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A r c h i t e c t u r e Po r t f o l i o

C he uk Lum C harl i e Wong 170439035 N ew c as t l e U n i v ers i t y A rc h i t ec t u re St ag e 3 Building Upon Building 2019/2020

CONTENTS

1 Introduction

2 Charrette

5 F i e l d Tr i p Case Study

6 Realisation

7 Synthesis 3 Primer

8 Illustrated Cultural Bibliograohy 4 Staging

9 Bibliograohy

INTRODUCTION

Speaking of architecture, it is always linked with heritage and preservation. This studio brought me to explore the experimental preservation and architecture in dialogue with other existing architectural works with the value of their cultures and politics. Through the theories and concepts, it is aimed to frame or reframe the built environment which they contain a place and people’s memories and histories. This approach is investigated throughout the academic year by key reading and historical mapping with case studies. As the Notre-Dame is chosen for this year project, a wide range of historical urban plans and the changes in the Cathedral have been researched. It is interesting to explore a site through numerous images and drawings from the old times. Since the site of the project is in Paris, it challenged me to obtain more creativity and imagination as the studio only went to the site during the field trip. In additionally, the surrounding area of the Notre-Dame is closed after the fire which resulted in not having much on-site analysis. As the project reflected on the preservation of the Notre-Dame in Ile de la Cite, Eugene-Emmanuel Viollet-le-Duc was a key revolutionary architect and preservationist of the Cathedral. When he restored the Cathedral, he believed that instead of restoring the Cathedral to the exact state that it was built, it should re-establish it in a finished state which may in fact never have actually existed at any given time. Viollet’s idea had challenged the established architectural assumptions of the time, After the fire of the Cathedral in 2019, the awareness towards preservation and changes in the ile de la Cite has pushed the design project approach further. Through the Primer, it is clear with the features of the Cathedral itself and the development on the Island. It inspired me to redefine the parvis of the Notre-Dame under the consideration of urban planning. Public squares are one of the significant public spaces in an urban environment because it reflects the city’s identity and the community’s cultural background. They allow people gathering since the ancient times. It is said the main contrast between a park and a square is that “on a square, citizens are not connected to manifestations of natures, but to the heart of urban culture, history and memory”. However, many urban squares have lost its intentions owing to the shift of the use of public spaces in recent decades. This has resulted me to develop and redefine the square of Notre-Dame as it is more like a park than a square with irregular form. In additionally, urban public squares are open spaces surrounded by buildings and other structures within a city while one side of the square is disclosed. Camillo Sitte, in his work “City Planning According to Artistic Principles” focuses on the visual appearance to define the ideal morphological-aesthetic criteria of the urban square as an enclosure; closed and protected space.

and density of the surrounding buildings of a square affect the perceived size as squares surrounded by massive structures may appear smaller than they actually are. Paul Zucker also suggested a square is defined when it is completely directed to a building coordinate size. This resulted my idea of not interrupting and building any blocks to the square with no changes in the size of the square since it is in a correct scale with Notre-Dame in symmetry. In Theories into Practise, it explored the massing development through mapping the Island and all the surrounding areas with the consideration of tourists and the locals. This has led me to further think about the users’ interaction of the space while a crafted is developed for the massing development of the design project. It is to overlap the transect line of buildings in Ile de la Cite with various position to create a massing form to the proposed building. For Technology, it helped me to re-establish the idea of Viollet-le-Duc through the materiality. Since the fire had burnt and destroyed the timber roof, it inspired me of using timber for the proposed building in order to contain a contradiction of people’s thought on the timber roof of the Notre-Dame. With the consideration of fire safety, it allowed me to research in depth to different kinds of timber can be used with the massive form of building with high protection against the fire. Last but not least, analysis on passengers psychology has taught me about how a simple feature can affect a person’s mental and physical activities. This also inspired me of the importance of wayfinding in a massive building. In order to contain a welcoming and stress less environment, the design project is encouraged to have large opening to the exterior so as to keep a high linkage to the external area which the people inside may find comfortable being inside the building.

Size is another feature of public square design. It is often thought they must be in large scale whilst it should be decided according to the surroundings and visual perception. The scale

CHARRETTE EXHIBITION FIRST SIGHT THROUGH REPETITION

CHARRETTE

PRIMER

In Primer, the studio has been researching on Viollet-le-Ducâ&#x20AC;&#x2122;s writing about the Notre-Dame towards architecture preservation. Ranging from doing the siteâ&#x20AC;&#x2122;s urban plans with the old and the existing ones, the studio was getting familiar with Paris and the Ile de la Cite by site analysing and mapping through history. The understanding of changes in Notre-Dame and its surrounding also allowed me to explore the features of the Cathedral itself. With designing the Primer Exhibition, it pushed me towards creating a brief massing exploration with the consideration of heritage preservation. This encouraged me to have more key readings and discussion with the studio. Besides exploring the history of Notre-Dame, the studio has also studied on Viollet-le-Duc with his other works including his design philosophy and theoretical works. This generated contemporary debates on architecture, heritage and experimental preservation among the studio.

PRIMER

EARLY CONSTRUCTION 1163 - 1190

Inducted as bishop of Paris in 1160, Maurice de Sully decided 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 had remained a central reference for religious architecture. Aware of the symbolic role of a cathedral, AbbĂŠ 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 was a phenomenon closely linked to the development of medieval cities from the end of the twelfth century. In 1161, Paris had become the political capital of the Capetian kings since Philippe I, and an important economic centre where a real city of artisans and markets had been built. The construction of a cathedral responded to these double needs 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 allowed the faithful to practice their worship because it included a choir, with aisles, tribunes, vaults and the beginning of the transept. From 1182 to 1190, three bays of the nave were added to the choir, the aisles and the tribunes â&#x20AC;&#x201C; also called triforium (open gallery, located above the aisles). The cathedral thus gained in length and height.

1163 - 1190 Final Collage

1163 - 1190 Collage Draft 12

PRIMER

1163 - 1190 Collage in Exhibition PRIMER

MID-CONSTRUCTION 1190 - 1250

From 1200 to 1250, the second phase of the work took place, marked by changes in the style of the building. The first portal built around 1200 was dedicated to Saint Anne, the mother of Mary. The second portal was that of the Virgin which was facing to the north. Dating from the years 1210 to 1220, it represented the death of Mary and her ascension to paradise, where she was made queen of Heaven before the eyes of an assembly of angels and patriarchs. In this portal, the sculpture was 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 faรงade in the 1220s was that of the Last Judgment. In 1230, a nave and buttresses were added to the original building. The buttresses were added to support the walls that were raised, as the first nave was considered too dark. Indeed, one of the fundamental principles of Gothic architecture was 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.

1190 - 1250 Collage Draft

Finally, a span was also added to the transept, to preserve the cross-shape of the whole. The South Tower was completed in 1240 and the North Tower in 1244. The latter was carried out under the supervision of Jean de Chelles, the first contractor whose name was known on this site.

1190 - 1250 Collage in Exhibition

1163 - 1190 Final Collage 14

PRIMER

CONSTRUCTION COMPLETION 1250 - 1345

The use of the warhead cross-vault allowed builders to build higher, while freeing the walls of Notre-Dame from their role. They could then be drilled to create wide openings. The Gothic style inaugurated the rose window, a large circular opening subdivided by carved stone frames, usually dressed in spectacular stained glass. The North rose of Notre-Dame had a diameter of nearly 13 m and expanded to 24 rays on three concentric circles. Dating from 1245, it was dedicated to the Old Testament. A Virgin in majesty, a scepter in her hand, appeared 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 faรงade and the towers were elevated. All that remains was to finish the interior fittings and the bedside, the end of the nave opposite the portals (also called apse). The bedside of Notre-Dame was 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.

1250 - 1345 Final Collage

1250 - 1345 Collage Draft 16

PRIMER

1250 - 1345 Collage in Exhibition PRIMER

CATHOLIC REFORMATION 1600 - 1750

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. 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.

1600 - 1750 Final Collage

1600 - 1750 Collage in Exhibition 1600 - 1750 Collage Draft 18

PRIMER

FRENCH REVOLUTION 1789 - 1799

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 was formed in 1793 by Jacques Hébert which rooted in a shared hatred for the Catholicism and believed that way of life should be governed by Enlightenment ideas – reason and rationality. The anti-religious Festival of Reason, in 1793, manifested the cult’s beliefs by converting all churches into ‘Temples of Reason’. The Notre-Dame was a combined symbol of Catholicism and monarchy, thus becoming the main temple for the festival. There were 28 biblical kings’ statues on the Western façade, mistaken to be French kings, that were destroyed and replaced by philosophers’ busts. The Goddess of Reason was worshipped atop of an artificial mountain, replacing the 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.

1789 - 1799 Collage in Exhibition

1789 - 1799 Final Collage

1789 - 1799 Collage Draft 20

PRIMER

NAPOLEON I 1804 - 1814

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 FrançoisLéonard Fontaine were tasked with refurbishments. Houses were demolished to clear surroundings of the cathedral, streets surrounding that the cortege would pass and 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.

1804 - 1814 Final Collage

1804 - 1814 Collage in Exhibition 1804 - 1814 Collage Draft 22

PRIMER

THE BOURBON RESTORATION & VIOLLET-LE-DUC 1830 - 1852

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.

1830 - 1852 Collage in Exhibition

1830 - 1852 Collage Draft 24

PRIMER

1830 - 1852 Final Collage PRIMER

NAPOLEON III 1852 - 1870

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 dreamt to create a â&#x20AC;&#x2DC;new imperial city whose very streets spoke of the glory of the French empireâ&#x20AC;&#x2122;. 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.

1852 - 1870 Final Collage

1852 - 1870 Collage Draft

PRIMER

1852 - 1870 Collage in Exhibition

PRIMER

WWI &WWII 1914 - 1942

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 the two bells rang in celebration, 1918. 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 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’. However, German General Dietrich von Choltitz (commander of Nazi-occupied Paris in 1944) disobeyed these orders to destroy the city, instead he surrendered it to Free French forces. He is named the “Saviour of Paris”. Although the cathedral was hit by bullets during the war (which only caused scratches to the surface), it emerged largely unscathed. On August 26th, Notre Dame hosted a special mass of thanksgiving to celebrate the liberation and preservation of Paris. The cathedral undamaged features as the backdrop to many post-war photos, capturing the heart of the city untouched by the threats of the war.

1914 - 1942 Final Collage

1914 - 1942 1st Collage Draft

PRIMER

1914 - 1942 2nd Collage Draft

PRIMER

NOTRE-DAME BURNS 2019

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.

2019 Final Collage

2019 Collage Draft

PRIMER

2019 Collage in Exhibition

PRIMER

PRECENDENT ‘La terra è piatta’ Installation Lugano, switzerland FRANZ SAMSA

NOTRE-DAME ROSE WINDOW This is a installation exhibition of collages. Different collages put in different locations in order to let people go through the whole collages but as the same time it shows a full collage image at the front. This allows a 2D image to a 3D image to interact with the visitors. It can also separate details in the collages so as to let people more easy to understand the intention behind. The positions of the images create prople moving around rather than a straightforward path.

PRIMER EXHIBITION

In the centre of the studio’s exhibition space, it created a image of Viollet-le-Duc on the window which similar to the Rose Windoe in the Cathedral. It used translucent papers sticking onto the window allowing natural light to get in.

The studio has decided to create a similar collage exhibtion in Primer with different features of the Notre-Dame in different times. As this allocation allows people to go up the stair with different collages which encourages an atmosphere that people are walking through thr history from the old times to nowadays. This also helps people to easily understand how the Cathedral has been changed though times.

PRIMER

ILE DE LA CITE MODEL AT 1:500

Exhibition Space

PRIMER

FIRST MASSING PROPOSAL

Site plan

This form allows a more structured urban planning in this area as it emphasizes the square in the middle of the area at the same time there is a continuity of height with surrounding buildings. It also invites people towards Notre-Dame de Paris. The trapezium shape reminds people of the flying buttress of the cathedral.

PRIMER

STAGING

In staging, it is aimed to start proposing a design of a new building to host the Centre national du patrimoine et de la preservation (National Centre of Heritage and Preservation of France). This site is chosen as to reform the square in front of Notre-Dame Cathedral named Parvis Notre-Dame under the consideration of urban planning. Public squares are one of the significant public spaces in an urban environment because it reflects the city’s identity and the community’s cultural background. They allow people gathering since the ancient times. With reference to Levy (2012), the main contrast between a park and a square is that “on a square, citizens are not connected to manifestations of natures, but to the heart of urban culture, history and memory”. However, many urban squares have lost its intentions owing to the shift of the use of public spaces in recent decades. This has resulted me to develop and redefine the square of Notre-Dame as it is more like a park than a square with irregular form. In additionally, urban public squares are open spaces surrounded by buildings and other structures within a city while one side of the square is disclosed which is the reason the location of the building is made.

STAGING

URBAN PLAN ANALYSIS

Second Plan de La Ville de Paris in 508 BC

Sixieme Plan de La Ville de Paris in 1589

Troisieme Plan de La Ville de Paris in 1180

Septieme Plan de La Ville de Paris in 1643

Quatrieme Plan de La Ville de Paris in 1223

Hultieme Plan de Paris in 1705

Cinquieme Plan de La Ville de Paris in 1383 42

STAGING

SITE ANALYSIS FROM FIELDTRIP

Pedestrians

Main Roads

Public Buildings

Housing Footprint

Commercial Footprint

This shows the people density of these roads across the Ile de la Cite after the field trip. It allows me to think about the allocation of the entrance of the proposed building and how people access to the site. More vehicles are using the two main roads in the middle of the Island while the remainders are most likely pedestrians. I realised those people who were more welling to come to this Island were the tourists rather than the locals. This has inspired me of choosing the position of the proposed building as the location is aimed to attract the people who are not even on the Island in order to bring back more locals to the island.

STAGING

Greenery

Base

STAGING

FEATURES OF NOTRE-DAME

To help redirect weight, instead of the Romansâ&#x20AC;&#x2122; half-circle arch used through Romanesque buildings, gothic structures used pointed arhes. The semi-circular arches directed weight coming down on them in angled direction, into the surrounding wall space, which was fine when they were solid rock. The form and the repetition of the pointed arch inspired me of the massing of the proposed builidng in order to remind the features inside the Cathedral while putting it to the exteriors.

Flying buttress was one of the greatest features of the Gothic era. Attaching to the external walls, arched stone was connected to huge buttresses built away from the wall. This system allowed builders to construct soaring cathedrals with massive interior spaces while allowing walls to exhibit expansive stained glass windows.

MATERIAL INFLUENCE

After the fire, th timber roof of the Cathedral had been destroyed. This timber roof is designed and renewed by Viollet-le-Duc. This is therefore the design is aimed to contain timber feature in the building which provides a message that timber can still be constructed as a main material among Paris.

Precendent Royal Villa, Miami This wooden structure has reminded me of the shape of the flying buttress. The triple layers of facade in this villa can also relate to the repetition of the flying butress in the Notre-Dame.

STAGING

SPATIAL RELATIONSHIP

SKETCHES OF MASSING DEVELOPMENT

In the square of Notre-Dame, it provides a massive space for people to view the Cathedral. However, it seems that the form of the square is an irregular shape.

In order to balance between the Cathedral and the square at the front, I decided to locate a structure on the right next to the bank. This helps to reform the a regular rectangle shape of the square while buildings are all surrounded.

STAGING

CONCEPT DEVELOPMENT

Chosen site in Ile de la Cite

Cut according to the two towers in Hotel-Dieu

Separating into three parts of building

STAGING

Twisting the massing according to the cut

Reforming the final cut

Finishing massing

STAGING

PROGRAMME

Views from site

Access to site

STAGING

The building is consisted of public and private spaces. From the ground floor to the second floor, it is welcome for visitors to access to the exhibition space and the library area. While starting from the second floor, it is provided for the researcher and the workers with studios and archives.

STAGING

Site plan

STAGING

Massing model at 1:500

STAGING

FIELD TRIP CASE STUDY

ARCHITECTS & DESIGNERS TADAO ANDO

PUNTA DELLA DOGANA VENICE, ITALY TADAO ANDO

In 2008-09 Tadao Ando was commissioned to convert one of Veniceâ&#x20AC;&#x2122;s old customs houses into a modern art museum. The building had been abandoned for decades, with various failed attempts at rejuvenation. The exterior of the building was preserved, the brick stuccoed facade is the only part of the original structure remaining. The interior was stripped out with new concrete interventions placed inbetween the remaining internal walls of the building.

FIELD TRIP CASE STUDY

Pulitzer Arts Foundation 2001 St. Louis, US

Hyogo Prefectural Museum of Art 2002 Hyogo Prefecture, Japan

Palazzo Grassi 2001 Venice, Italy

Punta Della Dogana 2009 Venice, Italy

Wrightwood 659 2018 Chicago, US

The Bourse de Commerce 2020 Paris, France Born in 1941, Japanese architect Tadao Ando started his architectural practise in 1969. Ando hopes his buildings can help people reflect on their inner selves instead of focus on the outward visual which the Japanese Zen philosophy is involved. In the diagrams it can show how he manage the use of space and emphasis on physical experience of architecture.

FIELD TRIP CASE STUDY

ARCHITECTS & DESIGNERS

Palazzo Grassi Venice, Italy 2001

Punta Della Dogana Venice, Italy 2009

From looking at these precedents, these three are some historical building which ando had later then restored them into galleries spaces. One of his defining characteristics is the use of concrete as these smooth and bare walls allow him to bring focus to the form of the building in order to carry out emtional impact to the architecture.

ARCHITECTS & DESIGNERS

Wrightwood 659 Chicago, US 2018

Timeline of Architectural Eras This timeline shows the architectural eras that affected Tadao Andoâ&#x20AC;&#x2122;s approach to architecture. Villa Savoye is one of the well-known examples for the bauhaus architecture. The reinforced concrete piles which created a sense of the ground floor being recessed to be resulted as a definitive form to the structure. This has reminded me of how Ando introduced his concrete into the buildings so as to emphasize the form of them. The conventions of interior and exterior spaces in Neuendorf House which introduce the opposition of the raw nature and the formality of architecture seems to be closely related to how Ando managed the contradiction between concrete and brick walls.

FIELD TRIP CASE STUDY

SPATIAL SEQUENCE

CIRCULATION SUMMARY

STAIRCASE

Gallery Space Central Staircases/ Ciculation Cafeteria Lavatory

Bricks

Key Circulation Plan

Concrete

Mechical Room

Primary Route

These two floors have two massive exhibition spaces mainly connected with two central staircase between the concrete and the brick walls. This ciculation allows people feel free to choose which direction to go on each floor. However, this also comes upon it more abruptly, and has to walk round it to find the point of access. Having passed beyond the ticket office and the cloakroom, visitors would proceed towardsthe tower at the eastern apex, along a route that runs on the inside of the wall overlooking the Grand Canal while to the right would be the series of rooms formed by the old warehouses.

FIELD TRIP CASE STUDY

Secondary Route

Threshold

Moving through the space forces visitors to engage with the two contrasting materials of the building. At this threshold monent, the two eras of construction wrap into and define a single space,intersifying the experience for the guest. This is Andoâ&#x20AC;&#x2122;s concept to redefine this central space by inserting a new wall of exposed concrete, therewith inserting a contemporary accent at the core of the building and thus revealing the harmony between old and new in a narrow space.

FIELD TRIP CASE STUDY

SPATIAL SEQUENCE

GALLERY CIRCULATION

From the very beginning, the layout was intended to afford visitors glimpses. The empty spaces of old warehouses, then the reinforced concrete enclosure - access to each space was filtered by the presence of gratings that functioned as a sort of diaphragm.

Ground Floor Plan

Now, the logic of glimpses changed rather than immediate disclosure. This reveals the number of openings between spaces was increased in order to deny visitors full sight what might be in the next room.

First Floor Plan

FIELD TRIP CASE STUDY

REALISATION

In realisation and synthesis, it is aimed to further develop the building and the courtyard created in front of the Notre-Dame. As the design is mainly intended to redefine the square similar to the old times, the Cathedral would be planned to be restore with the existing one rather than re-establish it in a finished state which may not have actually existed. This is because it changed the original idea and intention of the building which is same as Baron Haussmann clearing various houses and buildings so as to contain a bigger square for the visitorâ&#x20AC;&#x2122;s need. The public buildings such as the Notre-Dame is not just a structure but containing peopleâ&#x20AC;&#x2122;s memories and the history of the place. These value may lose if the building form and the features have be re-established. This also leads me into emphasizing the existing empty square into a functioned space like the old times.

REALISATION

FEEDBACK FROM STAGING REVIEW

The proposed massing in staging has blocked the view of the Notre-Dame. This cannot encourage people from the other direction to see the Cathedral as a key structure in the surroundings. The square became irregular form as well with having the building on the site. The symmetry of the square and the Cathedral is being affected.

REALISATION

However, the shape may lead to a main attention toward the proposed building while the Cathedral is hidden behind. As it is designed to be part of the surroundings and the cathedral as the main attraction point, the massing has been redeveloped.

REALISATION

FURTHER MASSING DEVELOPMENT WITH SURROUNDING BUILDINGS

Transectof building locals mostly visited

Transectof building tourists mostly visited

This is a massing concept through mapping in the Theory into Practice. In the left, it analysed the the buildings form in the places that the locals and the visitors may go separatetly. The transect of building tourists mosly visited is mostly in Ile de la Cite. Through overlapping the transect of the buildings, a brief shape is developed which is then put it on the site to see how it interacted with the surrounding area.

Transectof building tourists mostly visited

REALISATION

* FINAL MASSING DEVELOPMENT IN REALISATION

Chosen site

Twisting in order to let the square being centred according the intesection point

Shaping the square

Shaping the building to interact with the Batiment du Personnel

Shaping the building by axis

Shaping the finishing building by axis

REALISATION

CHANGES OF THE SQUARE NOTRE-DAME

Reims Notre-Dame Tightly surrounded by three sides of buildings.

In 1380 Strasbourg Notre-Dame The square is small in size.

In 2020 Notre-Dame The square was enlarged in 1865 by Baron Haussman. This is in order to have a wider perspective view of the whole Cathedral which the square is now six times bigger than it was in the middle ages. The French historian Jacques Hillairet said that it was originally constructed to be seen from the foot of its tower and not from the end of the present empty space which the view was minimised the Cathedral.

REALISATION

The square is marked with the street was called aptly enough, Rue Notre Dame in the 17th Century.

REALISATION

FIRST CONCEPT OF THE SQAURE Recreating the street by lowering down

REALISATION

SECOND CONCEPT OF THE SQAURE Recreating the street by levelling up

REALISATION

DETAILS OF THE SECOND CONCEPT OF THE SQAURE

FINAL CONCEPT OF THE SQAURE

1:20

1:15

1:12

Consideration of safety

REALISATION

MATERIALITY

In materiality, the building would be related to the Cathedral by creating repetitions in facades in order to be viewed as an extension with the flying buttresses. It is then decided to use vertical strips as parts of the facades of the structure.

Timber Strip

Timber strip is chosen as timber is a key feature of the Cathedral after the fire. It reminds people of the timber roof of the Cathedral built by Viollet-le-Duc when they see the building at first sight. This also allows daylight to get into the building when could save energy in long term.

Columns with timber strips

Timber Strip Facade

Stone cladding is decided to be located to the remainders of the facades in order to make the building similar to the surrounding public buildings in the ile de la cite.

Concrete wall with stone cladding

Concept through material structure

Stone Cladding

Concrete walls and foundation are assembled to the building as this is a massive building while having a basement on the island. This would be the main struture of the building.

Concrete Wall

REALISATION

THINKING THROUGH MAKING Solid Concrete & Repetition of Timber

REALISATION

PRECEDENTS

ATRIUM DESIGN

HARPA CONCERT HALL AND CONFERENCE CENTRE HENNING LARSEN ARCHITECTS This atrium has created some indivdual spaces with large opening for the users. As the design building is aimed to create a large opening at the centre reminding the interior of the Cathedral, this allows quiet space for the users in the library.

DANISH MARITIME MUSEUM HUFTON + CROW This auditorium has a special symmetry that there are two crossing levels which grouped and became an auditorium space. This idea has been put in the proposed building. The sketches show how the two level ramp being placed in the building.

REALISATION

PROGRAMME

Circulation of the stair and atrium design

There are two separated building throughout the whole structure. It splits into public section and private section. Public part contains exhibition space with a cafeteria, auditorium, library and study space while the private part contains studios and lab. Users are mainly separated into two which are visitors and researcher. The visitors can go to public building while they can also access to a bridge connecting the two buildings to see how the studios and lab work. Researchers can get into the building at another entrance and access to library and archive by the bridge at first floor.

REALISATION

FLOOR PLAN

Site Plan

REALISATION

Model at 1:1000

Elevation & Section

REALISATION

The Courtyard

The arch between two buildings

REALISATION

SYNTHESIS

FEEDBACK FROM REALISATION REVIEW

SUN PATH

The car park entrance is too big compared with other facilities inthe building. It is a massive cantilever as well. The roof of the building can be a more smooth ramp similar to the courtyard created. It is recommended to have roof of lowering slope in order to be balanced with the landscape of the square. This also helps to maxmise the Cathedral as well since the building is getting shorter when near the Cathedral. Besides, while having a sun path analysis, a shorter building is better for getting sunlight into the square.

SYNTHESIS

Site Plan

SYNTHESIS

National Centre of Heritage and Preservation of France

SYNTHESIS

4 5

1 6

6 3

1. Exhibition Space 2. Gift Shop 3. Cafeteria 4. Staffroom & Store Room 5. Ticket & Cloakroom 6. Auditorium 7. Store Room

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SYNTHESIS

1. Information Hall 2. Lobby 3. Auditorium 4. Workshop 5. Material Storage 6. Washroom

SYNTHESIS

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2 3

102

SYNTHESIS

1. Library Space 2. Study Area 3. Archive 4. Reception 5. Access to other building 6. Studio Space for Design Lab 7. Washroom

1. Office 2. Meeting Space 3. Wood Studio 4. Heritage & Preservation Studio

SYNTHESIS

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SYNTHESIS

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DETAIL SECTION AT 1:20

DETAIL SECTION OF SQUARE

In detail section, it contains the structure used for both two buildings. It shows how the courtyard, the main public building, and the lab are being habitated. The lab is a two-storey space in order to give a pleasent and relaxing place for workers and researchers to work while there is skylight at the main building so as to let the daylight getting into the atrium. This helps save the energy as thedaylight may get down to the ground floor. The square provides a seating area for tourists and the locals to sit down and enjoy the sun with the direct view to the Cathedral where there is not any obtacle at the front as it creates different levels of stair in the square. In materiality, concrete foundation is assembled while the flooring is built with 7-ply cross laminated timber with timber beams and columns. There are timber strip facade with big glass window behind in order to control the amount of direct sunlight getting into the building and create vertical strip shadow. This helps remind people inside people both inside or outside the building of the continuous pattern performed in the cathedral with flying buttresses and the columns inside. In the square, there are glass facade at every level of stairs so as to allow daylight to press through since the exhibition space is underneath the stairs.

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SYNTHESIS

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PROGRAMME ANALYSIS

Visitors will come into the building by getting the square which provides them a direct view towards the Notre-Dame. The disables can go to the car entrance at ground floor to get into the building. While they enter into the basement, they can buy ticket and leave their belongings to the cloakroom and visit the exhibition space. There are also giftshop at the end of it. After visiting the museum, they can have a rest at the cafeteria with views of the Seine River. They then can go up to the first floor to visit the library or go out to the bridge to have a closer look of Notre-Dame. It also allows them to see how the lab is. After the whole day, they can have a particular talk and performance in the auditorium in the evening. Researchers and workers can go directly into the building behind with its entrance from the side of the Cathedral. There is also a entrance at the end of the building in order to transport any material for rebuilding the Cathedral. A design studio is at the first floor while the wood and heritage studios and meeting space are at the other side of the building. They can directly access to the library and archive at the same floor. office is on the top floor.

The Square

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SYNTHESIS

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The Atrium

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SYNTHESIS

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ILLUSTRATED C U LT U R A L BIBLIOGRAPHY

FIELD TRIP

COLLAGE WORKSHOP WTIH FRANZ SAMSA

OODI LIBRARY, HELSINKI

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BIBLIOGRAPHY CHARRETTE 1. 2. 3. 4.

Author 2019, Charrette, digital image. Author 2019, Charrette, digital image. Author 2019, Charrette, digital image. Author 2019, Charrette, digital image.

PRIMER 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 10. 21. 22. 23. 24. 25. 26.

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