam

170244440 2019 - 2020 Newcastle

University