Tashanraj Selvanayagam Portfolio by PDF Uploads

Reconstructing Venice

Academic Portfolio Tashanraj Selvanayagam 150441425

Mapping ARB Criteria GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

GC5 The graduate will have an understanding of:

GC9 The graduate will have knowledge of:

1. the needs and aspirations of building users;

1. principles associated with designing optimum visual, thermal and acoustic environments;

GC1 The graduate will have the ability to: 1. prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief;

2. the impact of buildings on the environment, and the precepts of sustainable design;

2. understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project;

2. systems for environmental comfort realised within relevant precepts of sustainable design;

3. the way in which buildings fit in to their local context.

3. develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

GC6 The graduate will have an understanding of:

3. strategies for building services, and ability to integrate these in a design project. GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. GC10 The graduate will have the skills to:

1. the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society;

GC2 The graduate will have knowledge of: 1. the cultural, social and intellectual histories, theories and technologies that influence the design of buildings;

2. the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment;

2. the influence of history and theory on the spatial, social, and technological aspects of architecture;

3. the potential impact of building projects on existing and proposed communities

3. the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

GC7 Understanding of the methods of investigation and preparation of the brief for a design project.

GC3 Knowledge of the fine arts as an influence on the quality of architectural design.

GC7 The graduate will have an understanding of:

1. critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 2. understand the cost control mechanisms which operate during the development of a project; 3. prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

GC3 The graduate will have knowledge of: 1. the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals;

1. how the theories, practices and technologies of the arts influence architectural design; 2. the creative application of the fine arts and their relevance and impact on architecture;

2. the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context;

3. the creative application of such work to studio design projects, in terms of their conceptualisation and representation.

3. the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design.

GC4 The graduate will have knowledge of:

GC8 The graduate will have an understanding of:

1. theories of urban design and the planning of communities;

1. the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design;

2. the influence of the design and development of cities, past and present on the contemporary built environment; 3. current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

GC11 The graduate will have knowledge of: 1. the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; 2. the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; 3. the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

2. strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques;

The ARB criteria is mapped out as indicated below. The identification on the segments of the criteria is located at the top of the page.

3. the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

GC1 GC2 GC3 GC4 GC5 GC6 GC7 GC8 GC9 GC10 GC11

Critical Introduction Architecture and its Education Redux: Remapping the Neo-Avant-Garde The Work As the title suggests, the studio works towards remapping the neo-avant-garde. By understanding the failure of the neo-avantgarde, I am able to understand how it could be remapped. As understood, the neo-avant-garde struggled to remain autonomous, with architecture needing other factions, “like cost, complexity and

dependence on economic, industrial, political and legal system”1, to survive. They believed themselves to be purists, with architecture in the drawing and nothing else. Frampton criticized them as an avantgarde without a project. As the brief explains, “ to be convincingly neo-

avant-garde would require refusing to build (no matter what), even though many of its most visible supposed adherents refuse to honour this prohibition...Anything else is self-deluding: without building it

Revised Work

isn’t architecture”2. Furthermore, with the lack of consideration with socializing of architecture as well as the separation of form and

Additions and amendments have been made to the work since the

structure, the neo- avant-garde had failed.

Final review. They are indicated in the top right corner of the page: -

In the studio, we reason through the “fragmentation of architecture

into apparently disparate disciplines”3. The interrelationship of these

Amended

fragments are a key part of the studio and the realization of the design outcome. The work looks into the unification of form and structure, which according to the brief, “remaps the neo-avant-

garde”4. Technology, history, theory and representation are equally

New

constituted in the work, with not one discipline prioritised over the other. Finally, in this project, drawing is seen as a tool for realization rather than representation.

Semester 1 Work

[1] Studio Brief [2] Studio Brief [3] Studio Brief [4] Studio Brief

GC1

GC2

GC3

GC4

GC5

GC6

Thesis Statement

Venice has long possessed its quality for allegory. The project looks into Ruskin and Scarpa’s allegorical meanings of Venice. Ruskin’s Venice was organic. An entity trapped by its surrounding, doomed to be consumed by the sea. Scarpa’s Venice was represented through his architecture. Through his understanding of materials and craft he conveyed the qualities of the city within his work. As the project creates the architecture through its fragments, it considers the interdependency of history, theory, design, form, structure, building systems, building character and function of site. In the context of the different allegorical meanings associated with Venice, how can the reconfiguration and reconstruction of the fragments of Venice, Ruskin and Scarpa create an assemblage like reconstruction of the project’s own allegorical meaning of Venice?

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Ruskin’s Venice Ruskin’s image of Venice as a dying city

“[Venice]… is still left for our beholding in the final period of her

decline: a ghost upon the sands of the sea, so weak - so quiet, so bereft of all but her loveliness, that we might well doubt, as we watched her faint reflection in the mirage of the lagoon, which was the City, and which the Shadow. I would endeavour to trace the lines of this image before it be for ever lost, and to record, as far as I may,

John Ruskin - Drawings he produced during his trips to Venice

the warning which seems to me to be uttered by every one of the fast-gaining waves, that beat, like passing bells, against the Stones of Venice.”5 Ruskin’s saw Venice in allegorical terms. His Venice was organic. It was embedded in the mud. It was built by stone and wood. It was surrounded by lagoons and on day it was destined to be consumed by the sea. Ruskin’s Venice was weathering away, an aspect he considered as an entity that was bestowed upon by nature. Ruskin’s Venice of the ‘city is dying’ is embraced within the project.

My interpretation of Ruskin’s Venice - The city left to die

[5] Ruskin, 1960

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Scarpa’s Venice Studying Scarpa’s Venice through his architecture

Scarpa’s Venice was embedded in his architecture. Through the choice of materiality and craft, his architecture engaged with Venice. Even with works like the Brion cemetery that had no physical connection with Venice, had a metaphorical one. To understand Scarpa’s Venice, two project was investigated. One within the context of Venice and another that had no physical connection with the city. This was to understand the strategies Scarpa utilized to establish his architecture and the part Venice had to play in it. Prior to investigation into his work, I first carried out background readings into Scarpa and his approach towards architecture. I referred to Michael Cadwell’s Strange details, Kenneth Framptons’s Studies in tectonic culture and Kenneth Frampton’s

Notes on the fragmentary architecture of Carlo Scarpa.

Querin Stampalia - Within Venice

Brion Cemetery - Outside Venice

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Outcome of investigation : The investigation first included an autopsy of the built work, which inevitably let to fragments within the architecture. As the dissection took place, elements of various types of fragments within his architecture emerged. One of which was the metaphorical fragment. Scarpa used this type of fragment to reflect a characteristic of Venice within his built work. He allowed Venice to inform his architecture spatially. The autopsy of his architecture informed the fragmentary approach towards the design work. 20

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Fragments of Venice My reading of Venice

Venice a city seen in allegorical terms. It has many readings of what the city is. Both Ruskin and Scarpa each had their own readings of the city. Both represented their versions of Venice in their body of work. As such in order to sufficiently represent the city within my work, I had to have my own reading of Venice: Venice is an archipelago made out of 118 small independent islands. Due to is naval heritage, its infrastructure is made out of influences from both the east and west. They borrowed treasures from around the world, like the Piraeus lion and Horses of Saint Mark, and reconfigured them to create their identity. Byzantine and Islamic architecture, fragments of Venice’s trading networks, together reconfigured to create Venetian Gothic structures. Elements were borrowed and recycled to create something new. A city constructed out of reconfigured fragments. Throughout

the

document,

various

readings

different

characteristics of Venice can be seen. Some are readings to better understand Venice and others to influence the built work.

Piraeus Lion - Fragment of Greece

Horses of Saint Mark - Fragment of Byzantine

Doge’s Palace - Influence from Byzantine & Islamic architecture (Fragment of Venice’s trading network)

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Fragments of Arsenale Abbot Gian Maria Maffioletti - Map, Arsenal of Venice, 1797

A reading of the Arsenale : This reading of the site was based on a painting that was created in 1797. The painting depicted the structure and function of the Arsenale. An interpretation of the site conditions was achieved through this painting to understand the physical composition of the place. Furthermore, the study into the painting provided the realisation of the interconnected nature of history, theory, design, form, structure, building character and function of site. 24

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Venice in Crisis Problems affecting the city

Rise in Sea Level:

Flood of Tourism:

This crisis encourages the ‘dying’ process of the city, as in degrades the stones holding up the city. The problem of rising sea level is recognised within this

Venice is constantly flooded with tourism. Tourism encourages the ‘dying’ of the city, as people come from far to visit Venice before it is gone forever.

project. The project does not provide a solution to battle the rise in sea level, but rather provide an opportunity to control the amount of water affecting

But local governments encourage solutions to uphold Venice and prevent it from ‘dying’. The project recognises the importance of preserving the ‘dying’

the existing structure around it, thus prolonging the ‘dying’ effect of the city.

image of Venice for it’s tourist.

Acqua Alta & Acqua Bassa The impacts of high & low water levels to the city Exceptional Low Tides

Low Tide

High Tide

3.56 % of Venice is under water

0.80m

High Tide Low Tide

0.20m

Low Tide

- 0.40m to - 0.90m

11.74 % of Venice is under water

35.18 % of Venice is under water

68.75 % of Venice is under water

90.19 % of Venice is under water

1.40m

1.30m 1.20m 1.10m High Tide

High Tide

Low Tide

96.33 % of Venice is under water

99.27 % of Venice is under water

1.60m

1.50m

High Tide

Low Tide

A reading into the relationship between Venice and the sea: A study carried out informs the design strategies that creates a relationship between the architecture and the sea. 28

Reintroduction of Venetian Craft Program for the intervention

Venice is in constant physical problems. It is subject to periodic flooding, it is gradually sinking and the atmospheric and water pollution threatens the city’s heritage. The attraction of the city is that it is in a state of ‘dying’, not reaching the point of death. As a result, to maintain the image of the city as ‘dying’ some maintenance and protection of its physical elements is required. This provides an opportunity to reintroduce one of Venetians ancient crafts back into the city. In recent years, due to the rise in tourism and high cost of living for locals, Venice has lost its ancient crafts. With the lost of craft, the city loses its culture. The reintroduction of ‘the restorers’ is an effort to bring back Venetian craft back into the city. Furthermore, as part of the tradition of Venetian craft, the

Restorers

knowledge could be passed down to the next generation so that the knowledge of this culture is never lost. Spaces required for ‘restorers’ -

Workshop Space

Studio Spaces

Space to showcase work

GC1

GC2

GC3

GC4

GC5

GC6

Constructing the architecture Drawing out the parts to create the whole

The analogy of the “speaking architecture,” that Marco Frascari refers to in the tell - the - tale detail informed the fragmentary approach towards the design of the project. In the essay he suggests that, “the

architectural details are seen as words composing a sentence…As the selection of words and style gives character to the sentence, in a similar way the selection of details and style gives character to a building”6. The architecture was seen as a composition of fragments. Each fragment was conceived independently, giving consideration to its structure and content. The design moves from the fragment, from a work on the detail where each singularity participates in the organization of the organism - architecture. As each fragment was produced the final outcome was realised. The drawings have been curated in a particular order to convey a clear understanding of each fragment. However, the drawings cannot be read in any chronology, but rather should be seen as fragments of a whole, as depicted here. Besides the theoretical concept to the fragmentary approach to realise the design work, my current circumstance limited me to produce the drawings in fragments. I was limited to the constraints of an A1 size drawing board. As a result, many of the scaled drawings had to be produced in fragments and later brought together on the computer.

[6] Frascari, 1996

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Stages of Decay Inspired by painting on a silk handscroll from the 1870s by Kobayashi Eitaku

Before death

Skin slippage, marbling, and leakage of purge fluid

Newly deceased

Caving of abdominal cavity and exposure of internal organs

Skin discoloration and bloat during early decomposition

Animal scavenging during advanced decomposition

Leakage of blood in early decomposition.

Skeletonization

The program of the intervention is to protect and maintain the image of Venice as a ‘dying’ city. In line with that idea, a study was carried out on the decay of materials to understand how the materials within the new intervention undergoes its dying process with the city. The study focusses on 2 materials, both have a direct relationship with the sea. The representation of the decay of materials was inspired by a Japanese scroll painting from the 1870s. The painting depicts 9 stages of decay that the human body goes through after death. The drawings depict the reaction the body has with decay as well as the influence other entities have on the corpse.

Painting by Kobayashi Eitaku - 1870s 34

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Istrian Stone

1. Newly introduced to environment

2. Brown hue from water damage

5. Larger cracks from material damage

6. Chipping of

3. Microcracks from air pollution

4. Moss/Algae growth

7. Barnacle/Biodiversity growth

8. Large portions fall of

Stages of decay: Istrian stone is one of the most used material in Venice. Due to its resilience against water, the material is used to protect softer materials within the city. However, it still goes through the various stages of decay, just at a slower rate. 36

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Concrete

1. Newly introduced to environment

2. Brown hue from water damage

5. Larger cracks from material damage

6. Chipping of

3. Microcracks from air pollution

4. Moss/Algae growth

7. Barnacle/Biodiversity growth

8. Large portions fall of

Stages of decay: Besides Istrian stone, concrete is one of the most exposed material to the water within the new intervention. The rate of decay depends on the rate of rise in sea levels. 38

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Fragments of ‘My Venice’ Constructing the fragments

The fragments shown here are the building blocks for the architecture of the design project. The composition of the whole from its parts to realise the final outcome. The concept of fragments came from the autopsy of Scarpa’s architecture and the analogy Frascari used in

Fragment Made From Fragments

Detention Tanks

Workshop Space

Archive Space

the Tell - the - tale detail. Furthermore, the reading of Venice as a city constructed out of fragments informed how these fragments were utilised. Like the fragments that constructed Venice, the fragments of Venice, Ruskin and Scarpa that were investigated is reconfigured to create an assemblage like reconstruction of ‘My Venice’ within the built work. Each fragment was conceived and developed with its own structural and material strategy. Each fragment has a different purpose for the whole.

Metaphorical Fragment

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Detention Tanks Constructing the fragments

Reducing the effects of sea level rising: The detention tanks are constructed as a way to manage the rise in sea level. When the water level reaches a certain level, water flows into the tanks where it is held until the sea level subsides. When the surrounding sea level reduces, the water is pumped out back in the lagoon. The detention tanks also act as the foundation for the new built. 42

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Concrete

The tanks are connected. Water travels into the tank from one place and later flowing into connecting tanks. 44

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Metaphorical Fragment #1 | Threshold point Constructing the fragments

Phenomenon in Venice:

The Fragment:

Venice is also known as ‘the city of bridges’. The historical centre of this city has more than 400 bridges. As a city composed of small independent

The threshold point creates a journey within the intervention. As a metaphorical fragment, it represents a phenomenon of Venice. The journey every

islands constructed on water, the commuting within the city is unique. The act of crossing a bridge becomes an undeniable characteristic of the city.

venetian takes at least once a day, travelling from one place to another over a body of water. This fragment was inspired by the journey Scarpa created within the entrance to the Brion cemetery.

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

The terrain created within the fragment was inspired by the mosaic tiles found in Scarpa’s architecture. Rather than using them, the tiles have been reconfigured to create a terrain to integrate with the intervention. Furthermore, the terrain creates an opportunity to ‘dance with the water’. To invite the water to move around the fragment, rather than just letting it in. 48

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Istrian Stone

Concrete

As part of the declaration of the fragment, the type of materials used was considered. Also, a few iterations were created to understand how the materials within the fragments could come together. These drawings look clean. That is because they are newly installed materials. Refer back to the stages of decay to see their future. 50

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

A study looking at how the rise in sea level might affect the terrain of the fragment. 52

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Water enters Detention Tank at 1.1m

Water enters Intervention at 0.2m

The entry point to the detention tanks is within this fragment. As depicted in this page, when the water level reached a certain height, it flows into the

Threshold point axonometric plan

detention tanks.

Scale 1:100 54

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Section through the fragment

In this page, the composition of the fragment from its individual elements can be seen. Furthermore, the section shows how the fragment is intended

Drawing originally produced in Scale 1:100

to sit within the existing structure. 56

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Metaphorical Fragment #2 | Floating Garden Constructing the fragments

Phenomenon in Venice:

The Fragment:

As independent islands, the component of Venice has different conditions. Due to the shifting of the ground over the centuries, the archipelago is

The fragment is a garden space. It is a refuge for those who work within the workshop. A space to sit, relax and enjoy the venetian air. It is also a

comprised of a series of islands that are of different levels. Piazza San Marco is the lowest part of the city and so is affected by the sea level before any

metaphorical joint reflect the different height levels within the city. Most importantly, it reflects how the water level affects different part of the city

other part of the city.

differently. 58

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

A study into the typology of the plant pots. The type of context the intervention creates to reflect the phenomenon of the city. 60

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

As water is introduced into the space, the protection of the plants from the changing sea levels was recognised. This study also looks into the extent of reflecting the phenomena. 62

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Istrian Stone

Concrete

The types of materials used have a relationship to the type of architectural aesthetic created. In this case, the intervention welcomes the interaction with water and the decay that comes with it. 64

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Metaphorical Fragment #3 | Fulcrum point Constructing the fragments

Phenomenon in Venice:

The Fragment:

As mentioned previously, different parts of the city are at different heights. This affects the circulation within the city. When it is low tide, there are many

The fulcrum point is a pivoting point within the site. It is the point separation and connection between the intervention and the rest of the Arsenale.

options for circulation within the city. However, when the sea level rises, the option for circulation becomes severely reduced. This creates a unique

It sits as a nexus for circulation between spaces. As a metaphorical fragment, it reflects the phenomenon in Venice. When it is low tide there are more

characteristic within the city.

options to move around the space. When it is high tide, the options for circulation is reduced. 66

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

Iterations studying the type of spaces that could be created to reflect the phenomenon in Venice. 68

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Piraeus Lion

The Piraeus Lion: A fragment that was reconfigured to fragment of Venice, is now reconfigured to be a part of this fragment. A fragment of the city represented here. The Piraeus Lion was looted from Greece and has been sitting at the entrance of the Arsenale ever since. Now it becomes part of new intervention. It sits high above the sea level. Safe from the sea. But for how long? 70

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Concrete

Istrian Stone

Concrete

The spatial arrangement of the fragment has been influenced by the phenomenon that the space attempts to reflect. 2 pathways are available one above the sea level and the other below it. The space welcomes the water to create the atmosphere within. The pathway that goes above the sea level is another type of fragment. 72

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Axonometric plan of the fragment The space created by the fragment and the composition of the fragment.

Drawing originally produced in Scale 1:200 74

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Section through the fragment Section showing how the water level affects the circulation.

Drawing originally produced in Scale 1:200 76

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Axonometric section through fragment Different scales of the fragments was looked into, to understand how it is constructed.

Drawing originally produced in Scale 1:50 78

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Fragment Made From Fragments Constructing the fragments

Concrete

Istrian Stone

Fragments made from fragments: This fragment represents both the part and the whole. It represents the relationship between each fragment and the entity it builds up to. This has been represented in within the city of Venice, in Ruskin’s work and in Scarpa’s. The fragment resides within the fulcrum space. It forms the walkway within the fragment. 80

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Stainless Steel

Timber

Fragments made from fragments: This fragment resides within the workshop space. It forms the staircase that leads to the first floor. 82

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Workshop Space Constructing the fragments

The Fragment : The workshop space is where majority of the work takes place. It houses workshop spaces for the maintenance and protection of Venice’s stones and studio spaces above where lessons are given so that the knowledge of the craft can be passed on to the next generation. The structure and content of the fragment was the focus, out of which the form was achieved. Spaces within : Workshop Space (Ground Floor) Studio Space (First Floor) 84

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Masonry Blocks Istrian Stone (Polished)

Carrara marble

Stainless Steel

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Istrian Stone Existing Brick

Concrete

New Brick

As water was to be introduced into the intervention, the existing structure was affected as well. As a result, I studied ways of protecting the existing structure from the water. The existing is still exposed to air pollutants and so still continues to decay, slowly. 88

GC7

GC8

GC9

GC10

GC11

Given the program of the space, there was a need to transport elements to studio spaces from the workshop spaces. A manual dumbwaiter is proposed to transport elements vertically. 90

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Workshop space axonometric plan Spaces created by the architectural moments.

Drawing originally produced in Scale 1:100 92

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Studio space axonometric plan Spaces created by the architectural moments.

Drawing originally produced in Scale 1:100 94

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Section through fragment

In this page, the composition of the fragment from its individual elements can be seen. Furthermore, the section shows how the fragment is intended

Drawing originally produced in Scale 1:100

to sit within the existing structure. 96

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Section through fragment

In this page, the composition of the fragment from its individual elements can be seen. Furthermore, the section shows how the fragment is intended

Drawing originally produced in Scale 1:100

to sit within the existing structure and the atmosphere created by the choice of materials. 98

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Looking how the fragment is constructed. The composition of the tectonic moments that were explored. The structure and content of the fragment

Axonometric section through fragment

determined its form.

Drawing originally produced in Scale 1:50 100

101

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Archive Space Constructing the fragments

The Fragment : This fragment is meant to house those stones of the city are too fragile to be a part of the city. During restoration, some elements might be too damaged for any work to take place. A replica is usually created to take its place. The deteriorated original will be house here, where it will be left it peace to decay. The space is open to the public. It is a sheltered space and not an enclosed space. The elements within are still exposed to the harshness of the venetian air pollutants. Spaces within : Archive Space (Ground Floor) 102

103

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Concrete

Carrara marble

Stainless Steel Istrian Stone (Polished)

Masonry Blocks

As per the workshop space, the structure and content of the tectonic moments were the focus of the exploration. The use of various materials to create unique moments within the architecture. 104

105

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Study into architectural moments created by the materials used within the fragments. 106

107

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Initial spatial exploration 108

109

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Existing Brick

Carrara marble

Masonry Blocks

Study into architectural moments created by the materials used within the fragments. Different materials are used here with specific purposes to create the different tectonic moments, out of which the fragment is constructed. As the fragment is constructed within existing structures, their relationship with them were considered. 110

111

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Architectural moment for the transferring of elements from land to boat. 112

113

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Archive space axonometric plan Spaces created by the architectural moments.

Drawing originally produced in Scale 1:200 114

115

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Archive space axonometric plan Spaces created by the architectural moments.

Drawing originally produced in Scale 1:100 116

117

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Section through fragment

In this page, the composition of the fragment from its individual elements can be seen. Furthermore, the section shows how the fragment is intended

Drawing originally produced in Scale 1:100

to sit within the existing structure. 118

119

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Section through fragment

In this page, the composition of the fragment from its individual elements can be seen. Furthermore, the section shows how the fragment is intended

Drawing originally produced in Scale 1:100

to sit within the existing structure and the atmosphere created by the choice of materials. 120

121

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Elements within the fragment :

Looking how the fragment is constructed. The composition of the tectonic moments that were explored. The structure and content of the fragment

Axonometric section through fragment

determined its form.

Drawing originally produced in Scale 1:50 122

123

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Internal Spatial Language Constructing the fragments

Phenomenon in Venice: Venice is a composition of small independent islands. They are both connected and separated by a transport route. The only mode of transport is through the use of a boat, transferring people or goods from one place to another. People are enslaved to a single mode of transportation from one place to another. 124

125

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Workshop Space: The internal space is made up of a series of independent islands, connected by a circulation path that runs in between them. This path both connects and separates them and provides the only mode of transport of elements from one island to the next. As the platforms are fixed to the ground, the circulation within the space is influenced by the function of space. People have to adapt and move around or move aside to walk pass it. This is to give the impression that the architecture of place is given priority over the people who reside within it. A spatial metaphor reflecting the relationship between Venice, venetians and tourism. 126

127

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Archive Space: The internal space is made up of a series of independent islands, connected by a circulation path that runs in between them. This path both connects and separates them and provides the only mode of transport of elements from one island to the next. As the platforms are fixed to the ground, the circulation within the space is influenced by the function of space. People have to adapt and move around or move aside to walk pass it. This is to give the impression that the architecture of place is given priority over the people who reside within it. A spatial metaphor reflecting the relationship between Venice, venetians and tourism. 128

129

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

Creating the whole from the parts Constructed by the fragments

The whole internal plan Drawing originally produced separately in Scale 1:100 130

131

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

The whole axonometric plan Drawing originally produced separately in Scale 1:200 132

133

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Fragments within the construct :

Axonometric plan Drawing originally produced in Scale 1:200 134

135

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Fragments within the construct :

Axonometric plan Drawing originally produced separately in Scale 1:200 136

137

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Tectonic moments (Scale 1:50)

Section through workshop space & garden Drawing originally produced in Scale 1:50 138

139

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Tectonic moments (Scale 1:50)

Section through workshop space Drawing originally produced in Scale 1:50 140

141

Reflective Conclusion

Bibliography Studio Brief 2020-2021 : Architecture and its Education Redux: Remapping the Neo-Avant-Garde Adorno, Theodor. W. The Culture Industry, Selected Essays on Mass Culture, edited by J. M. Bernstein. London and New York: Routledge, 1991. Ansari, I. ‘Interview: Peter Eisenman’. The Architectural Review, 26 April 2013. Coleman, N. Materials and Meaning in Architecture: Essays in the Bodily Experience of Buildings. London: Bloomsbury, 2020. Coleman, N. Lefebvre for Architects. New York & London: Routledge, 2015. Coleman, N. ‘The Myth of Autonomy’, Architecture/Philosophy, Vol. 01, No. 02 (2015): 158-178. Coleman, N. Utopias and Architecture. New York & London: Routledge, 2005. Dal Co, Francesco and Giuseppe Mazzariol (Editors). Carlo Scarpa: The Complete Works, Milano and New York: Electa/Rizzoli, 1985. Eco, Umberto. ‘Function and Sign: The Semiotics of Architecture’ (1973). In Rethinking Architecture: A Reader in Cultural Theory, edited by I have thoroughly enjoyed the work produced this semester. The biggest challenge I faced this semester was with architecture

Neil Leach, 182–202. London and New York: Routledge, 1997. Eco, Umberto. The Open Work translated by Anna Cancogni. Cambridge: Harvard University Press, 1989.

representation. Nathaniel and David have both pushed me to keep

Eisenman, P. Interview with Peter Eisenman: ‘The Last Grand Tourist: Travels with Colin Rowe’. Perspecta, Vol. 41, Grand Tour (2008), pp.

looking at alternative ways of representing the work. Although I still

130-139.

have much to learn, I am very proud of the work I have produced

Frascari, Marco. ‘The Tell the Tale Detail’ in Kate E. Nesbitt, Theorising a New Agenda for Architecture (New Haven: Princeton, 1996)

this semester. Drawing out the project by drawing out the project.

Fisher, Mark. Capitalist Realism: Is There No Alternative? Winchester: Zero Books, 2009.

Furthermore, the opportunity of working from home has given me

Fisher, Mark. Capitalist Realism: Is There No Alternative? Winchester: Zero Books, 2009.

the opportunity to realise my approach to the work. Although I do

Frampton, Kenneth. Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture, edited by

miss to studio culture at times, the simplicity of you, the drawing

John Cava. Cambridge: MIT Press, 1995.

board and just drawing the workout has been wonderful. Whatever

Jameson, Fredric. ‘Architecture and the Critique of Ideology’ (1982). In Architecture, Criticism, Ideology, edited by Joan Ockman, Deborah

the outcome is of this semester, being in this studio has pushed my

Berke, and Mary McLeod, 442–61. Princeton: Princeton Architectural Press, 1985.

boundaries architecturally.

Jameson, Fredric. ‘The Constraints of Postmodernism’, In the Seeds of Time, 129–205. New York: Columbia University Press, 1994.

During my Final review, I received a provisional grade of B. I have looked at improving the work in the hopes of receiving a better grade.

Jameson, Fredric. ‘Is Space Political?’ In Anyplace, edited by Cynthia Davidson, 192–205. Cambridge: Anyone Corp/MIT Press, 1995. Lefebvre, Henri. The Production of Space (1974) translated by Donald Nicholson-Smith. Oxford: Blackwell, 1991. Lefebvre, Henri. Rhythmanalysis: Space, Time and Everyday Life (1992), translated by Stuart Elden and Gerald Moore. London and New York: Continuum, 2004. Lefebvre, Henri. Writings on Cities translated by Kofman and Lebas. Oxford: Wiley-Blackwell, 1996. Purini, Franco. A lesson on Drawing. Faculty of Architecture: Ascoli Piceno, 1994 Ricoeur, Paul. Architecture of Narrativity (1996). Études Ricoeuriennes/Ricoeur Studies, vol. 7, no. 2 (2016): 31–42. Ricoeur, Paul. ‘Universal Civilization and National Cultures’. In History and Truth, translated by Charles A. Kelbley, 271–84. Evanston: Northwestern University Press, 1965. Rowe, Colin and Fred Koetter. Collage City. Cambridge: MIT Press, 1978. Ruskin, John. The Seven Lamps of Architecture (1849), Second Edition (1880). New York: Dover, 1989. Ruskin, John. The Stones of Venice (1851–53), edited by J. G. Links. New York: Da Capo Press, 2003 (1960). Rykwert, Joseph. The Dancing Column: On Order in Architecture. Cambridge: MIT Press, 1996. Rykwert, Joseph. ‘Meaning and Building’. Zodiac 6 (1957). Reprinted in The Necessity of Artifice, 9–16. New York: Rizzoli, 1982. Rykwert, Joseph. ‘The Modern Movement in Italian Architecture’ (1956). In The Necessity of Artifice, 19–22. New York: Rizzoli, 1982. Rykwert, Joseph. The Seduction of Place: History and Future of the City. New York: Vintage Books, 2002. Tafuri, Manfredo. Architecture and Utopia: Design and Capitalist Production (1973), translated by Barabara Luigia La Penta. Cambridge: MIT Press, 1975. Tafuri, Manfredo. History of Italian Architecture, 1944–1985 (1982), translated by Jessica Levine. Cambridge: MIT Press, 1989. Tafuri, Manfredo. The Sphere and the Labyrinth: Avant-Gardes and Architecture from Piranesi to the 1970s (1980), translated by Pellegrino d’ Acierno and Robert Connolly. Cambridge: MIT Press, 1987. Vitruvius Pollio, and M. H. Morgan. Vitruvius: The Ten Books on Architecture. New York: Dover Publications, 1960. Cornell University Library n.d., Persuasive Cartography: The PJ Mode Collection, viewed 20 December 2020, < https://persuasivemaps. library.cornell.edu/ >

142

143

List of Figures Page 09 John Ruskin - Drawings he produced during his trips to Venice Accessed on 28 May 2021, < https://events.veneziaunica.it/content/john-ruskin-stones-venice > Page 23 Piraeus Lion Accessed on 28 May 2021, < https://www.atlasobscura.com/places/piraeus-lion > Horses of Saint Mark Accessed on 28 May 2021, < https://www.jssgallery.org/Essay/Venice/San_Marco/Basilica_San_Marco/Four_Horses.htm > Doge’s Palace Accessed on 28 May 2021, < https://fullsuitcase.com/doges-palace-venice/ > Page 31 Venetian Craft Accessed on 28 May 2021, < https://www.veveglass.com/ancient-venetian-crafts/ > Page 35 Painting by Kobayashi Eitaku Accessed on 28 May 2021, < https://www.britishmuseum.org/collection/object/A_2008-3033-1>

144