Sam Ravahi-Fard Portfolio by PDF Uploads

Sam Ravahi Fard Stage 3 Building Upon Building ZSL Biomimicry Research Institute 1

Contents Reflective Diary

Project Framing

Project Testing

Project Synthesis

Cultural Bibliography

102

Appendix

103

Thematic Case Study

104

Bibliography

115

List of Figures

119

Refrences

120

Reflective Diary Looking back on this year, contemplating on the exciting, inspiring and evidently tumultuous days and nights it’s been an unforgettable experience. Starting off the year extremely excited to be able to spend a whole year on one design, developing and refining each aspect to the building was both a strength and hindrance of mine. With the current climate crisis and my deep interest towards the world around us, both artificial and organic it was evident that the theme of Experimental Preservation would best suit me. The expansive architectural literature and analysis carried out during the early stages of framing was a great learning experience and extremely beneficial in cultivating our own independent ideas for the weeks to come. Placing my design project within the wider context of the architectural profession and myself as an aspirational architect/designer is a tricky one. In my opinion my design project benefits from the rich exploration of the immediate context and the experimental ways of working which allowed the design strategies to continuously evolve. I recognise similar attributes to the successes of the Neues Museum in Berlin designed by David Chipperfield, a practice I aspire to learn from and hopefully get the opportunity to be a part of. Furthermore, one practice that I considerably am drawn to and hopefully exude a similar sense of distinction is Atelier Jean Nouvel. Besides the fact of also being heavily inspired by the complex relationship between light and architecture, one thing I really like about his work is the fact that even though each of his designs look appreciably unique they still in my eyes are immediately identifiable as a Jean Nouvel Structure. Unlike the immediate assimilation apparent from the curvilinear forms from Zaha Hadid, frosted glass from Steven Holl or the magnitude of concrete from Tadao Ando as examples. Jean Nouvel’s, The Louvre, National Museum of Qatar, One Central Park and Cartier Foundation for Contemporary Art to name a few, look very different yet are easily recognisable due to their rich contextual harmony and experimental/exploratory approach. An architectural characteristic I wish to radiate with my project and future works.

When looking back at peer portfolios or inspiration online, typically looking at MArch examples, I aspire to the unison sense of style and character running through the work, specifically representation style. I find my own work to lack that instantly recognisable style that I see in others. On the other hand the evident use of mixed media prevalent within this year and last, and even the first year can only go to show my passion for hands on experimentation and exploration. Commonly referred to this year as ‘Thinking through Making’. From developing my own cladding and cork like texture using seaweed in first year, to natural dyed fabrics in second year and finally exploring the fluid values of light and shadow this year. Retrospectively looking back at my perspective at the end of second year, I aimed to improve my skills on AutoCAD preparing me for the real world, which I can be pleased to say I have achieved a competent level at, as well as other software’s, improving my digital capabilities.

As this unprecedented year has come to an end, its naïve to think that the design project would be the same without the rich and multifaceted benefits injected by the other modules on the course. My dissertation tutor Sana Al-Naimi opened my eyes to the broad amalgamation of architecture literature and the historical depths of our cities. Understanding a whole new dimension to the Power of Architecture. Exploring Iran’s Architecture, delving into my heritage and culture, a canvas continuously being torn apart and even more so with the influence of the Pandemic. Arc 3013 shed a new perspective to my building development process, ensuring that the design was feasible yet managed to portray the key elements that I was motivated to highlight. In addition, since the architectural technology of the building was derived from our own designs it radiated a sense of responsibility and accountability to ensure that we presented the best strategies that we could. One key principle that I learned during the technology module was similar to opening the door to Narnia, discovering a whole new and expansive world to architecture detail and technology; and that each element of the building can be achieved, more ways than I could imagine. Being quite ignorant to the fact that there isn’t just one way to build a lightweight structure and that each avenue has its own pros and cons.

Critically Evaluating my own work, I think my greatest strength may of also been my greatest flaw. Being extremely passionate in the process of making things and their potential to inform my design, which wouldn’t be the same without the help and perceptive feedback from my tutors, I found at times getting side-tracked and distracted from the main plan of action and the key aspects that I needed to work on. In addition, I had the tendency to want to perfect each and every step, especially when working on the plans, hindering the time I spent on my other outputs and thus disappointingly not being able to proudly represent and portray the aspects of the design strategy that I spent so long developing. Nevertheless, not wanting to surge the beginning of the portfolio with the influx of negativity that Covid-19 has induced, it would go without saying that this has been the hardest year of my life and being so young and early in my architectural and design career, I couldn’t be more excited to see what’s next and where this experience will take me in this big wide world!

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Project Framing The Penguin Pond designed by Berthold Lubetkin within the Tecton Group, and Ove Arup was built in 1934. Nestled between trees in London Zoo within Regent’s Park it was a sophisticated piece of modern architecture. Instead of reproducing the common design for cages which recreated the natural habitat of the animals, Lubetkin blended the natural with modern technology and design in order to create the ideal environment for its inhabitants. The ramps were a topographical feature of the penguins’ abstract Antarctica perceptively mimicking the Emperor Penguins natural habitat. The white concrete - a representation of the glacier, contrasted to the azure tiles on the pool floor, hinting to the ocean. The main habitant were the Humboldt penguins after the Emperor penguins were unable to reside as the climactic difference between Antarctica and London was too stark. The Pool is regarded as a landmark project in terms of both design and engineering demonstrating the potential of reinforced concrete. It’s listed as a grade 1 building for its iconic reputation in modernist architecture, and it’s interesting playful construction was outstanding for its time. However, many changes that contributed to the design inefficiency were made by the zoo and not the architect. For example, the removal of the rubber paving that left the concrete exposed, created a rough surface for the penguins to walk on. The concrete was harming penguins, spreading an infection called bumble-foot. The penguins have been moved to their new home - The Penguin Beach. The Penguin Pond’s sculptural structure has wastefully been left abandoned for over 10 years, craving some tender love and care, requiring a form of experimental preservation to revive it back it’s former glory, whatever new life it may be uphold.

1901

1917

Lubetkin is born in Tbilisi, Georgia (USSR)

1922

Lubetkin leaves for Berlin and Paris in a search for Utopia

October Bolshevik Revolution

Art Historian Wilhelm Worringer

1931

Auguste Perret

Le Corbusier

Immigration to London & Tecton Architects

“architecture cried out for a new world [...] Nothing is too good for ordinary people” -Lubetkin Gorilla House 1931

Penguin pool 1934

Cross over Time line

The time line illustrating the progression of the Zoological Society London, established in 1826 up until the present day in the 21st century. The development in the zoo map represents the significant spatial evolution as well as the relationship between the parks circulation. After the Second World War, with an increase in tourism, birthed the famous structures of the Snowden Aviary and Casson pavillion.

Picturesque Landscape Through Regent’s Park With themes of flora, fauna and reflection

The Picturesque is a deliberate design decision highlighting the naturalism of the landscape composition. The Park being natural lines of the city becomes a green island of the chaotic pollution of the Metropolis. The picturesque can be described by its scenographic irregularity, richness of its vegetation and beauty of its setting. Views throughout Regent’s Park, illustrating the prevalent use of water throughout, reflecting the sense of architecture grandeur, whilst mirroring the local ecology.

Regents Park To St James Park

The Regents Park is a bourgeois residential estate planned and developed in the 19th century, located in central London. It was a crucial aspect of the traffic flow management, the park is a coherent composition of 21 individual housing terraces, villas, landscapes and institutions, such as the London Zoo Located along the parks Northern Edge. Connecting to the rest of London via the Outer Circle. With views along the picturesque journey presented above.

Lubetkin Penguin Pond Plans

The elliptical form of the penguin pond was inspired by the form of the penguin egg. The Pond was placed between two existing trees in the park which were incorporated in the design and the function of the pool. The viewers experience was also a part of the design. Lubetkin described his structures as “architectural settings,” presenting animals “dramatically to the public, in an atmosphere Comparable to that of a circus”. The Pool exhibition is described as a ‘stage for penguins’ and a ‘stage for structure’.

Penguin Pond Sections

The rendered sections of the Penguin Pool illustrate the spatial planning of Lubetkin’s design and the interaction between Humans and Penguins within the structure.

Penguin Pond Render

The Ramps take centre stage within the outer walls, forming an ‘amphitheatre’-like space, from where passers-by at an elevated level can look down and marvel the penguin and the structure, enhancing the idea of ‘spectacle’ that Lubetkin tries to create. The renders also demonstrate how the water tank on the original design’s southern facade was used for Penguins - behind a glass opening for views inside.

The Site The ZSL Bio Mimicry research institute will be a new build construction, replacing the existing site of the ‘Adventure Café and Shop’ within London Zoo. The Project will also preserve the adjacent Grade 1 Listed Penguin Pond which has been unused for over 10 years. The Building is situated within the southern perimeter of the ZSL London Zoo.

Site Observation As the Zoo was shut for most of the year during and after lock down, visual observation of the local context was achieved virtually via images and google maps. Virtually walking around the zoo, my many fascination grew towards the variety of flora and fauna, specifically the trees. Thus, my drawings, specifically the 2 main on the right illustrate the trees closest to the Penguin Pond and their relative scale to the design. The bottom drawing is the Ailanthus Altissima, identified by its large foliage and curved trunk.

Illustrating local Flora and Fauna

Few examples of the 47 various flora and fauna within Regent’s Park totalling to around 6000 trees. The history of the trees within the park catalysed in the 19th century when John Nash was commissioned to reorder the area into a park with a summer palace for the Prince Regent and with individual villas each one surrounded by trees screening it from its neighbours. He aimed in creating a natural environment with idyllic scenery for local residents and passer bys. He used water to reflect and mirror the ornamental views, extenuating the grandeur of his designs.

Biomimicry Biomimicry, a process which takes inspiration from biological processes, behaviours and form. Harnessing the millions of years spent on evolutionary research and development to forge new and innovative designs. The Example to the right examines the biological entities that allowed the Japanese bullet train to operate without causing the loud sound booms when leaving a tunnel. Taking inspiration from the owls feather, the sleek body of the penguin reducing friction from the trains body when travelling, and finally inspiration from the Kingfisher Bird. The new sleek and aerodynamic contours innovated using biomimicry, allows the train to gradually disperse its pressure, and exit without the negative externalities of the sound boom.

2 20

Project Testing Having framed the project, contextually exploring the parameters in which my design strategy would situate within, I have continuously been imagining various avenues in which my design could evolve into. The Building Upon Building studio specifically asks to synthesis a relationship between the existing structure being The Penguin Pond and the new design. Inspired by so many qualities from Berthold Lubetkin’s design, I intend on my design strategy fashioning a deeper harmony between the new and the old, that surpasses just physical proximity. Hosting a new extension to the site, the building will translate into ‘The ZSL Biomimicry Research Institute’, inspired by Lubetkin’s advance towards a suited environment for the penguins. The research centre also projects a narrative exploring how bio-design can help mould a more sustainable and fruitful world, analysing precedents that have had millions of years to evolve and thus create opportunities for innovative outcomes. Initial ideas sprouted from Lubetkin’s inspiration from ecology, tracing themes of environmental vernacular, especially the Penguin Pond’s composition overlayed over dynamic environmental motifs. As inspiring as the environment is, the ecological ties between human beings and the world around us are just as important in order to create an interconnected design project. As a result, a multifaceted exploration and experimentation of key themes will allow for a prosperous narrative, connecting the new to the old whilst reflecting on Berthold Lubetkin and the Penguin Pond.

“There is no cultural heritage, only political heritage created by regimes whose interest is consolidating and perpeuting Literature The literature readings explored during studio lectures and seminars, widened new thresholds and avenues towards the current activities and opinions within architectural preservation. A particular theme that arose after reading Experimental Preservation were the questions:

their own power” - Tayfun Serttas + Jorge Otero-Pailos1

What are we preserving? Why are we preserving? Who’s dictating the preserving? Rem Koolhaas and Jorge Otero-Pailos convey the increasingly important consideration towards architectural preservation. Exploring themes that preservation has gone from a retroactive activity to a prospective one, with a positive correlation leading up to “end of the ¥€$ Regime” 3 as well as “the end of capitalism” 3. Timothy Morton’s writing was cotinously eye-opening, overcoming my naivety thinking that most environments fit within the category of ‘nature’, not yet understanding the complex difference to a more profound topic of ‘ecology’. “Human beings are each others environment”

“ ‘Non-Contact’ Experimental preservation techniques to digitalise material objects and rematieralise fascmiles” - Adam Lowe + Jorge Otero-Pailos2

I intend on curating a design strategy with strong ties to its contextual ecology, shaping an environment that thrives, with a lot less ‘bling’ and more thing.

“The whole idea of modernisation raises, whether latently or overtly, the issue of what to keep” -Rem Koolhaas & Jorge Otero -Pailos 4

“To join the dots and see that everything interconnected, this is the ecological thought” -Timothy Morton5

László Moholy-Nagy László Moholy-Nagy was a Hungarian artist born in 1895. He worked with mixed media, experimenting with light and shadow through his exploration of the photogram and acrylic sculptures. “The art critic Peter Schjeldahl called him “relentlessly experimental” 7 because of his pioneering work in painting, drawing, photography, collage, sculpture, film, theatre, and writing” 7. Moholy-Nagy also advocated that art should be experienced by the masses, inspiring his exploration of industry and technology within his work, nullifying the preciousness of one off media.

Excerpts from Moholy Nagy’s silent black and white 16mm film, filmed in 1936. These snapshots of Lubetkin’s Penguin Pond with focus on the dynamic silhouettes as a result of the shadows. The trees foliage and branches paint pictures on the white façades captured by Moholy-Nagy’s frames.

Examples of László Moholy-Nagy’s work. Consisting of his photography, both via cameras and photograms, paintings and sculptures. Themes of transparency and translucency are evident within these pieces.

Exploring Shadows The Shadows painted onto the curved while walls of the Penguin Pond by the contours of Ailanthus Altissima was the principle inspiration during the testing phase of the project. The Pond left abandoned from its intended use began to facilitate and progress to a sculptural marvel. The contrast between light and dark, black and white and artificial and natural were all themes that I began exploring in order to influence my design strategy.

Here, Lubetkin’s fragmentation of the Penguin Pond’s perimeter influenced by the composition of the tree is evident. Emphasising the importance of the surrounding ecology during his own design process, as well as x resulting shadows painted upon its canvas.

Ailanthus Altissima The Ailanthus Altissima, also known as the ‘Tree Of Heaven’ because of its rapid growth to soaring heights was the one out of two trees which remained alive after the construction process of the Penguin Pond. The other unnamed species died due to overbearing stress to the root bulb. The tree stood mesmerisingly on site, visible from all perspectives, forging it dynamic shadows all over the site.

Section B-B

Dissecting Ecology

B Section A-A

Energized by the form of the Ailanthus Altissima and it’s relationship with its surrounding environment I began analysing it on a more micro basis. Dissecting the leaves, trunk and root system. Section A-A was most inspiring at the early stages, reflecting a mirrored form , yet portraying a roof like structure. The abundance of the tree roots and intricate leaf vascular tissue emphasised the sense of interconnectedness prevalent within this design project.

Trunk Section 32

Root Section

“ Ecology is profoundly about coexistence” -Timothy Morton7

Abstracting Ecology Taking inspiration from Moholy-Nagy’s paintings and the surrounding context of the site, I began abstracting the forms of the local ecology. Manipulating forms inspired by the contours of the Ailanthus Altissima and the elliptical perimeter of the Penguin Pond to start off with. With themes of interconnectedness surging through the motifs of branches and roots. I created three posters which illustrated a few key ideas that were leading the evolution of the design strategy at the early stages.

This idea focuses on the various topographical compositions within the local ecology, exploring themes of horizontality and verticality. Highlighting forms of the Ailanthus Altissima tree and the Penguin Pond at the forefront.

This piece explores the network of trees as well as the concentration of mother-trees. It also suggests depicts the conversation and flow between trees, explored in Suzanne Simard’s Ted Talk “How trees talk to each other”. Presenting evidence of shared nutrients between mother trees and its direct descendants, emphasising the power of trees and biomimicry, themes influencing my design strategy.

This composition was the most influential leading up towards the forging of the key design principles. The poster was inspired by the geometry of trees and branches, shapes and lines influenced by their own growth as well as the placement of other entities around it. It also highlights the plan of trees from above, considering the several views and perspectives the building design would be viewed from. Each hue could represent its own level, with circulation flowing through the branches of the volumes.

Plan Development These

iterative

drawings

represent

the

progression in my design, evolving from left to right. The top left presents the inspiration taken from my branch like forms in my poster, creating the buildings

contour in that shape.

However, unsuccessful due to poor circulation and

inefficient

inverted

the

programme

positive

and

management, negative

spaces,

designing a composition in which the outdoor circulation of the typology are the ecologically inspired

forms

which

the

protagonist

experience. This resulted in a more modular positive space, allowing for a clearer separation between public and private, with focus on the buildings researching aims. The development of the plans also depict the framing of the Ailanthus Altissima, channelling through the designs composition.

Section Development The building’s design strategy was once again influenced by the context and local ecology. Seen in the top right, the verticality of the design evolved by addressing the imbalance in volumes which created a disruptive one sided mass, whilst blocking natural light during winter months. Furthermore, the section was inspired by the organic section line of the tree canopy on site, imitating the rises and falls through the section. This introduced a new topographic exploration, excavating downwards, creating courtyards, outdoor workshops, new canopy lines, as well as light wells. The bottom right, illustrates the carving of the design section inspired by Lubetkin and the existing trees on site.

Massing Development The massing development helped aid the three dimensional visualisation of the project iterations. Portraying the narrative through volumes and complimenting geometry. The top left was an early design, with separations of public and private masses being passed on. The bottom left, illustrates the idea of stacking masses, a layering similar to the arrangement of branches coming out of a tree. The drawing in the bottom right explored double and triple height spaces, intended on forging an interesting section, yet the large conjoined mass portrayed a sense of unresolved density. This took away from the airy and featherweight intention, linking back to ethereal qualities of light and shadow.

Progression of early massing models, requiring further development to address the imbalance in mass and volume to the right. Shapes and contours inspired by ecology, with contrasting angles, complimented with repetition within the ziggurat motif.

Photograms

Thinking Through Making Piece

Photograms are a version of camera less photography, produced from the exposure of light-sensitive photo paper to light. Shapes and hues can be manipulated by the lengths and proximity of exposure, as well as the objects placed onto of the paper to block light from exposing the paper. I began experimenting with all sorts of materials both organic and artificial, learning the effects of transparency and development. The final series focused on ecological subjects, manipulating positive and negative space on the paper to produce photos which could inform my design strategy. With darkrooms being shut due to lock-down I had to recreate the environment in my own bathroom.

Examples of the final series, using my sisters head, my hand, flora and fauna. It was mesmerising watching the instant reveal of images being developed in the chemicals, all created by the power of light.

This Photogram used a sapling frond from an Ailanthus Altissima, illuminating the continuous growth prevalent in the world around us. The layering and duality of the leaf motif was achieved through a double exposure of the photogram, rotating and flipping the frond after the first exposure. By far my favourite photogram, it progressed to help inspire the artificial canopies and roof design within my design strategy.

Developing Apertures Using my principle photogram as inspiration I began exploring avenues in which it could be woven cohesively into my design strategy. A very early massing idea inspired from the elements of a film camera, especially the aperture, forging my own aperture as the shape of one of the leaf frond perimeters. I began shining light through the singular aperture seen in the top left, which I then replicated, inspired by the double exposure process of the photogram. The double aperture mimics the shadows created by trees, projecting a dappled foliage silhouette which will blur the boundaries between organic and artificial canopies.

Roof Development The roof development of the design strategy began through exploration of the organic tree canopies, forging an artificial rendition which will create it’s own set of shadows. The roof began through an early design seen in the bottom left which explored elements of a film camera which was used by Moholy Nagy. A key interpretation of that typology was the influence of a camera’s aperture, as seen on the previous page. As a result, the design evolved to harmonise a set of apertures within the roof design, blurring the boundaries between the organic and artificial canopies.

Further roof developments shows the inspiration from the leaf section in the top right, influencing its form onto the roofs architecture. The roof also paints a node to Lubetkin’s Penguin Pond, through carvings of the perimeter and area as a result of the existing trees on site.

An arrangement of iterative roof massings, presenting the evolution inspired by the leaf section. Discovering the butterfly roof typology which aided the process.

“I wanted to fuse sky, water, sand and something that is between eternity and the moment. This blend offers a spirituality of its own.” - Jean Nouvel 8

Photographic Exploration My key precedent and architectural exploration took me to the Louvre in Abu Dhabi, UAE. Designed by Jean Nouvel, the architecture and it’s relationship with its context, especially with harmony of light was the extremely awe inspiring. One key element that inspired my design strategy was his use of reflective pools, as seen on the right. The incorporation of the mirror surfaced water with a dark bottom layers a whole new dimension to the building’s design. Reflecting light coming from above, leaving its own imprint on the surrounding white façades. The next page shows the rain of light coming through the perforated dome apertures, highlighting the ethereal quality of light.

Various textures, apertures and silhouettes created in a white hue.

The next 3 images were taken with a disposable film camera, exploring similar techniques to Moholy-Nagy, when he visited the Penguin Pond. The film projects an interesting quality of the light, as well as the monochromatic quality.

Extended Precedent Research As my design strategy was cotinously evolving, a key element that was requiring a greater attention to detail was the relationship between the canopy and the roof. To the right is Metropol Parasol, designed by Jürgen Mayer H and Arup in Seville, Spain. “The destruction of the Mercado de la Encarnacion in Seville left a huge void in the urban character of the city centre which remained unfilled for over thirty years” 8. Linking the beginnings of this precedent to the abandonment of the Penguin Pond for the past 15 years. Moreover, I was drawn to the structures momentousness, radiating a powerful but not brutal or austere aura in the local environment. The designs form and contours have a fluidity to them juxtaposed by it’s scale within it’s context.

The V&A in Dundee Scotland was an interesting precedent, exploring the narrative of the design and the strong influence that its context of cliff faces and waterfronts had on its composition. The image above is another example of the effect of reflective pools, creating a sense of duality, complimented by the positive and negative space that funnels the protagonist through the angular thresholds.

Above is the Nagaoka City Hall Aore in Japan, also designed by Kengo Kuma. This helped towards the relationship between the shadows and design of my strategy, opening my eyes to the use of the buildings structure as an aperture for the light.

Sculpting Ideas Inspired by Moholy-Nagy’s sculptures, I began exploring my own ideas utilising similar mixed media. Key ideas I aimed to portray was the separation between public and private, the relationship between the design strategy and the penguin pond: scratching line sand offsetting the contour of the pond to emphasise its shape. Whilst also highlighting the significance of the double aperture perforations inspired by the a Ailanthus Altissima. The first lifespan of the sculpture was flat, exploring the how light passes through at this stage. Animated by the curves of the Ailanthus Altissima composition and the section of leaf dissection, I began moulding the sculptures form in the oven to forge similar lines and motifs.

Exploring Light Shining light through the moulded sculpture shun nice shadows and silhouettes as a result of the painted geometry, inspired by my design strategy elements. However, the most energizing outcome of this exploration was the ethereal light wisps elegantly radiating from the sculpture itself. Similar in essence to the reflections of the water mirror pools, this harmony between light and design is an aspect in which I utilise within my design strategy through the manipulation of slumped glass. Layering a new dimension of light and shadow and enriching the design project.

Project Synthesis Following up from the exploratory and comprehensive testing phase, the design strategy culminates an enriched narrative which will hopefully animate the key themes of light and shadow effectively. The ZSL Biomimicry Research Institute is composed from an amalgamation of tests and iteration, tracing local ecology and experimentally preserving the Penguin Pond. The final synthesis aims to portray the connection between new and old and representing Lubetkin’s inspiration, interpreted within my own ideas. The evident importance of the Ailanthus Altissima expressed throughout the diversified examination is a key element that has fed and allowed the narrative to evolve, providing opportunities for perceptive and unique design decisions that I hope allows for a successful architectural typology. The individual masses and their relationship to each other at a micro scale and to the wider macro scale is a fundamental element that will present the successes of the ecological study throughout the buildings development. The programme has been curated to allow innovative bio design studies, as well as a public stage to share these ideologies with the world. The relationship between people, environment and architecture is pivotal in harnessing the projects assimilation within the London Zoo, as well as its longevity in preserving its own legacy as well as the Penguin Pond’s. Lazlo MoholyNagy has played a central role throughout this project, an assortment of mixed media inspiration that has acted as a carrier in progressing the narrative and the evolution from the early stages of the framing phase. Hopefully, the Realisation and Synthesis of this design will personify the development that has come before it, highlighting a memorable unification of all the themes.

Placement Situated within the southern perimeter of the London Zoo the building design strategy was placed and arranged with consideration to the local trees already on site and to minimise any disruption. Out of the 36 original trees on site, 20 were safely moved to the sculpture garden on the western side of the building with the 16 original staying in their original spots as the building forms around them. Additional trees have been placed to add to the organic canopy, as well as some in the basement, where appropriate soil measures and nutrient allocation has been considered.

Parti Plan

Additive and Subtractive

Hierarchy

Circulation

Positive & Negative Here the outdoor circulatory space, refined through iterations inspired by tree branches ,and channelled by the framing of the Ailanthus Altissima is formed. The parti diagrams illustrate how the protagonist flows through the veins of the design strategy, experiencing the ecological narrative that sprouted this project. As seen to the right, the exploded foot path presents extensions coming outwards from the immediate building perimeter and past the Penguin Pond. These branch motifs, slightly raised from the ground, amalgamate a new dimension and layer to the palimpsest of the site.

Revival During Lubetkin’s design of the Penguin Pond, his composition of was influenced by 2 existing trees seen in his model. One Ailanthus Altissima which survived, and the second unnamed species dieing shortly after due to root damage caused by the concrete foundations inflicting stress. The drawing in the top right suggests where the tree may of originally been situated. As part of reviving Berthold Lubetkin’s design and further emphasising the relation between `New and Old, between my design and the Penguin Pond, a new tree has been planted. Extended from the main channel of my framework, the tree has been reestablished, complimenting the Penguin Pond simultaneously affirming my design.

Komorebi ‘Komorebi’ a Japanese word symbolising the effect of light shining through the trees, refereed to as ‘forest light’ or loosely: ‘dappled light’. A natural filtration and geometric fabrication of light composed by nature. This mesmerising light sensation was explored by Moholy-Nagy during his time at the Bauhaus “In March 1923, Walter Gropius appointed him as a master at the Staatliches Bauhaus Weimar. Here, his work centred on typographic design and experimental film” 9, an exploratory and experimental precedent he passed onto his students. Exploring light and shadow has been at the forefront of my design evolution, reinforced by the Komorebi effect of light shining through the tree and building canopies on site.

Organic & Artificial Developed throughout themes of whether preservation is overtaking us, the interconnectdness of our world or just the longevity of our design footprints, the juxtaposition between the Organic and the Artificial has been a continuous one. Here, the facilitators of the organic shadows created by trees and the artificial perforated by the building roof, overlap and converge to a design in which blurs the boundaries between the 2 categories. Hosting an environment to become a Biomimicry Research Institute, this naturally inspired design is intensely enriching. Where does ecology end, and design start?

Lubetkin’s Motif Berthold Lubetkin’s work in the 1930’s partnered with his collaboration with Ove Arup on the Penguin Pond lead to a feat of modernist architecture. As part of his design was carved away due to the Ailanthus Altissima on site, my design mimics that motif, carving out contours in the roofs geometry in places where original trees on site reside. This can be seen as the roof wraps around the soaring trunks perimeter. In addition, my interpretation of his design is exampled where the buildings outline frames and hugs the contextual ecology.

Reflection Referring back to an initial massing design which inspired the apertures of the design, influenced by Moholy Nagy’s film camera, the idea of reflection has also been energized by that effect. The reflective pools throughout the design strategy multiply the sense of light and shadow throughout the space. Similar to the ethereal light qualities created by the sculptural glass, the reflection of the ‘forest light’ onto and off the water is just as mesmerising.

Embodying Lubetkin’s representation of ‘Abstract Antarctica’ within the Penguin Pond, I composed a reflective facade which literally obtrudes the mirrored view belonging to the protagonist. Creating a literal abstraction of the Penguin Pond and its environment, achieved by manipulating a stainless steel panel, warped similar to the slumped glass, with indentations.

Sustainability Weaving in Biomimicry into the fabric of the design strategy, was reinstated through its sustainability strategy. Similar to photosynthesis within plants, using light to create food and energy, the building roof has bespoke solar panels in order to mimic this and harness the solar energy. The trees on site also act as natural seasonal shading, as their foliage blooms during summer creating more cooling shade and falls off during winter allowing more light and heat to penetrate within. Furthermore, The roofs of the buildings harvest water in order to be reused throughout the scheme.

Further emphasising biomimicry within the building design has been portrayed here. Firstly, being inspired by the Emperor Penguins, huddling to reduce surface area exposed to wind and spreading warmth, energizing a more perceptive airflow within the building. As well as inspiration from the Blue fin Tuna, where these “Endothermic fishes use blood vessels arranged as counter current heat exchangers retia mirbilia between their endothermic tissue and gills where heat transferred from tissue would be lost in water” 10. Energising a similar counter current internal heating system.

Model Top VIew

Model Aerial

Legend: 1. Workshop/ Testing Lab 2. Outdoor Workspace 3. Plant Room 4. Storage Room 5. Bathrooms 6. Cafe 7. Cafe Courtyard 8. Sculpture Garden 9. Lubetkin Penguin Pond 10. Animal Inhabitation 11. Reception & Shop 12. Office 13. Main Lab 14.Controlled environment lab 15. Accommodation 16. Cafe Terrace 17. Gallery

Plans The building plans has been one of the most iterartive development processes throughout the design strategy. A constant design evolution portraying the exploration and experimentation during the testing phase. The plans animate the activity and research in which the building will allow to cultivate. The ground floor presents the ideological extensions expressed through the raised floor tiles, imprinting the branch motif onto the site and connecting the building to the Penguin Pond. These drawings also reiterate the layering of organic and artificial canopies, blurring the boundaries between ecological habitats.

Basement Floor Plan 1:100

Ground floor Plan 1:100

First Floor Plan 1:100

Second Floor Plan 1:100

Roof Plan 1:100

Simple Perspectives A series of quick illustrative drawings, framing the various indoor and outdoor spaces within the design strategy.

Reproducing the Narrative When exploring ecology and its involvement within this design strategy, the fluid narrative between the building and the protagonist is disrupted. As an audience to architecture we rarely get to fully understand a buildings sense of arrival, when we visit a new building we are merely expected to accept it for what it is. Limiting the experience of the narrative of that design, to the few who were involved in the process of its arrival. Artist Adam Lowe coined the term “‘Non-Contact’ Experimental preservation techniques to digitalise material objects and rematieralise fascmiles”11, proposing that entities can be reborn without by physically changing them, but rather augmenting it. Ergo, my idea explores the use of technology, creating a virtual grid available through a phone camera, flattened on the ground surrounding the building. With intersections that protagonists are lead to explore, for example: standing on top of J9 will result in a pop up of information directing someone to point the camera diagonally upwards, towards the Ailanthus Altissima and to take a picture. These snapshots reproduce the ornate perspectives in which have inspired my design process, emulating the experiential qualities of the building and its relation to its context and ecology, both new and old.

An example of the virtual map overlayed on the ground that people can access and experience using their phones and cameras.

This idea took inspiration from Moholy-Nagy once again, “the artist claimed to have ordered ‘EM 1 Telephonbild’ over the telephone” 12. A painting in which Moholy-Nagy had produced using identical grids on each side of the phone, and basically painting by numbers, reiterating his exploration utilising industry and technology. Moholy-Nagy aimed to present the ability to mass produce art at ease to reach a mass audience, compared to the limiting experiential quality of art work only available as one off ’s, in one location.

Site Section The site section amplifies the contrast between the volume clusters within the Zoo and just outside, within Regent’s Park. It’s Also interesting to notice the linearity and convergence of the organic canopy blending in within the artificial perforated roof of the building design.

Front FrontFacade Facade

Back Facade

This interior and exterior render of the workshop and lab space illustrates the 4 different types of light and shadow within the spaces. Consisting of the: organic canopy shadow, artificial canopy shadow, shadow through the overhanging reflective pools as well as the curved glass doors.

Solar Panels

Stainless

Steel reflective panel

Light wood to add some warmth to the white hues.

White galvanized steel.

Reflective Pools

Screed Flooring

Ultra-high-performance, Carbon neutral concrete and marble powder.

Strengthened Safety Glass. As well as fire resistant glass used within the Fire Cores.

Materiality Contrast is a key element of the building’s design strategy in which amplifies each principle. As a result, throughout the building a light hue colour spectrum was chosen in order to allow the various forms of light and shadow to be highlighted. In addition, the white hues play a node to the original curved white walls of the Penguin Pond, continuing Lubetkin’s design intention. Furthermore, These light hues are contrasted by the dark tiled reflective pools, in order to create a mirror effect.

Exploring Colour Throughout the design development, a greyscale theme seemd most obvious. Zooming into the planar detail, represented through various dynamic form, manipulating contrasts, hues and textures to convey the themes of light and shadow and volume throughout the design.

Framing Views The views are forged by the existing ecology within the site, specifically the Ailanthus Altissima. Being the key inspiration to the building, the view has been framed and centralised to emphasis its importance within the design strategy. The organic edged perimeters are contrasted by the stark straight lines, catalysing the view of the Ailanthus Altissima, whilst reiterating the contrast between the organic and artificial.

View 1: This coloured render illustrated the light hue materiality and the contrast it amplifies within the elements of light and shadow. In addition, this perspective shows evidence to the framed original Ailanthus Altissima and the new one planted, extended along the diagonal strip.

View 3: Situated within the terrace of the cafe, this view animates the energy and multitude of the ‘forest light’ shadows created by the double apertures, painted across the façades and grounds of the buildings.

View 2: A key element of this representation from the front of the design strategy, is the evidence of Lubetkin’s influence within my design. Seen near the centre of the image, the tree roof canopy is carved out to make way for the existing tree on site, similar to the Penguin Pond’s composition influenced by the trees.

A view from the back of the design, looking towards the Penguin pond. The layering of trees and tracing of shadows along the floor. Trees sprouting from the basement, changing up the canopy line.

Similarily to Lubetkin’s ideas of designing the Penguin Pond as a stage, this view highlights the relationship between new and old. As the Pond’s curved cutouts frame the facades of the new building, as if the shadows are the new animals on display.

Key Sections The first key section runs down the main channel of the building framework, placed parallel to the main volume. This goes through the bridge overhanging the outdoor workshop, as well as sections through the Ailanthus Altissima, The Penguin Pond and the new reinstated tree. The second key section illustrates the main activity within the Bio Mimicry Research Institute, focus drawn to the positive and negative space throughout the design. The differentiation and blur between the organic and artificial canopies are also interwoven within this render. The water within the overhanging reflective pools are also visible, introducing a more perceptive layer to the amalgamation of light and shadow throughout the project.

Section A-A

Section B-B

Conclusion Concluding the most difficult year of my life, I was faced with many obstacles to overcome, providing continuous opportunities to learn new lessons about architecture and life as a whole. The year long project gave me a creative outlet to dedicate time and passion towards, at times a needed distraction from the current climate. I hope that my exploration of ecology and the natural beauty of light and shadow has radiated a positive energy and enjoyable narrative to follow. I couldn’t of done this without my reliable friends , family and tutors especially Pep and Tom. Supportive yet sometimes brutally blunt, but at all times, great mentors to learn and evolve from. Thank You.

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Cultural Bibliography

The Talk Art podcast has been one external avenue of inspiration that I have used throughout the year. A variety of guests from all walks of life and creative backgrounds has motivated me with ideas expressed through all sorts of media.

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Thinking through making is a concept in which I cotinously explore throughout my design journey. Making models, taking workshops and learning new techniques such as photograms.

Visiting spaces has become trickier during these unprecedented times however, one building in particular that I was inspired by was the Louvre. Also visiting the Al Jameel Art Centre, Bastakiya and other areas in Dubai.

Nuas and specifically being apart of Small Talk has been a great experience. Particularly, being part of the evolution, transitioning to a more digital framework compared to the physical lectures we hosted last year was an interesting task.

Appendix

A series of observational images taken on my phone , inspired by the silhouettes and shadows dripping onto the artificial canopy. Watching them move in the wind was especially beautiful, a natural art installation, framed through vernacular architecture, in Bastakiya, Dubai.

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Thematic Case Study

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Thematic Case Studies.

Bauhaus Dessau

The Bauhaus Dessau was especially interesting, due to it’s relation with Moholy-Nagy who used to teach there. Furthermore, I exemplify the power of design, a style that is easily recognisable throught an arrangment of colour blocks.

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Castlevecchio Museum

Castle Vecchio is always an inriguing precedent to look at. Especially with our theme of experimental preservatiom, Carlo Scarpa’s extension of the space was remarkable. As well as looking at hids drawings for inspiration.

GMIT Furniture College

Granby Project

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Nantes School of Architecture

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The Paul Marshall Building, LSE

The Hill House

Fondaco dei Tedeschi

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Framing Group Work

Page 18 Trees in Regents Park, illustrations edited by author, ‘Trees in The Regent’s Park and Primrose Hill - The Regent’s Park The Royal Parks’ <https://www.royalparks.org.uk/parks/the-regents-park/things-to-see-and-do/gardens-and-landscapes/tree-map> [ Page 19 Edited illustrations from screenshots on youtube, Our Changing Climate, Biomimicry Is More than Just Good Design., 2018 <https://www.youtube.com/watch?v=r1CpzEGhs3c>

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Theamtic case study groupwork

Page 28 Berthold Lubetkin Penguin Pond Model, https://www.google.com/search?q=berthold+lubetkin+penguin+pon+dmodel&safe=strict&rlz=1C5CHFA_enGB924GB925&sxsrf=ALeKk02xEzJBwuWuO79HA8Maj1S_B_xE5Q:1623457841620&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjCjNTf65DxAhV8QkEAHboRA78Q_AUoAXoECAEQAw&biw=1440&bih=789 Page 29-30

Book Covers, Google Reads

Page 31

Lazlo Moholy Nagy Film image,

Page 32-33 Screenshots from Lazlo Moholy Nagy film, New Architecture at the London Zoo, https://player.bfi.org.uk/free/film/ watch-new-architecture-at-the-london-zoo-1937-online page 34 Moholy mixed media work, https://www.google.com/search?q=moholy+mixed+media+art&rlz=1C5CHFA_enGB924GB925&oq=moholy+mixed+media+art&aqs=chrome..69i57j46i10j0i10j46i10j0i10j69i61l2j69i60.2900j0j4&sourceid=chrome&ie=UTF-8 Page 35-38

Images taken by Josep Maria Garcia-Fuentes

Page 62-63 Precedent Google Images, https://www.google.com/search?q=kengo+kuma+art&rlz=1C5CHFA_enGB924GB925&oq=kengo+kuma+art&aqs=chrome..69i57j46i175i199j0i20i263j0l2j69i60l3.4193j0j9&sourceid=chrome&ie=UTF-8 Page 70 Google map street view edited by author, https://www.google.com/maps/search/penguin+pond+london+zoo/@51.5346594,-0.1556001,17z/data=!3m1!4b1 Page 71 Komorebi google image, https://www.google.com/search?q=komoeribi&rlz=1C5CHFA_enGB924GB925&oq=komoeribi+&aqs=chrome..69i57j0i13l3j46i13i175i199j0i13l3j46i13i175i199j0i13.3140j0j9&sourceid=chrome&ie=UTF-8 Page 78 Google Image of tuna fish and thermal cooling. Author illustrations, https://www.google.com/search?q=tuna+body+thermal+warming&rlz=1C5CHFA_enGB924GB925&oq=tuna+body+thermal+warming&aqs=chrome..69i57j33i22i29i30.9038j0j9&sourceid=chrome&ie=UTF-8 Page 90

Screenshot from Moholy Nagy Sothebys Youtube Video, https://www.youtube.com/watch?v=NHC5pGI9B04

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Google Images of materiality. 119

Reference List 1. Jayfun Sevita Vytuleva, Xenia, ‘Experimental Preservation GSAPP //Lars Mulers Publishers 2016’ <https://www.academia.edu/31800776/Experimental_Preservation_GSAPP_Lars_Mulers_Publishers_2016> 2. Adam Lowe, Vytuleva, Xenia, ‘Experimental Preservation GSAPP //Lars Mulers Publishers 2016’ <https://www.academia.edu/31800776/Experimental_Preservation_GSAPP_Lars_Mulers_Publishers_2016> 3. ‘Preservation Is Overtaking Us’, Columbia GSAPP <https://www.arch.columbia.edu/books/reader/6-preservation-is-overtaking-us> 4. ‘Preservation Is Overtaking Us’, Columbia GSAPP <https://www.arch.columbia.edu/books/reader/6-preservation-is-overtaking-us> 5. ‘The Ecological Thought | Timothy Morton | 6. Tate, ‘László Moholy-Nagy 1895–1946’, Tate <https://www.tate.org.uk/art/artists/laszlo-moholy-nagy-1649> 7. Morton, Timothy, Ecology without Nature: Rethinking Environmental Aesthetics, 2009 8. Morton, Timothy, Hyperobjects: Philosophy and Ecology after the End of the World, 2013 9. Tate, ‘László Moholy-Nagy 1895–1946’, Tate <https://www.tate.org.uk/art/artists/laszlo-moholy-nagy-1649> 10. Pawlyn, Michael, Biomimicry in Architecture, 2011 11. Adam Lowe, Vytuleva, Xenia, ‘Experimental Preservation GSAPP //Lars Mulers Publishers 2016’ <https://www.academia.edu/31800776/Experimental_Preservation_GSAPP_Lars_Mulers_Publishers_2016> 12. DW Documentary, Architecture, Art and Design - 100 Years of the Bauhaus (1/3) | DW Documentary, 2019 <https://www.youtube.com/ watch?v=rg3X1vZN5TA>

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