Yue Dongpei Derek Portfolio

PORTFOLIO

| NAME: DONGPEI YUE (DEREK) I STUDIO: BUILDING UPON BUILDING I STUDENT NUMBER: 180309377 | STAGE 3 ARC3001 ACADEMIC PORTFOLIO

“If the ancient city concerned religion And the modern city concerns capital and power Then the city of the future should concern People and nature” (Ma, 2015)

CONTENTS ARC3001

Illustrated Reflective Diary

STAGE 3 - ARC3001

GRADUATION PROJECT I 2020 – 2021 I

The PENGUIN’S POND Studio Leaders Josep-Maria Garcia-Fuentes Tom Ardron [+ Guests]

P6-9

Cultural Bibliography P10-11

Bethod Lubetkin and Penguin pool

Project Framing P12-41

Ornithology research centre

Project Synthesis P72-115

p. 2

Bibliography & List of figure P112-113

Appendix P114-131

Experimental preservation

Project Testing P42-71

ILLUSTRATED REFLECTIVE DIARY Reflective dairy

2021 is a challenging year, not only the change of study progress but our life has a dramatic change. The Covid 19 hits the world and influences in all-round aspects. It makes our student’s life more difficult than before. However, challenges always accompany with opportunities. Life will not always be set in the same ways. This year, I have more opportunities to learn digital software since the design needs higher quality to be delivered online. Furthermore, it also requires us to have a more organised schedule and proper time management.

In the ARC3060 dissertation module, Maggie’s centre brings me a brand new perspective of understanding the health care facility. In the dissertation, I explored the design criteria for maggie’s centre in a different spatial context (domestic and urban). I compared maggie’s manchester and maggie’s London with spatial criteria which developed from the literature review. The dissertation brings the concept of a journey to my attention and I found that the general design in the building is the boulevard or the entry garden before entering the building, and the visual connection between the indoor and outdoor Overall, I learned from maggie’s centre that architecture is about curing the patients physically and mentally and the interaction and consistency of indoor and outdoor Spaces simultaneously influence people’s experience. Maggie’s centre is a community for patients and their family to seek help and advice.

Because of the particular group of people, the architecture is unique from the others, emphasising the importance of the journey. Hence, in the design project, each user’s journey and spatial quality during the journey are the focus points at the beginning of the design project.

In the study process, having an interview with the architect gives me a deep understanding of the design process of Maggie’s centre. (Here, a big thanks to the Norman Foster company that organises the interview with the architect.). Moreover, it teaches me how to organise an interview. Moreover, doing an interview and developing data management is also part of my learning journey.

Figure.1. Dissertation illustration, Journey in the maggie’s centre

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In the ARC3015, the theory into practice gives me a broad understanding of heritage and preservation. ‘captivity’ and ‘unzoo’ are two opposite concepts for future zoo development, but in my opinion, ‘unzoo’ is the programme’s goal. In the learning process, Reshaping and reframing the people’s experience can be a potential way for preservation instead of demolishing the penguin pool. Moreover, inspired by the Rem Koolhaas, I explored several methods from testing the materials, colours to textures. in the design process, I try to build up the contrast to shape visitor experience. Because changing the views of the penguin pool is a way of preservation, and it can be developed to reach the goal of ‘unzoo’ potentially.

In the ARC3014, the module brings the project into reality. The design consideration is about designing the spaces and how the building comes to reality and delivers it to the site properly. The site influence the material choice as well in terms of the minimum impact on animals and the environment. Hence, most of the materials are precast and prefabricated except the aquarium, which needs high strong structure to contain water.

Figure.2 ARC3015 Illustration, How we treat preservation.

In the ARC3013, the technology informs the environmental design, building structure and material choices. Dealing with sunlight is crucial, especially for an opened, glazed building. Hence, during the development of the ARC3013, I consider the light shade for the building not only for protecting the sunlight but also the extra roof cantilever can shape the volume of the building that makes it light and accessible. In addition, the construction detail brings the understanding of how the structure works in the building, how to make a space that feels domestic and feasible to construct.

Overall, although this academic year delivered online and remotely. Still, in the end. I gained rich and comprehensive knowledge about architecture. The challenge process and situation tests resilience and coping ability. Looking back where I start now, I can see the process that I have been experienced. Stage 1, making an experimental model from cubes; Stage 2, starting a small house design for beekeeper and stage 3, considering all spectrum of designing architecture from its narrative, technology, heritage, and management, are part of my learning process. I appreciate those poeple who help me during my learning journey, such as my friends, family, our tutors. Thank you very much!

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LAGOS CITY OF WATER ARCHITECTURE COMPETITION FINALIST PRICE (GROUP WORK)

CULTURAL BIBLIOGRAPHY Apart from attending the course in the university, I actively join in others architecture competition with my friends Xiaoqian Zhou(Michael), Muhammad Shujaat Afzal (Tony) and Guoyi Huang (Robin). What I learn from the competition is not only about the skill of design but also how we communicate with the teammate and organise the schedule and manage time. I enjoy the process of working with my friends and others classmates, and a big thank you to them. Personally, having a competition in the free time is one way to practice the design skill and also it is an excellent opportunity to see other works and learn from the others.

In addition, an online learning course is one of the main opportunities to study architecture in terms of the impact of Covid 19. most of my software skill and rendering skill is learned from Youtube, skillshare and I appreciate that those video makers can share their skills, and it is good to learn from it.

Architecture x Sculpture

GMIT Furniture College, a case study from Studio 8. How architecture deals with the existing industrial school is similar to the approach to the penguin pool in my project. Without any demolishment and altering, architect keep the buildings as usual. And this is only one of the case studies that influence the preservation approaches in a project. Others like Joanneumsviertel in Austria; Port House Antwerp, designed by Zaha Hadid architects; Fondaco dei Tedeschi in Venice; The hill house also provide diverse perspectives on conservation. Reading the case studies helps me develop the conservation concept. We can see how people treat preserved buildings differently, such as building a structure that wraps around the existing one, designing a completely new building but with similar forms next to the preserved buildings.

FRAC DUNKIRK LACATON AND VASSAL DUNKIRK, FRANCE GROUP 1 SHUJAAT AFZAL EMILY DUCKER ADA DING NATALIA STASIK JACOB BOWELL

Figure.3. Hill House

Figure.4.Frac Dunkirk

SCULPTING ACTIVATORS OF URBAN SPACE. (GROUP WORK)

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Available on:

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BETHOD LUBETKIN AND PENGUIN POOL PROJECT FRAMING The project framing explores the themes of the design studio and develops the individual brief for the project. In the framing, I explored several theories about heritage and experimental preservation related to the studio theme. Furthermore, I also analysed the existing captivity system that working in the zoo. So the ‘captivity’ animal is the starting point of the project. It allows me to think about why and how captivity will influence the visitors and animals spatial experience and perceptions.

Moreover, after searching from the zoo website and analysing the regent’s park, the concept of ‘unzoo’ is developed as a solution or improvement of the ‘captivity’ zoo. The brief is developed around the idea of ‘unzoo’, which brings animals and people closer to each other and provides multiple perspectives for viewing and interacting. For demonstrating the problems and difficulty, I try to use comic style to present the idea more clearly and dramatically.

However, the project still has lots to be improved, So rethink the framing process; it will be better if I can visit the zoo in person, giving me the overall atmosphere on site. Furthermore, it would relate my design to the animals if I can access more videos, a documentary about zoo and animals from the library, and be more connected to animals’ behaviours.

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Figure.5 Animals in the captivity

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Modernism Modernism was considered the most important new style or philosophy of architecture and design of the 20th century (RIBA,2021). It abandoned the ornament and focused on minimalism, architectural volumes, asymmetrical compositions. In the UK, the period from the 1930s to 1960s was the time of the movements. A significant number of excellent works on the ground and penguin pool designed by Berthold Lubetkin were one of them. Less is more; Form follows the function were the slogan in the modernism period. Still, in the work of penguin pool, modernism was presented in another way with the meaningful, thoughtful concept from a unique animal perspective that follows behaviourism.

Figure.7 Berthold Lubekin

BERTHOLD LUBETKIN Berthold Lubetkin, a modernist architect from the soviet émigré, is arguably the most important character in the modernist movement. He pioneered modernist design in the 1930s in England. Lubetkin worked closely with Tecton practice, penguin pool, and gorilla house was the early modernism works in London zoo. In 1937, the London zoo revealed an animal building that has sculptural helix ramps.

Penguin Pool, a famous building for its forms rather than the penguins inside, attracts many visitors once it was opened.

The elegant curves and ramps attracted everyone. John Allan (2018)described that Berthold Lubetkin was good at fusing ancient traditions with the most advanced technological solutions available to architects at the time. Indeed penguin pool is a perfect example that combines animals behaviour and building technology.

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Figure.6 Modernism architecture in the UK

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STAGE 3 - ARC3001 GRADUATION PROJECT I 2020 – 2021 I

The PENGUIN’S POND Studio Leaders Josep-Maria Garcia-Fuentes Tom Ardron [+ Guests]

PENGUIN POOL Background The ZSL London zoo was opened in 1826, and the aim is to lead the scientific research on natural sciences. Scientists believe that the animal habitat shapes and influences the health and prosperity of species. Hence, the zoo was considered as a place to experiment with their research.

In 1932, the chief anatomist Zuckerman built an experimental cage to accommodate two young gorillas and try to achieve reproduction in captivity, which is ground-breaking research and experience at that time. And Carl Hagenback had been developing how captive animals should be displayed and accommodated in the natural surroundings. These two people in the ZSL were very keen on Lubetkin’s works and prefered to give him a chance.

Hence, Lubetkin had an opportunity to design the animal building. Instead of the standard design of the cages, Bethold Lubetkin started to explore the possibility of bringing captivity in modern architecture and imitating the natural surroundings, which provides a better habitat for each species. In the new-built gorilla’s house, architects considered the accurate climatic and control scheme, making sure the healthful living and reproduction of primates. In 1937, the Penguin pool under a similar condition

by Bethod Lubetkin, and it was the most famous work in those experimental architectures.

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Figure.8 Penguins and penguin pool

“Architecture can be a potent weapon, a committed driving force on the side of enlightenment, aiming however indirectly at the transformation of our present make-believe society, where images outstrip reality and rewards outpace achievement.”

– Berthold Lubetkin (Lewycka, 2021)

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TWO FOCUSES ON PENGUIN POOL 1. A naturalist focus, the penguin pool, represents an animal habitat in modern architecture.

2. A geometric focus, the penguin pool tries to present the animals to the public in a non-dramatised fashion.

The penguin pool is an elliptical pool with innovative ramps in the middle. The glass diving tanks and nesting boxes were placed around the perimeter. The design concept is based on ‘behaviourism’, an approach to understanding humans and animals’ behaviour. The penguin pool imitates the penguin habitat. Meanwhile, an interlocked helix ramp provides a stage where penguins can be displayed. The flooring materials are exposed concrete and plastic rubber, but later the zoo replaced the rubber with concrete. The form of the pool is simplicity and creativity. Especially the ramps build up a dynamic appearance.

0m 1m 3m

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6m

10m

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LUBETKIN DESIGN PHILOSOPHY (ZSL LONDON ZOO)

Closed Screen

1. Geometric method of displaying animals / Circulation follows the animal habitat and behaviour.

The idea of using geometry is to create a positive interaction experience between animals and the public. For example, the gorilla house, a similar project designed by Lubetkin before the penguin pool. There are winter and summer circulations for the visitors, and the geometry responds to the climate changes. Moreover, rotating screens and removable roofs applied in the gorilla house provide environmental protection to the animals in different seasons.

In winter gorillas lung are quietly vulnerable, and it needs screens and roof for protection. Hence, there is visitor circulation across the building. And in summer, zoo staffs will move the roof and screens away, and the animals will occupy the spaces. And visitors then will walk around the buildings to see the animals.

Opened Screen

Winter Circulation Figure.9 Gorilla House

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Outer Edge

2. Express the significant structure and suppressed it when it was not.

Inner Edge

Figure.10 Penguin pool

The ramps in the penguin’s pool are crucial and significant. However, in the construction, the ramps need the foundation to support, and Lubetkin hides abutments on the perimeter of the plan, which makes it clean and clear when it shows to the public. In addition, Lubetkin controls the thickness of the ramp at the edges. The inner edge of the ramp is 6 inches, and the outer edge is 3 inches. Again, it helps create a clean edge as people might see the outer edge most of the time. The light feeling is crucial when Lubetkin designed the ramp.

Figure.11 Penguin pool construction

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THE VIEW INSIDE THE PENGUIN POOL

Why most of the animals are kept in a cage or a fence?

Look inside! there are so many penguins.

Oh there is a white building curious about what is inside?

But what the penguin feel while they are inside ?

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PROBLEMS However, the views from the penguin are not that friendly as what visitors have seen. The space is relatively depressed while having a view inside the penguin pool. Although we see it from the human perspective, it is still a potential risk or problem. Because where Humboldt penguins live is the coastline, while there is a vast open space compared with the penguin pool. In addition, some problems already founded in the penguin pool.

Oppressing Sensation.

1. The pool was too shallow for the penguins to dive and swim 2.For other animals, the enclosure won’t enable them to burrow, which is a part of their courting ritual.

3.The concrete had negative effects on their feet - caused arthritis and bumble-foot.

The ramp seems like a sculpture rather than a glacier.

Some of these problems are not the circumstances of lack of consideration from architects. For example, the pool was designed for Antarctic species, but later the zoo changed it for the Humboldt penguins. Moreover, the zoo uses concrete to replace the rubber, which was designed for protecting penguins.

Is this really my house?

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ABANDONED POOL The penguin pool was criticised as an obsolete system that treated the zoo as ‘flavour of a circus or a country carnival’ or ‘pure pleasure and amusement of their owner’ without any educational or scientific value (Anker, 2005). The penguin pool now is abandoned for more than 15 years, and the penguins are moved to the new site - penguin beach. But now the penguin pool is facing demolished circumstance as it is not function, because the new penguin beach has a perfect facility and provides a suitable environment. Hence, Sasha Lubetkin considers the penguin pool to be removed, although it is listed as a heritage building.

“It was designed as a showcase and playground of captive penguins, and I can’t see that it would be suited to anything else, perhaps it’s time to blow it to smithereens.”

– Sasha Lubetkin (Archeyes, 2020)

Figure.12 Diminishing penguin pool

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“History in the past is not something you either copy or ignore, it is something you try to metabolize. And Lubetkin works somehow succeed in metabolizing the past and the present” (Allan,2018).

“Of course, like all areas of human endeavour, knowledge about animals and their habits is constantly changing and evolving, so in all probability what was the latest thinking in the 1930s has long been superseded.”

– Sasha Lubetkin (Archeyes, 2020)

HERITAGE “Heritage is our legacy from the past, what we live with today, and what we pass on to future generations. Our cultural and natural heritage are both irreplaceable sources of life and inspiration.” (UNESCO 2021). Heritage means different to everyone, while each individual or organisation has a unique understanding of the works and cultures. However, the penguin pool is not famous because of the penguins inside, but the sculptural like animal architecture, the technology concept. And this endows penguin pool a new meaning rather than just a cage.

The Penguin pool is considered the icon of modernist architecture in architectural design and engineering. Lubetkin’s thoughts are about eliminating those ornaments and focusing on minimalism but consider presenting the ancient tradition in a modern way. Penguin pool is an example. In my opinion, heritage means the fantastic thoughts and concept from Lubetkin; the utopia environment that the penguin pool wants to achieve; the impact of building technology at the time. Hence, I can’t entirely agree with Sasha’s opinion. Because I believe the existence of the building is reasonable, it only depends on how we treat the penguin pool.

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The First 10 Years (1826 - 1836)

A New Century (1913 - 1934)

The New Zoo (1962 - 1964)

The 21st Century (2006 - 2011)

ZOO COLLAGE

The zoo space is mainly constructed by the architecture and the landscapes. The diagram demonstrates the overall atmosphere in the zoo environment which is domestic, intimate. it feels like a garden that makes people relax and enjoy the interaction with animals. And the heritage we can see from it is the constant development of the animal living quality and their habitat.

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REGENT’S PARK

Zoo Entrance

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1

2 3

Animal

Visitor

Animal

‘Unzoo’ System in Regent’s Park

‘Captivity’ System in ZSL London Zoo

2.Penguin Pool (Original building) 3.Gift and Coffee Shop (Original building)

From comparing the regent’s park and ZSL London zoo, we can quickly realise various changes and activities in the environment in which animals live. Animals in the regent’s park are freer to interact with visitors, as the diagrams show on the left. However, the animals in the cages have limited interaction with people.

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1.Casson Pavilion (Original building)

4.Lion Lodge (Original building)

UNZOO

CAPTIVITY

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“The story of the ZSL is a contemporary fable of sorts — a warning against technological utopianism and attempts at universal solutions. One size doesn’t fit all, regardless of species.” (Morley, 2019) Captivity Captivity is the system of the zoo, probably for most of the zoo in the world. It is a controversial topic that keeping animal can allow visitors to learn and study about animals.

However, some studies find that some animals are more intelligent and more emotional than we think, and animals will also develop depression and anxiety. At the same time, we bring them far away from home. (Worland, 2017) The documentary Blackfish showed the emotional changes while people keep them in the tanks and force them to display.

The animal is not the exhibits that locked in a particular area. Animals are alive with emotion. They suppose to be our friends, the creatures with the same rights to live where they are supposed to live.

Hence, the ‘unzoo’ concept focuses on improving the animals’ habitat that brings animals out of ‘cage’. And it will develop the space that fits on their scale and colony. Animals can roam around in the habitat and bringing humans into their environment..

PROGRAMME

Ornithology Research Centre The ZSL London zoo is an energetic site with animals, visitors, and researchers worldwide. Penguin pool is the iconic modernism architecture in the zoo and almost the first attempt to consider animal habitat in architecture with advanced technology. Now it is abandoned for more than 15 years. The programme will focus on the abandoned penguin pool on-site, thinking and defining the heritage, exploring the potential preservation method to inform the design methodology. ‘Unzoo’ is the goal of the programme.

The programme will provide a rich and complete journey for animal observation and animal interactions. It will reshape and reframe the experience of the penguin pool and endow a new identity. Animals inside the building will not be restricted by the physical boundary but can freely wander around and develop their the habitat. The visitors will be the guests to the penguin’s house, and the programme will provide researchers and visitors with various The Museum of Materials has aabout uniqueanimals. opportunity of Adaptive being both, a Reuse traditional display perspectives learning

housing Public Space artefacts, as well as a more experiential outlet. The displays in thisproject case, building materials, will haveThe twoproject should sustain the The should look at aspects to their curation, display, and the experience they reusing provide: what’s tactile already and visual, allowing visitors to of being public oriented there - In feature fully engage. This would end up dictating the design of the building and its interiors, and that is what this parts or full at parts of project. challenge is about.

Visual Experience

PROVIDE MULTIPLE

As can be inferred from the name, this part of the material museum has to do with what PERSPECTIVES FORthe material specimens look like. The Thereproject are certain aspects should lookofatthe VIEWING museum’s design that are toANIMALS be unique to the visual reusing what’s already there - In experience, including:

Adaptive Reuse parts or full

Tactile Experience

BRING THE ANIMAL This part of the material museum has to do with what the materials feel For this,TO a way for the visitors to HABITATlike.BACK engage with the specimens must be The project should sustain physically the THE ZOO devised in the design.

This aspect includes: Promote green spaces on Create a holistic vertical living

Public Space Hanging Gardens

feature of being public oriented multiple levels at parts of project.

Texture

Texture

Colour

Density

Luminescence

Fineness/ Coarseness

Vertical Living for its residents.

Objectives

You can propose residential, commercial, administrative, leisure all kin Smoothness/Roughness of usages that seem fit to you for this project. The above objectives a some factors you should consider while building your project.

Reflectivity Transparency/ Opacity

Figure.39 ‘Unzoo’ Habitat

Detail/Layers

REUSE THE PENGUIN WEAVING ANIMALS Adaptive Reuse Public Space POOLHanging AS ITS ORINGINAL AND HUMAN CIRCULAVertical The project should lookGardens at The project should sustain the Living FUNCTION INSTEAD TION ANDvertical INCREASING Promote green Create a holistic living reusing what’s already therespaces - In OF on feature of being public oriented https://uni.xyz/competitions parts ormultiple full at parts of project. levels for its residents.

ABANDONED ACCESSIBLITY

Design Guidelines

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The aspects stated above may serve as a criterion for segregation of the display of materials, as well as factors to be emphasised on in the museum’s display to ensure an interactive and holistic experience combining both.

Objectives

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MASSING PROPOSAL

The chosen site is located next the penguin pool, forming a surrounded shape towards the pool. The concept drawing try to illustrate a atmopshere that penguin pool is protected by the surroudning forest and at the same time, create contrast in the site to highlight the subject

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Initial concept sketch

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Animals in the building Research Summary

Reducing visitor viewing proximity with a physical barrier has benefits on both visitors and penguins in terms of animals behaviour and visitors experience.(Chiew et al., 2019)

COMMON NAME: Humboldt Penguin SCIENTIFIC NAME: Spheniscus humboldti TYPE: Birds

For Penguins - Reduced huddling, viliance, idle behaviour - Increased Swimming - Closer to visitor viewing areas (Huddling - defensive strategy to predator threat Idle behaviour - reduction could indicate more active Swimming - highly motivated behaviour )

FOOD SOURSE: Fish, especially anchovies, herring and smelt.

AVERAGE LIFE SPAN: 15-20 years (in captivity) SIZE: 56cm - 71cm long WEIGHT: 4.7Kg

For Visitors - Less avoidance to penguin - Limited affect on visitors experience - Improves perceptions of penguins - Neutral affect on their perceptions of physical barriers

Humboldt Penguin is a medium-sized penguin, There are around 100 penguins in the ZSL zoo

Current situation

The Humboldt penguin is facing the threat that caused by global warming. Because, the global warming leads to the reduction of penguin prey and overall productivity and is also threatened by commercial fishing and oil pollution. In 1982-1983, the population of Humboldt penguins reduce from approximately 20,000 to around 5,500 in terms of the reproductive failure and starvation. In 1997-1998 the population of the Humboldt penguins decreases again and reach only 3,300.

Berthold Lubetkin (14 December 1901 – 23 October 1990)

Human

Commercial Fishing

Oil Pollution ‘Pool used structural dynamics of concrete to demonstrate nature not as an environment but as a system of geand physical ‘Poolometric used structural order’of concrete dynamics

Berthold Lubetkin (14 December 1901 – 23 October 1990)

Penguin Pond Humboldt Penguins Lives Cycle

The site located at the ZSL London Zoo in London, the penguin pond was recognised as a masterpiece of the avant-garde in terms of its famous helix ramps. Berthold Lubetkin (1901 – 1990), a designer of penguin pond in ZSLZoo London zoo, wasthe an penguin architect who The site located at the ZSL London in London, pioneered the modernist design in Britain in the 1930s. Interestpond was recognised as a masterpiece of the avant-garde in terms ingly, the Lubetkin thoughts related to animal welfare, which he of its famous helix ramps. Berthold Lubetkin (1901 – 1990), a debelieved that the geometric form was the fundamental building signer of penguin pond in ZSL London zoo, was an architect who volume of nature (Anker, 2005). In addition, he suggested that the pioneered the modernist design in Britain in the 1930s. Interestdesign approach in the zoo should be like a circuit that presents the ingly, the Lubetkin thoughts related to animal welfare, which he animal dramatically to the public (Allan, 1992). Hence, there are believed that the geometric form was the fundamental building two focuses on the building. volume of nature (Anker, 2005). In addition, he suggested that the

Penguin Pond

40 Days

‘Presenting animals “dramatically to the public, that similar to the atmosphere of a circus.’

Fledg period about 70 to

Developing the feather is about a year after the birth

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Idle

Lubetkin even left an ailanthus tree in place to visually emphasise the abstraction of Pond’s geometric

Vigilant

Surface Swimming Diving Figure.38 Penguins Activities collage

Animal

Human

Animal

Human

ZSL London Zoo was founded in 1828 and creat system called ‘captivity’. Captivity is a system that Relationship between people and in cages for people to observe and study easily. It mals welfare and freedom. However, in the moder ZSL London Zoo was founded in 1828 and creat imal’s urban habitat becomes a problem that hum system called ‘captivity’. Captivity is a system that squeeze the animals spaces, so do penguins. We ca in cages for people to observe and study easily. It it is not reasonable, appropriate for animal-domi mals welfare and freedom. However, in the mode and human-dominated society. The project is to s imal’s urban habitat becomes a problem that hu between animals and people, an equal, equivalent squeeze the animals spaces, so do penguins. We c

it is not reasonable, appropriate for animal-dom

and human-dominated society. The project is to s between animals and people, an equal, equivalen

- For other animals the enclosure won’t enable them to burrow which is a part of their courting ritual.

Lubetkin even left an ailanthus tree in place to visually emphasise the abstraction of Pond’s geometric

Animal

Anima Relationship between people and

Reduce visitor viewing proximity

- the pool was too shallow for the penguins to dive and swim

Humboldt Penguins Activities

Huddling

Animal

‘Captivity’ - the pool was too shallow for the penguins to dive and swim

Human

Human

- the concrete had negative effects on their feet - caused arthritis and bumble-foot.

to demonstrate nature not as an environment but as a system of geometric and physical order’

‘Presenting animals “dramatically to the public, that similar to the atmosphere of a circus.’

design approach in the zoo should be like a circuit that presents the incubation 90 days - A naturalist focus, he tries to represent an animal habitatafter in athe birth animal dramatically to the public (Allan, 1992). Hence, there are modern architecture two focuses on the building.

- A geometric focus, finding a way to present the animals to the public in a non-dramatised fashion.

- A naturalist focus, he tries to represent an animal habitat in a modern architecture An animal-friendly architecture was an advanced concept, but it - A geometric focus, finding a way to present the animals to the was criticised as an obsolete system that still treated the zoo as ‘flapublic in a non-dramatised fashion. vour of a circus or a country carnival’ or ‘pure pleasure and amusement of their owner’ without any educational or scientific value An animal-friendly architecture was an advanced concept, but it (Anker, 2005). Although other arguments disagreed that, in my was criticised as an obsolete system that still treated the zoo as ‘flaopinion, the problem occurs because of the system ‘Captivity’ in vour of a circus or a country carnival’ or ‘pure pleasure and amusethe zoo, which has not been changed through zoo history ment of their owner’ without any educational or scientific value (Anker, 2005). Although other arguments disagreed that, in my opinion, the problem occurs because of the system ‘Captivity’ in the zoo, which has not been changed through zoo history

Human

- the concrete had negative effects on their feet - caused arthritis and bumble-foot.

Animal

- For other animals the enclosure won’t enable them to burrow which is a part of their courting ritual.

‘Unzoo’

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EXPERIMENTAL PRESERVATION PROJECT TESTING At this stage, the draft scheme is developed, and the iterative testing process shows how the design developed to respond to the idea from the framing project.

So to achieve the idea of ‘unzoo’, the boundary is crucial as it is the only physical barriers between human and animals. Hence, the testing of the boundary from the analysis of zoo building development is necessary for the project. I have tested the building boundary in the ZSL London zoo from 1826 to 2011. Furthermore, the style of the buildings informs the habitat design and also the human and animal circulations. Then continuing the concept from Rem Koolhaas about preservation. I took the Fondazione Prada as an example for testing the materials. The contrast between the materials expresses Rem’s idea of preservation, building the colour and texture contrast to form the various experience. So, back to the penguin pool, the object that we need to preserve, I tested several materials that build the contrast and adapt to the surrounding environments. In addition, the ramp entrance will be another feature in the building that tested different journey while people access it. Overall, The testing project explores some potential designs to achieve the idea of ‘unzoo’, which will be used in the next Synthesis project

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EXPERIMENTAL PRESERVATION RESHAPE AND REFRAME THE PEOPLE EXPERIENCE 1. Testing Materials 2. Testing Boundaries 3. Testing Journey

From my point of view, demolishing the penguin pool is not the best way. Because it is important and crucial to demonstrate the progress of habitat development in the zoo, it reminds people how much effect the architects have contributed and the importance of animal habitat in the city environment.

Evgenii Mikhailovskii suggested that architectural preservation is not about changing the architecture but altering how we perceive it (Mikhailovskii, 2011). He suggested a possible way to reshape the visitor experience to create a new understanding, meaning for a place or space.

People have a similar idea about demolishing the building because of what they have seen in the penguin pool, the decayed scene in the pool with leaves, water-logged and the yellow walls. But what if the scene changes into the renders on the right. Do people feel like it is abandoned?

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Materials Testing

Dark Timber

Timber

TESTING MATERIALS The material testing shows the iterative works of comparing each material in the zoo context. The choice of materials inspired by Koolhaas works (Fondazione Prada). The concept is to build up a materials contrast that highlights the new and old relationships. The penguin pool with the white cast-in-situ concrete implies that it is a highly artificial work. On the other side, nature in the context has a huge contrast that distinguishes manufactured works and natural works.

Dark Concrete (New penguin habitat)

White Concrete (Penguin pool)

Testing 1

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Testing 2

Testing 3

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Fondazione Prada \ OMA

Rem Koolhaas also describes the preservation as formless, but it frames or reframes visitors experience (Koolhaas and Otero-pailos, 2014).

In the foundation project, Rem Koolhaas describe it as respect of what was here. He preserved the building to design a contradictory facade, creating a situation of old and new that works closely together. The ambition of the idea is to create a seamlessness in between the new and old with a feeling that cannot distinguish between new and old building, which is the way of reshaping the experience. Koolhaas approaches to inspire the exploration of materials. In the project, the expression of materiality chooses to build up the contrast to reshape the experience. Materials should imitate the animal’s habitat to the maximum extent possible. Meanwhile, it should highlight the new and old relationships.

Figure.14. Fondazione Prada

Figure.13. Fondazione Prada

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Cassion Pavilion

Building Site Penguin pool

Figure.15 Cassion Pavilion

Figure.16 Penguin pool

Materials from Casson Pavilion

Building Materials

Materials from Penguin pool

The Dark concrete builds up a contrast with white concrete (Penguin pool) to highlight the relationship of new and old. And there is a transitional timber colour in the middle to connect them visually and spatially. Overall, it builds a smooth contrast but clearly shows the new and old difference.

Hence, in my opinion, testing 1 is a potential material choice in the project.

50

The new-build installation can shape the way we perceive the preserved building to reframe people’s experience and endow a new identity to the building.

51

TESTING BOUNDARY Boundary plays an essential role in the ‘Unzoo’ concept.

However, most of the zoo is still imitating the cage period, originally coming from the London zoo in 1826. The problem occurs in terms of the ‘Captivity’ system, which creates a clear boundary between people and animals—the boundary limits both animals, and people experience. Hence to achieve the concept ‘unzoo’ and the experimental preservation in a spatial perspective, the rethinking of boundary in the future zoo is necessary. However, the boundary needs consider scale of the animals, the perimeter of habitats so that the boundary can work in a reasonable limitation.

Figure.18 animals and people interaction

Boundary exists in different ways

The scale of the space defines the feeling of boundary

The penguin pool has a clear spatial boundary. A continous wall creats a clear boundary in between the people and animals.

Figure.17 Penguins in penguin pool

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Soft Boundary Hard Boundary

Boundary in different scale

With the growing importance of understanding zoo human-animal relationships, boundaries or barriers are the only physical barriers between humans and animals. Hence analysing the boundary probably can help the animal and human relationships. (Chiew et al., 2019) In our spatial experience, spatial boundary exists in various forms. We can understand the relationship between city space and the green environment through the analysis. the firm boundary has a precise shape. “The hard edges are easy to define. If you have a blank wall or just glass, maybe black glass or whatever”(Gehl, 2010). such as Plaza Redonda in Valencia(Fig.19), Piazza San Pietro(Fig.20). In contrast, Jan Gehl (2010) defines the soft edge as a facade with many things, such as the Pompidou centre (Fig. 21)in France. Moreover, a facade with lots of vegetation has a soft edge or “a front yard where the kids are playing and grandma is sitting knitting just behind the hedge”.(Gehl, 2010).

Figure.19 Plaza Redonda

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Figure.20 Piazza San Pietro

Figure.21 Pompidou Centre

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The First 10 Years (1826 - 1836)

Zoo Development in History (From 1826 - 2020)

Building style (Key words) Cage, Less attention of animal welfare, Hard boundary Solid

The First 10 Years (1826 - 1836)

Zoo Development in History (From 1826 - 2020)

Solid and Void Digram

Void

Animal Habitat Massing Proportion

Visitors

Boundary

Symmetry

Plan Analysis

Figure.22 Clock Tower Clock Tower / Llama & Camel House

1828 designed by Decimus Burton. Listed Grade II.

Figure.23 Raven’s Cage

The Raven’s Cage 1828 designed by Decimus Burton. Listed Grade II. This is the first permanent cage that have been built in zoo

Figure.24 Giraffe House

Giraffe House 1836-1837 designed by Decimus Burton. Listed Grade II. The building is simple, functional and still houses giraffe

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57

A New Century (1913 - 1934) Building style (Key words) Awareness of animal habitat and welfare, Opened, Accessible, Hard boundary Solid

A New Century (1913 - 1934)

Mappin Terraces 1913-1914 designed by Sir Peter Chalmers Mitchell and John James Joass. Listed Grade II. The naturalistic design is for bears and other animals, which is the imitation of moundation landscape

Gorilla (Round) House 1932 designed by Tecton. Listed Grade I.The Round Gorilla House is one of the first buildings in the Modernist style in Britain

Solid and Void Digram

Void

Animal Habitat

Massing Proportion

Visitors

Boundary

Symmetry

Plan Analysis

Figure.25 Mappin Terraces

Figure.26 Gorilla House

1934 designed by Tecton. Listed Grade I. “Lubetkin was given liberty to design an exhibition piece, a non-naturalistic stage for the antics of the penguins that avoids any appearance of caging.” (Wilson,2019)

Figure.27 Penguin pool

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Testing the boundaries

Elements refers from lubetkin’s works (Goriila House and Penguin pool)

Visitors

Plan

Elevation

Plan

3D

Animal habitat

Visitors

Elevation

3D

Animal habitat

Introducing a roof for building a communal space for animals and people

Solid building without any views inside

Niches for displaying animals

A glass balcony for displaying animals. showing part of their habitats

Summary.

From the 1826 - 1934, The testing pricinple follows the rule of capativity, we can find that the boundary in the building did not have a dramatic change no matter how we refine the space and change spatial quality and most of the interactions only remain at the visual levels. Hence in order to change the overall feeling of the zoo and develop the unzoo concept. the study continue to explore the zoo building from 1962 to 2011 A full glass house for displaying animals

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The New Zoo (1962 - 1964) Building style (Key words) Solid

The New Zoo (1962 - 1964)

Solid and Void Digram

The 21st Century (2006 - 2011)

Improvement of animal and human relations, Perspectives, Accessible, soft boundary Void

Animal Habitat Massing Proportion

Visitors

Boundary

Symmetry

Plan Analysis

Casson Pavilion (The Elephant and Rhino Pavilion) 1962-1965 designed by Sir Hugh Casson, Neville Conder and Partners. Listed Grade II. Figure. 28 Casson Pavilion

Snowdon Aviary 1962-1964 designed by Tony Armstrong-Jones (Lord Snowdon), Cedric Price and Frank Newby.

Listed Grade II. Figure. 29 Snowdon Aviary

The 21st Century (2006 - 2011)

Water

Figure. 30 Gorilla Kingdom

Gorilla Kingdom 2006-2007 designed by Proctor & Matthews. The lightweight structure and landscape gives the gorillas a large open space and natural environment surrounded by a moat on three sides, which has a huge difference to the preivous gorilla house in 1932

Figure. 31 Penguin beach

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Water

Penguin Beach 2011 designed by Wharmby Kozdon Associates. Penguin Beach recreates a sand and pebble beach landscape with a colony of Humboldt penguins. The exhibit’s 1200 square metre pool is four times bigger and three times deeper than the Zoo’s old penguin pool and holds 450,000 litres of water.

63

Plan

Visitors

Animal habitat

Elevation

3D

Summary

In the 1962 - 2011 period. The zoo building has a dramatic change as we can see various boundary styles that design friendly to both people and animals. for example, the Snowdon Aviary tends to bring people into the birds habitat, and the new gorilla house develops a water barrier which naturally builds up the perimeter for gorilla but also improves visitor experience

Water

64

The zoo building tends to become more open, accessible. People can interact with animals in different animal life stages. Visual connection is crucial, but also the way feels about the spaces. The zoo tries to give visitors multiple perspectives in understanding animals, their habitats, behaviour.

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Range of penguin ac�vity

Diving Range of penguin ac�vity

Surface Swimming

Penguins Huddling

ns

Range of people ac�vity

Interac�on with penguins

Promenades Ramp

Penguins Observa�on Learning about penguins Interac�on with Nes�ng Incubation penguins Breeding

Promenades Ramp

Idle

Penguins Observa�on

Habitats Nes�ng Breeding Penguin Observa�on

Visitors

Range of people ac�vity

Penguin Observa�on

TESTING JOURNEY

Penguins

Learning about penguins

1. The diagram tests the new relation between penguins, visitors and researchers in the zoo. A different group of users have various demands on penguins.

Hence, it is good to separete the public and private spaces

Visitors

Penguin Research Social Rela�ons

Penguins

Habitats

Animals Habits

Penguin Research Social Rela�ons

Human Circula�on

Animals Habits

Penguins Circula�on

Researchers

2. The diagram tests that the human circulation design refers to the penguin’s circulation. In other words, the design priority puts the animal’s habitat in the first place and later designs the human spaces next to it.

3. The idea of new habitats and connecting with the penguin pool reduces the boundaries, leaves more spaces for exploration and reduces the visitor viewing proximity

Human Circula�on

Researchers

Range of people ac�vity

Penguins Circula�on

Range of people ac�vity

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RAMPS Ramps, A smooth vertical connection

All is one great space on a continuous floor [...] the net result of such constuciton is greater repose, an atmopshere of the unbroken wave

A solution of reducing the boundary feeling

The Entrance Design The entrance design is a response to the helix ramp in the middle of the penguin pool. Two different gradiant ramps interlock with each others that gives multiple opportunities for viewings. moreover, the journey will be different as the ramp changing height.

- Frank Lloyd Wright (Larkin and Pfeiffer, 1993)

1. Traffic Purpose

In the beginning, the ramps have a traffic purpose. For example, the construction of pyramids used ramps to deliver goods and materials. the benefit is that people are no longer carry goods on foot and improves efficiency.

2.Production Line

In 1923, Giacomo Matte-Trucco designed an impressive ramp for automobiles from the top to the bottom of the building (Figure.33).

However, that was not the first time that the ramp was used as the production line. It is still a perfect example of endowing the ramp for a new aesthetic and function.

Figure.32 Pyramids construction

3.Promenades architecture

One popular promenades architecture is the Guggenheim museum(Figure.34) in New York, designed by Frank Lloyd Wright. A large atrium inside welcomes the visitors. Meanwhile, a continuous ramp leads visitor upwards of a sixstorey height building. Along with the ramp is a series of artworks.

Figure.33 automobiles ramps

Figure.34 Gugenheim museum

4.Ramp as structure and stage

Berthold Lubetkin designed the penguin pool in 1934. the helix interlocked ramp was a famous sculpture, and it served less movement than for exhibition, although Berthold Lubetkin described the ramps as the imitation of the glacier. However, later many designs still inspired by the penguin pool.

Figure.35 Penguin pool

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Outer Ramp

“A Ramp provides [...] totally different sensations than those felt when climbing stairs. A staircase separates one floor from another, and a ramp links them together.”

Le Corbusier (Sbriglio, 2008)

Ramp Gradients The entrance design is inspired by the ramps in the penguin pool with a slight difference. A promenades installation creates a different experience with various views and ramp gradients. Two ramps with different slopes form two circulation towards the upper floor. The outer circle is a promenades ramp that visitors can see the penguin habitat around the building. The inner-circle allows appreciating the water feature inside. In addition, the ramp design follows the approved document M (HM Government,2010)

2.1%

Inner Ramp

Combination

4.1%

10m

1.5m

Distance between landings

Length of lanings

2m

2.5m

width of ramps

70

Height of ramp

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ORNITHOLOGY RESEARCH CENTRE PROJECT SYNTHESIS

The final work is delivered in the project synthesis. The outcome is based on the research of the first two projects with minimum refinement. The framing project brings attention to the zoo system probably and explores the possible solution that relates to the penguin pool. Moreover, from the other aspect, the experimental preservation from the theories such as Rem Koolhaas, Evgenii Mikhailovskii set the way we look at the building. Hence the theories with Berthold Lubetkin’s design philosophy and the ‘unzoo’ concept form the foundation of project synthesis. The overall atmosphere wants to respond to the penguin’s natural habitat, which is a coastline atmosphere. The project testing guides some detailed designs such as the entrance, ramps, circulation and materials. So expect for the plans, sections and elevations, ARC3013 makes project synthesis more feasible and realistic, not only the construction process but also the environmental design related to the penguins and people. Overall, the project Synthesis is a work contributed by all of the modules in stage 3. It is like a jigsaw puzzle that forms a beautiful picture at the end. What I learn from it is how to organise different ideas and concepts and make it logical. The architecture is rational and unique, just like a human. There is no design model for building architecture. Because the narrative gives an identity to architecture.

The new relation between the penguin pool and new built building

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ARC3001 FEEDBACK SHEET

FORMATIVE LETTER GRADE

STUDENT NAME:

Dongpei Yue (180309377)

DATE:

17/18.05.21

STUDIO:

Building Upon Building

REVIEWERS:

Harriet + Pep

ASSESSMENT CRITERIA:

B

X A B C D E

GRADE BREAKDOWN 76-100 66-75 56-65 46-55 36-45 0-35

0 100

SYNTHESIS 60% (inc testing)

Percentage teamwork Percentage individual

RECORD OF PEER/TUTOR COMMENTS:

PROCESS

research - iteration - rigour - control - articulation of method(s) - relevance of method(s)

ETHICAL FRAMEWORK

judgement - response to social, political, environmental, material, cultural, historical professional context(s) [where appropriate] - inclusivity - sustainability

DESIGN PROPOSITION SYNTHESIS

relevance - brief - consideration of user - contextual integration - spatial articulation - spatial quality - scale - functionality - experiential consideration - control - construction & materiality - synthesis

COMMUNICATION & REPRESENTATION

control - accuracy - clarity - composition - detail - relevance - judgement - atmosphere inhabitation - coherence

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

criticality - argument - evaluation - questioning - interpretation - multiple perspectives - quality relevant sources - coherence

INVENTIVENESS & CREATIVITY

experimentation - testing - risk taking

STUDIO SPECIFIC 01

Relation NEW & OLD

STUDIO SPECIFIC 02

Reflection on Berthold LUBETKIN and the PENGUIN’S POND

Your ideas and design strategies are good, in principle. You have good drawings, views, and plans.

However, there are a few aspects to improve: – It would be good to get more diagrams explaining your concept, and to include more surrounding context in your drawings.

What are your environmental strategies?

– Make sure to show clearly the different routes and ways of using your buildings (researchers, visitors, penguins).

– Make sure that is clear how you tackle accessibility. Include regular landings in the ramps, and pay attention to building regulations regarding accessibility.

– Revisit technical details, constructive details, and structural system (in plans).

– Represent clearly primary and secondary structures in your building.

PROCESS

CO Ad va RE MM nc PR UN ed ES IC EN AT I O TA N TI & ON

d

Advanced

& ed S nc va ES Ad EN TY IV IVI NT AT VE CRE

IN

Advanced

Advanced

Basic

1.

DESIGN PROPOSITION

STUDIO SPECIFIC CRITERIA 01

YOUR KEY NEXT STEPS:

L K CA R HI O ET MEW ed A nc FR Adva

ST U CR DIO IT SP ER E C Ad va IA 0 IFI nc 2 C e

Advanced

2.

3.

SYNTHESIS REVIEW FEEDBACK Surrounding model(p80) Ciculation diagram(p90) Ramp accessilibity (p71 and plans) Space in between penguin pool and new built building(p85) Building facade design(p102) Environmental strategy (p100 - p105) Detail connection between penguin pond and new built building(p112)

Include context in your sections! Include also structure in both sections and plans...! Make sure to include comprehensive environmental strategies, not just regarding water but also regarding the management of the whole building.

Rethink the elevation of your building facing to the Penguin Pond. Which materiality would be the best? What's is the space in between buildings for?

Show a CLEAR and PRECISE detail of the connection between the Penguin Pond and your building.

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

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Ornithology Research Centre

The project aims to improve visitors’ involvement with animal and the knowledge of ornithology habitat in an urban context. The programme intends to build up an ornithology research centre that continues animal conservation and improves animal living quality in an urban context. ‘Unzoo’ is the concept of the building. Animals and people are free to move or wander around the building. Penguins will have opportunities to develop their habitat. Moreover, the programme will have both education and research purpose that improves the ornithology research quality and gives visitors knowledge about penguins and other species in the zoo. The strategy of preserving the penguin pool is to reuse it and connect it to the new penguin habitat to achieve the idea of ‘unzoo.’

76

What the building want to achieve ?

1.Demonstrate the changing process of animal living environment in zsl london zoo 2.Reshape people’s memory and impression of penguin pool 3.Keep the interaction between people and animals to maintain the sustainable development of buildings

77

MAIN ENTRANCE

SUN PATH

CAR PEDESTRAIN Most of the users who enter the zoo are from the top left entrance.

Hence the main entrance is placed on the top left to welcome the people and easy to be seen

The building shape responds to the sun path to gain natural light and use solar energy more efficiently.

ANIMALS

VIEWS

4

2 1 5 3

1. Ornithology Research Centre (New Building) 2.Casson Pavilion(Original building) 3.Gift and Coffee Shop (Original building) 4.Lion Lodge (Original building) 5.Penguin Pool (Original building)

‘Captivity’ separetes animals and builds up a clear boundary

Site Plan 78

Visitors will have panorama views while walking through the building they can view the animals from multiple heights.

79

3

2 4 5

1

5

1. Penguin pool 2. Penguin habitat 3. Main entrance 4. Visitors centre 5. Researcher centre

80

81

A E

Main Entry

-0.60m

C

A

±0.00m

Additive and Subtractive

Units to Whole

B

9.00m

10.70m

C

Symmetry & Balance

Parti site diagram / section(s)

Hierarchy

±0.00m

E

D 10.70m

10.70m 9.00m

D

±0.00m

82

0

5

10

15

20

A-A ELEVATION 25 30m 83

PUBLIC AND PRIVATE The public and private areas are separated from each other in terms of the different group of users. The visitor’s entrance A and B are on the north side, And the C, D private entrances are on the south side.

A ±0.00m

0.15m 2

Visitors centre (Public)

B 12

11

5

C

Researchers centre (Private) D

1

0

0.30m 3 3

4

13

8 0.30m

7

9

0.Viewing Platfrom

Ground Floor Plan 0.Viewing Platfrom 1.Cafe 2.Ramps 3.Penguins Care House 4.Changing room 5.Equipment Storage 6.Meeting room 7.Research Space 8.Recepetion 9.Storage 10.Unloading area 11. Habitat Entrance 12.Penguin Habitat 13.Penguin Pool

The space inbetween the penguin pool and new built building is a viewing platform for both penguin habitat and penguin pool. It is a private, chill space with covering from the top

10 7

10.70m 9.00m

4.50m

0.15m

±0.00m

84

0

5

10

15

0.0m 20

B-B ELEVATION 25 30m85

Visitor centre

Researcher centre

±0.00m

Ornithology Library/Office The library is used by both researchers and visitors if they need to do research about ornithology. It is a private space with abundant sun light and a view into the research space. The reception office is also a part of the library. it is for the staffs who working at the reception and zoo daily management. The library also has two private meeting room for the researchers and it connects the emerency exist on the bottom left, which is also a viewing platform. The viewing platform has an abundant view into the regent’s park, it is a private, relax, chill place for researchers.

3.00m

4.50m

14

16

15

19

14.Reception 15.Ornithology Library 16.Office 17.Meeting Room 18.Accommodation 19.Viewing Platform 20.Gift Shop

20

17 17 18 19

First Floor Plan

19

10.70m 9.00m

±0.00m

86

0

5

10

15

20

C-C ELEVATION 25

30m 87

Animal interactive area The interaction area will provide a closer interaction experience for visitors. The building will organise visitors to enter the penguin’s habitats to have a closer interaction with them. So before they access the habitat, the preparation room is for disinfection, and then people can enter the space by using the stairs.

Aquarium The aquarium space is for viewing the penguins under the water and an exhibition area for ornithology research.

-4.00m -3.70m 21

22

-4.00m

23

24

Lecture Space The lecture space is an open area for the public, and people are free to access it, and there will occasionally organise the talk and lecture about animal conservation.

21. Aquarium 22. Animal interactive preperation space 23. Lecture space 24. Storage

Underground Floor Plan

10.70m

10.70m

9.00m

±0.00m

88

0

5

10

15

20

D-D ELEVATION 25

30m 89

The visitor circulations will give people the multiple perspective for viewing the penguins and understand the development of animals architecture in urban context. Once the visitior enter the building. There are two ramps for visitors to choose to walk, each ramp will provide unique experience.

Then when visitors pass the reception, the penguin pool can be seen from the top. follwing the ramps and reaching the basement, a lecture space that delivers visitors more information about the penguins. at the end the aquarium will provide an unique perspective to penguins. At the end of the journey, visitors will follow the ramp walk to the place where they started.

CIRCULATION Visitor Circulation Vertical Connections

C

A

A

B

B

D C

D

G

F

90

G

F

91

RESEARCHER CIRCULATIONS

The researcher circulation is more private. It has two private entrance which locates on the both side of the centre. The ground floor has a research lab and a penguin care house which locates next to the penguin habitat. On the first floor, There is an accommodation for two researchers and two meeting rooms. The library connects the public area which is also shared with visitors.

D

E F

C

A

B

B

A

92

C

D

E

F

93

94

95

Design Approaches on improving penguin pool 1.Lift human vision perspective 2.Break the barriers and build a new penguin habitat

P E N G U I N P O O L

A

B Lift the human perspective, when people's vision is lifted toward certain height, the boudary feeling will be relieved

A

In order to respond to the ‘unzoo’ concept, the penguin pool will be used again as its original function and the pool will take the following two steps for the improvement.

B

C

D

1.A walking ramp next to the penguin pool 2.An opening to the penguin pool to allow penguin swim freely in between two spaces.

C

D The new penguin habitat will be a place that allow people and penguins to explore .

Break the barriers. To improve more freedom, movement on site for penguins, the penguin pool can be opened and connected to the new penguin habitat.

96

97

Preying

PENGUIN CIRCULATIONS

The new habitat is connected with the penguin pool. The new penguin habitat a more suitable environment with various depth of water, caves for nesting, a penguin care house with pofessional staffs, the sand beach for penguin wondering. The rescued animals are accommodated in a separate area so that they can have better treatments.

Nesting

Sands & Rocks

Displaying

Viewing Area

Shades for Penguins and people

Viewing Area

Day Time Penguin To Do List Gathering Penguins are social animals, and most of the time they are living together.

Eat fish Penguins are feeded twice a day, one in the morning and one in the afternoon Swim Swimming is a daily activity in penguins life, and it is also a reflection of their emotion. if they like to swim, they are more active and positive.

Go visiting They can either interact with people and other penguins, this is their social time Back to the encounter or habitats At the end of the day they will go back to their habitat and have a rest.

Rescued Animal Area Nesting Area Visitor Interaction Area

Shallow Water

Deep Water

Promenade Ramp

Sand and Rocks

Visitor Centre Penguin Care House Penguin Pool

Research Centre

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99

The Roof not only contributes to the environmental design but also for the aesthetic purpose. the roof shapes the volumns of the building so that to achieve the lightweight feelings.

Winter Sun

Summer Sun

ROOF DESIGN Summer Sun

Opened Sun Shade Winter Sun

Solar Radiation

Battery Bank

Closed The moveable panel roof is inspired by the gorilla house which designed by bethold lubetkin. It makes building could adapt the environment in multiple climate situation.

Movable Roof Shade

Charge Control

Solar Panel The roof provides a sun shade for the interior. So in summer, the roof will protect people from directed sunlight and in winter, the roof could reflect the lights to help the interior illumination.

100

Inverter Power Company

Meter

Building

101

FACADE DESIGN

The curves from the penguin pool inspire the facade. The building will be act as a background of the penguin pool, which shapes a picture for the visitors once the visitors look at it.

The facade creates a smooth curve that shapes the building volume. Moreover, when the sun comes down and lights on the white plastic facade, The atmosphere creates from the facade, lights, and penguin pool is domestic and friendly. In addition, the facade controls the intensity of the poles that shape the private interior and shades inside. overall, the facade is an identity that demonstrates how building treats the relationship of new and old

102

103

HABITAT DESIGN 1. Response to penguin pool (Berthod Lubetkin) The new habitat compliments the imperfection of the penguin pool, which develops a natural environment with a different depth of water and nesting caves. The connection builds a water tunnel for penguins to swim freely in between two spaces 2.Imitation of natural penguin habitat Continuing the thoughts of animal habitat orientated architecture is a crucial aspect of the project. According to Report (UNEP,2003), Sometimes they also build their nests in cracks in the rocks, and most of the Humboldt penguins live next to the Chile and Peru coasts.

Figure.36 Penguin habitat

Water Resources (Fresh or Sea Water) Rain Water Grey Water

Contamination

Control Salinity

Reuse of the materials on site

Adaptable Water Resources Water Pumps

Penguin Pool

Protein Filter

Coral

Natural Filter

There is a lot of materials left after the site is cleaned up so how to use it wisely is also part of the design. the concrete and the stones will be specially treated and placed at the bottom of the pool and mixed with sand to create an underwater environment. It can better mimic the environment of the ocean floor and provide a living environment for coral

Sand Filter Factory

Demolition Ozone Contact Tower

104

Figure.37 Reuse of the concrete

Biological Water Filter Bacteria House Biological Ball Pottery Loop

Concrete Rubble

Special Treatments

Penguin Pool

Deaeration Towers

Penguin Pool 105

106

107

Roof Structure

Interior Wall / Curtain Wall

Intermediate Floor

Steel Frame Structure

CONSTRUCTION The ornithology centre use the cast insitu concrete for the foundation and aquarium. The primary structure is steel frame structure and the secondary strcuture is facade steel, Concealed ceiling grid system. The timber cladding will be installed after the the primary structure is finished

108

Concrete Basement

109

ROOF STRUCTURE

Timber roof 100mm Waterproof membrane Thermal Insulation 200mm Reinforced concrete 150mm Corrugated metal 10mm Steel Frame 100mm Concealed ceiling grid system 15mm Timber ceiling 100mm

Concrete panel 100mm Steal grid system 15mm Waterproof membrane Insulation 200mm Steel frame 50mm Timber finish 50mm

Cement finish 20mm Insulation concrete slab 200mm Steal frame 50mm Waterproof membrane Steal grid system 15mm Interior finish 50mm

Timber finish 50mm Reinforced concrete 150mm Corrugated metal 10mm Steel Frame 100mm Concealed ceiling grid system 15mm Timber ceiling 100mm

Reinfored concrete

ICF Module

0m

1.5m

3m

6m

12m

Ground

DETAIL SECTIONS ICF Concrete Wall

The in-situ concrete wall system will be the primary structure for the basement as there is a water feature next to the building and the aquarium space requires an integrated structure for stability - Flex in design - Environmentally sustainable - Less flood damage - Superior thermal performance

Reinforced Coping Pile foundation

110

WALL CONSTRUCTION Tiles Waterproof membrane Insulation Reinforced concrete

FLOOR CONSTRUCTION Sand blinding Reinforced Concrete Slab Damp proof membrane Insulation Polished screed (50mm)

111

Water Drainage 9 10

12 11

8

7

13

5 4 3 2

6

1 Coping stone Waterproof membrane External timber facade Metal track Reinforced concrete Corugated metal Thermal insulation Steal cantiliver

9 10 8

12 11

13

7

6

5 4 3 2

Ceiling structure

1

15

14 15

14

16 17

16 17

18

18

19

19

20

Timber finish Reinforecd concrete

21 22 2 23

Tiles Waterproof membrane Reinforecd concrete Screed

24 25

43

26 19

Concrete Tiles Water membrane

Old Structure

New Structure

20

Tiles Waterproof Membrane

29

28

27

21 22

30 2 31

2

32

Concrete Foundation

23

24 25

2 33

Penguin Pool (Structure)

43

26

40

41 42

44

39 38 37

19

35 34

36

29

28

27

30 2 31 32

112

0

5

10

15

20

E-E SECTION 25

30m 113

114

115

BIBILIOGRAPHY ArchEyes. 2020. Penguin Pool in the London Zoo / Berthold Lubetkin | ArchEyes. [online] Available at: <https://archeyes.com/penguin-pool-london-berthold-lubetkin/> [Accessed 27 May 2021].

Wilson, P., 2019. Architecture at ZSL London Zoo, Regent’s Park. [online] Zoological Society of London (ZSL). Available at: <https://www.zsl.org/about-us/architecture-at-zsl-london-zoo-regents-park> [Accessed 2 June 2021].

Allan, John. 1992. Berthold Lubetkin: Architecture and the Tradition of Progress. London: RIBA. Anker, Peder (2005) The Bauhaus of Nature. Modernism/modernity (Baltimore, Md.). 12 (2), 229–251.

Bolevich, M., 2018. Tourists may be making Antarctica’s penguins sick. [online] Science | AAAS. Available at: <https://www.sciencemag.org/news/2018/12/ tourists-may-be-making-antarctica-s-penguins-sick> [Accessed 30 March 2021].

Chiew, S., Hemsworth, P., Sherwen, S., Melfi, V. and Coleman, G., 2019. The Effect of Regulating Zoo Visitor-Penguin Interactions on Zoo Visitor Attitudes. Frontiers in Psychology, 10.

City of Westminster, 2012. Westminster City Plan.[online] Available at:< https://www.westminster.gov.uk/planning-building-and-environmental-regulations/ city-plan-neighbourhood-planning-and-planning-policy/westminsters-city-plan-and-unitary-development-policies-udp/city-plan> [Accessed 28 March 2021] Chappell, D.,Dunn,M. &Ebook Central Academic Complete (2016) The architect in practice. Eleventh edition.

Chudley, R. and Greeno, R. (2008). Building construction handbook. Oxford: Butterworth-Heinemann.

Day, C. (2002) Spirit and place : healing our environment, healing environment. Oxford: Architectural.

Ellenberg, U., Mattern, T., Seddon, P. and Jorquera, G. (2006) Physiological and reproductive consequences of human disturbance in Humboldt penguins: The need for species-specific visitor management. Biological Conservation, 133(1), pp.95-106.

Gehl, J. (2010) Cities for people. Washington, DC: Island Press.

Griffith, A., Knight, A. and King, A., 2003. Best practice tendering for design and build projects. London: Telford.

HM Government (2010) Access to and use of buildings. Available at: https://www.gov.uk/government/publications/access-to-and-use-of-buildings-approveddocument-m [Accessed 20 April 2020].

Kamal, Mohammad Arif (2012), An Overview of Passive Cooling Techniques in Buildings: Design Concepts and Architectural Interventions. Acta Technica Napocensis: Civil Engineering & Architecture. 55, p84-p97 Koolhaas, R and Otero-pailos, J. 2014. Preservation is Overtaking Us. New York: GSAPP Books, Columbia University.

Larkin, D. and Pfeiffer, B., 1993. Frank Lloyd Wright. New York: Rizzoli in association with the Frank Lloyd Wright Foundation.

Lewycka, M., 2021. My hero: Berthold Lubetkin by Marina Lewycka. [online] the Guardian. Available at: <https://www.theguardian.com/books/2016/mar/25/ my-hero-berthold-lubetkin-marina-lewycka> [Accessed 2 June 2021].

Ma, Y. (2015) Shansui city.

Magnusson, S., Lundberg, K., Svedberg, B. and Knutsson, S.(2015) Sustainable management of excavated soil and rock in urban areas – A literature review. Journal of Cleaner Production, 93, pp.18-25.

Mikhailovskii, E., 2011. The Methods of Restoration of Architectural Monuments Contemporary Theoretical Conceptions (1977). Future Anterior, 8(1), pp.8495.

Morley, M., 2019. Modernism’s Not for Everyone—Least of All Penguins. [online] Medium. Available at: <https://medium.com/aiga-eye-on-design/modernisms-not-for-everyone-least-of-all-penguins-be5a259d2f3e> [Accessed 3 June 2021].

Otero-Pailos, J. (2016). Experimental preservation. Available at: https://placesjournal.org/article/experimental-preservation/ [Accessed 20 February 2021] Otero-Pailos, J. (2019). Experimental preservation: challenging what we keep and why. Availableat:https://www.architectural-review.com/essays/experimental-preservation-challenging-what-we-keep-and-why [Accessed 20 February 2021] Pause, M. and Clark, R., (2013). Precedents in architecture. Hoboken, N.J.: Wiley.

Richard,A. (2016). From concrete to coral: breeze blocks make a splash regenerating reefs. [online] Available at: <https://www.theguardian.com/science/ blog/2016/sep/20/from-concrete-to-coral-breeze-blocks-make-a-splash-regenerating-reefs> [Accessed 30 April 2021].

RIBA, 2020. RIBA Plan of Work 2020. [online] Available at: < https://www.architecture.com/knowledge-and-resources/resources-landing-page/riba-plan-ofwork> [Accessed 28 March 2021] RIBA, n.d. Modernism. [online] Architecture.com. Available at: <https://www.architecture.com/explore-architecture/modernism> [Accessed 2 June 2021].

Sbriglio, J., 2008. Le Corbusier the Villa Savoye. Birkhäuser.

Solar Energy. (n.d). Solar Energy - Photovoltaic and Solar Thermal Strategies. [online] Available at: <https://www.firstinarchitecture.co.uk/solar-energy/> [Accessed 24 April 2021].

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LIST OF FIGURE ALL DIAGRAM, IMAGES, DRAWINGS AND COLLAGE WERE PRODUCED BY AUTHOR EXCLUDE THE FOLLOWING FIGURES. Figure.1. Dissertation illustration, Journey in the maggie’s centre. Resource from ARC3060 Dissertation Figure.2 ARC3015 Illustration, How we treat preservation. Resource from ARC3015 Essay Figure.3. Hill House, [online] Available at https://www.google.com.hk/url?sa=i&url=https%3A%2F%2Fwww.archdaily.com%2Ftag%2Fhill-house&psig=AOvVaw0vbffuR-ZmulTGjQMWko2c&ust=1622779563623000&source=images&cd=vfe&ved=0CAkQjhxqFwoTCNjPho7L-vACFQAAAAAdAAAAABAD [Accessed at 15th May] Figure.4.Frac Dunkirk, [online] Available at https://www.fracgrandlarge-hdf.fr/en/ [Accessed at 15th May] Figure.5 Animals in the captivity. [online] Available at https://www.streetshootr.com/garry-winogrand-is-not-a-street-photographer/ [Accessed at 15th May] Figure.6 Modernism architecture in the UK [online] Available at https://www.architecture.com/explore-architecture/modernism [Accessed at 15th May] Figure.7 Berthold Lubekin [online] Available at http://architectuul.com/architect/berthold-lubetkin [Accessed at 15th May] Figure.8 Penguins and penguin pool [online] Available at https://www.apollo-magazine.com/my-masterpiece-selection-ron-arad/ [Accessed at 15th May] Figure.9 Gorilla House [online] Available at https://cplondonarchitecture.wordpress.com/2012/07/24/gorilla-house/ [Accessed at 15th May] Figure.10 Penguin pool [online] Available at https://www.everything47.com/architecture/penguin-pool-at-the-london-zoo/ [Accessed at 15th May] Figure.11 Penguin pool construction [Videos] Available at https://www.youtube.com/watch?v=_zkV4zbFoZU&t=2513s [Accessed at 15th May] Figure.12 Diminishing penguin pool Edited by author, [online] available at https://historicengland.org.uk/listing/the-list/list-entry/1225665 [Accessed at 15th May] Figure.13. Fondazione Prada [online] Available at https://www.fondazioneprada.org/ [Accessed at 15th May] Figure.14. Fondazione Prada [online] Available at https://www.fondazioneprada.org/ [Accessed at 15th May] Figure.15 Cassion Pavilion [online] Available at https://twitter.com/howaboutstudio/status/978379389481177090 [Accessed at 15th May] Figure.16 Penguin pool [online] available at https://historicengland.org.uk/listing/the-list/list-entry/1225665 [Accessed at 15th May] Figure.17 Penguins in penguin pool [online] available at https://archeyes.com/penguin-pool-london-berthold-lubetkin/ [Accessed at 15th May] Figure.18 animals and people interaction [online] available at https://www.frieze.com/article/blow-it-smithereens-fate-berthold-lubetkins-modernist-penguinpool-london-zoo [Accessed at 15th May] Figure.19 Plaza Redonda [online] available at https://valencianfoodie.com/mercado-rodonda-valencia-spain/ [Accessed at 15th May] Figure.20 Piazza San Pietro [online] available at https://www.askideas.com/aerial-view-of-piazza-san-pietro/ [Accessed at 15th May] Figure.21 Pompidou Centre [online] available at https://divisare.com/projects/328127-rpbw-rogers-stirk-harbour-partners-hiepler-brunier-centre-georges-pompidou [Accessed at 15th May] Figure.22 Clock Tower [online] available at https://www.zsl.org/about-us/architecture-at-zsl-london-zoo-regents-park [Accessed at 15th May] Figure.23 Raven’s Cage [online] available at https://www.zoochat.com/community/media/ravens-cage-at-london-zoo-jan-2009.27131/ [Accessed at 15th May] Figure.24 Giraffe House [online] available at https://historicengland.org.uk/listing/the-list/list-entry/1237587 https://londonist.com/2015/07/listed-buildings-and-architecture-at-london-zoo [Accessed at 15th May] Figure.25 Mappin Terraces [online] available at https://historicengland.org.uk/listing/the-list/list-entry/1237587 Figure.26 Gorilla House [online] Available at https://cplondonarchitecture.wordpress.com/2012/07/24/gorilla-house/ [Accessed at 15th May] Figure.27 Penguin pool [online] available at https://historicengland.org.uk/listing/the-list/list-entry/1225665 [Accessed at 15th May] Figure. 28 Casson Pavilion [online] Available at https://twitter.com/howaboutstudio/status/978379389481177090 [Accessed at 15th May] Figure. 29 Snowdon Aviary [online] Available at https://www.architectsjournal.co.uk/news/foster-partners-to-overhaul-london-zoos-snowdon-aviary [Accessed at 15th May] Figure. 30 Gorilla Kingdom [online] Available at https://www.archilovers.com/projects/137860/gorilla-kingdom-london-zoo.html [Accessed at 15th May] Figure. 31 Penguin beach [online] Available at https://www.nothingbutpenguins.com/london-zoo-has-a-new-penguin-beach/ [Accessed at 15th May] Figure.32 Pyramids construction [online] Available at https://youtouregypt.com/the-pyramids/ [Accessed at 15th May] Figure.33 Factory ramps [online] Available at https://www.archaic-mag.com/classics-fiat-lingotto-giacomo-matte-trucco/ [Accessed at 15th May] Figure.34 Gugenheim museum [online] Available at https://www.hisour.com/solomon-r-guggenheim-museum-and-foundation-new-york-united-states-5648/ [Accessed at 15th May] Figure.35 Penguin pool [online] available at https://historicengland.org.uk/listing/the-list/list-entry/1225665 [Accessed at 15th May] Figure.36 Penguin habitat [online] available at https://www.wikiwand.com/en/Humboldt_penguin [Accessed at 15th May] Figure.37 Reuse of the concrete. Available at https://www.theguardian.com/science/blog/2016/sep/20/from-concrete-to-coral-breeze-blocks-make-a-splashregenerating-reefs [Accessed in 26th April 2021] FIgure.38 Penguins Activities collage. [Online] available at https://kids.nationalgeographic.com/animals/birds/facts/humboldtpenguin [Accessed in 26th April 2021] Figure.39 ‘Unzoo’ Habitat [Online] available at http://www.woodboro.co.uk/humboldt.php [Accessed in 26th April 2021]

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Environment sketches

Massing Testing

APPENDIX Porcess work (Attached with this document) Thematic Case Study (Attached with this document) ARC3013/ARC3014/ARC3015 (Attached as a seperate document) Stage 2 Portfolio (Attached as a seperate document)

Facade Testing

Elevation Sketches

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Massing Testing Journey Sketches

3D Model Testing

Animals in the building testing sketches

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Appendix

Overview | Otto Jaax| page 3

T H E M AT I C CA SE ST U D Y

CARLO SCARPA AND CASTELVECCHIO

Fig.5 Bird-eye elevation

Fig.3 Photograph of Scaligero bridge materiality

Piazza dei Signori

The Scaliger Bridge directly connects the Castelvecchio to the northern bank of the city. It was built around 13541356 by the Scaligero family as a means of escape in the event of a rebellion against their tyrannical rule. The fortified bridge remained untouched until the late 18th century when french troops destroyed the tower on the left bank. The bridge was then totally destroyed by the German troops in 1945 and would be reconstructed by the architect Libero Cecchini in 1951. Cecchini would restore the bridge entirely to its former state, without the 1 left tower that was destroyed by Napoleon’s invasion.

Both the bridge and Castelvecchio where built during the same time and are therefore analogous to one another both in terms of materiality and architectural language.

Fig.4 Photograph of Scaligero bridge in relation with the Castello Vecchio

City of Verona, Italy

Overview | Otto Jaax| page 2

OLD & NEW RELATION 12T H CEN T URY

1354

F ree C i ty o f V ero n a C o m m un e W al l

Fig.1 Macro aerial view of site with historical context

St.Zeno Maggiore

Ponte Scaligero

Arena

Studio Specific Criteria 01 | Daniel Mijalski | page 4

The S caliger i Family M ed ival C as tle

1797-1799

1923-1926

N apo leo n Tr o ps Bar ack s A u s tr ia-Italy Bo r d er

A nto nio A vena’s Tr ans fo r matio n

Piazza dei Signori

Fig.2 Micro aerial view of site

600m

Mediavel District of Verona Commune Wall

Castelovecchio museum Scaligero fortification Comune wall Roman fortification

Fig.6 Verona’s fortification walls layers

Fig.7 Plans of medival Castlevecchio

Fig.8 Napoleon troops barracks as left by Italian Army

Fig.9 Facade of French barracks (Left) transformed into a musuem (imitation of a gothic palace)

CON T RA ST IN G LA YERS OF HISTOR Y S car pa’s Br id ge A ppr ach

Cangrande exhibition

C o mmu ne Wall

Fig.10 Section discovered by Scarpa

300m

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Castelvecchio’s outstanding quality is its complex history including 4 main development periods. Carlo Scarpa’s discovery of an old print, which indicated a paved over gate, enforced his idea of changing circulation of the Castelvecchio museum. In results, the excavation of the gate initiated Scarpa’s idea of disentangling different historical layers.2 The architect, acknowledging historical periods and their character, composed a unique experience of the old & new leading to the building’s pivotal point, the sculpture of Cangrande I della Scalaeri.

2

Fig.11 Scarpa’s ciculation strategy diagram

Fig.12 Excavated approach

Or iginal (S caliger i’s ) Br id ge A ppr r o ach

Fig.13 Different layers of histroy

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EXTE RIO R - U N R EV EA L I N G A R C H I T EC T UR A L L A YE R S - E L E VA TION S

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2

Studio Specific Criteria 01 | Daniel Mijalski | page 7

B arracks N o rth W in g

Cangrande podium

1

CON GR A N D E - P I V OT A L C O N N EC T I O N B ET W EEN T H E H I ST O R I ES

Studio Specific Criteria 01Studio | Daniel Mijalski | page Specific Criteria 015| Daniel Mijalski | page 6

8

8

8

Fig. South elevation

6 7

5

4

3

Fig.14 Barracks north wing elevation

1) Commune wall 2) Cangrande sculpture

3) Screen wall to the opening 4) Screen wall to the logia (see fig. )

5) Inclined rampart wall 6) Sacelo and glazing above

7) Entrance/exit door screen 8) Exposed fragments of construction

Fig.28 Roof framing tower

Fig.29 Roof from the ground floor

Fig.30 Stairs leading to battlements

Scarpa’s strategy of organising old & new can be conceptualised by his treatment of the internal barracks facade, transformed by Antonio Avena into an imitation of a gothic palace (fig.

8 and 9). To bring visitor’s attention to different ‘layers’ of the history and acknowledge the new intervention Scarpa introduced a system of steel and glass panels.3 Apart from blocking numerous approaches to the building, making circulation organisation clearer, the panels contribute to the building experience. Asymmetrical proportions and organisation of structural elements of the panels, such as mullions and beams, are to create tension between old & new.4 Uncomfortable relations between the ‘layers’ complement experience of the building forcing visitors to reflect upon various elements of Castelvecchio. Looking at the middle logia perpendicular change in steel beam geometry accentuates the sculpture of three saints located underneath (fig.16). Floor of the new terrace set in the form of the logia columns also brings attention to the columns’ bases. The offset of the screens behind the facade creates an illusion as if they were a continuous surface behind the elevation inviting the visitor to explore the thickness and connections of the layers. A multitude of layers is also acknowledged through the exposed structural masonry (fig.18). Scarpa’s treatment of the historical and spatial arrangement of the Cangrande exhibition including the radical intervention in the roof and demolition of the part of barracks (fig.14) gives a sense of his approach towards preservation through a partial demolition.

3

2

1

4

5

The Cangrande space was also designed to express the different hitorical layers. Lack of physical connection between stairs leading to the new gate acknowledges the existence of the medieval moat presenting the ‘underworld’ to the visitor (fig.28). Physical disconnecion again highlights two separates elements creating tnsion and respect between one another. Orthogonal structure of the roof refined by Scarpa conveys historical tension through asymmetry of one of the beams as if it was making space for the sculpture (fig.29). New staircase ((1) at fig.27 and fig.30) at the section) leading to the battlements creates a connection of the building with the medieval bridge and the river through a new opening (fig. 31). The demolished part of the building is surmounted by a diagonal bridge. Its radical geometry connecting battlements and the building castes an outstanding shadow onto the sculpture terrace contributing to drama of the space (fig.32). The trimmed geometry of the roof frames elements like the highest tower of the castle(fig.33) and the sculpture itself (fig.35). Orthogonality of the roof structure accentuates the irregular shape of the commune wall (fig.34). Cut in the river-facing elevation allows visitors to acknowledge the river sound and see the medieval bridge (from the commune wall)(fig.36). Dialague between the old & new developed by Scarpa complements the musuem as a place of the overlapping histories. Yet, it seems that neither of the layers dominates the others presenting exeptional dram of tension and respect to visitors.

Fig.33 Roof framing tower

Fig.34 Geometry of roof contrasting wall geometry Fig.35 Sculpture framed by roof (right)

1) Stairs leading to battlemants 2) Timber panels 3) Projecting roof 4) Congrande sculpture 5) Steel platform

Fig. 15 Panel contrasting with logia

Fig. 16 Panels highlighitng facade

IN T E R I OR - D I ALOGUE BETWEEN TH E H IST ORIES - H IGH L IGH T IN G A N D M OD IF Y IN G ST RU C T UR E

Fig.22 Grand floor plan

Fig.19 Cangrande space, preservation through staircase demolition

Fig.32 Bridge over space demolished for Cangrande

6

6) Stairs leading to commune wall 3 4

Fig.31 Window connecting with river and Scaligeri bridge

Fig. 18 Exposed fragment of masonry structure

Fig.27 Cangrande exhibition section

Fig. 17 Panels geometry creating tension with facade

Studio Specific Criteria 01 | Daniel Mijalski | page 6

Fig.23 New floor geometry highlighting old wall angle

Fig.20 Preservation results, moat excavation

Theoretical overview of Carlo Scarpa through the Castelvecchio Museum

Fig.36 View from commune wall (left)

Studio Specific Criteria 01 |04 Daniel Mijalski Studio Specific Criteria | Otto Jaax | page 8

Carlo Scarpa lived through the devastating wars of the 20th century and the disenchantment of his home Venice due to globalisation and modernity.

He responds to this rupture and chaos and of the impossibilities in continuity of fantasies. He questions the disenchantment of myths, optimising the techno scientific progress. His work reveals a utopian dimension in a search for something missing, forever out of reach, he reflects on a time pre-modern for alternative futures, linking the past with future possibilities. His architecture tells a truth in decay of materiality, one that is deeply sensitive to the changes of time, from seasons to history, rooted in a sensuous material imagination. 9 He constructs a time machine, a theater of memory, a conception of the building as a machine for engaging through the body the mind of the user or visitor in the corporeal construing of place.10 The work he installs in a specific space seems liberated from traditional bonds, set free for new interpretations, stimulating us to wonder about their meaning adoration of reality, where the real is manipulated in the surreal using the powerful tool of fantasy. Therefore, Scarpas work renews hope in a day of dominant modes of production.11

Fig. 21 Cut in the facade highlighting tower (Scaligeri) and barracks (French troops), see roof tiles cut Fig.24 Ground floor section

Fig.25 Diagram of beam-wall junction detial

The Part of Castelvecchio which overlaps with all historical layers is the excavated gate (fig.12).

Tension within that space was a perfect place for the Cangrande sculpture. The architect also discovered a medieval (Scaligeri) moat which was covered for the later-built French barracks.

Excavation of the moat enforced the idea of disentangling the histories and contributed to the historical tension within the new gate.5 To highlight the overlapping layers and celebrate space of the sculpture Scarpa demolished part of the barracks and a French-built staircase leading to the battlements (fig.19 and 20). As a result, the oldest part of the complex, the commune wall, the Scaligeri fortifications and the French barracks were eventually detached, celebrated as individual elements. A similar strategy of a physical detachment between different layers was applied to the elevation facing the river (fig. 21). Additional, functional rationale behind the cut was a need for sunlight in new spaces within the barracks such as the library and new exhibitions.6 The new inside the building also creates a dialogue with the old. Orthogonal partitions of the concrete floor follow the geometry of the building at the same time contrasting the asymmetrical wall creating outstanding tension between detail and structure (fig.22 and 23). Scarpa’s other task involved the refurbishment of the barracks upper floors which were at this time unsafe7. The problem of transferring the new floor load was resolved by the introduction of a new steel beam (fig.25).8 Used point connection creates an illusion that the beam floats under the supported ceiling. The wall was modified in a way that it dips to make space for the beam creating illusion that the beam is continuous through the whole building (fig.24 ). The new structure complements interior connecting rooms into a continuous composition, yet the old seems not to touch the new. One may say that ‘lack’ of physical connection a symbol of respect between different layers of history.

5 6

9 10 11

Fig.26 Exposed fragment of structure

7 8

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T E X T U R E

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D E T A I L

Studio Studio Specific Specific Criteria Criteria 01 |04 Daniel | Otto Mijalski Jaax | page 11

R e f e r e nc e P10&12

Fig.39 Detail drawing of the box by Scarpa

ROUGH TEXTURE SMOOTH TEXTURE

Fig.45 Photograph of handrail Fig.37 Photograph of prune stone Sarcophagus

Fig.40 Photograph of floor tiles Fig.47 Section, plan & axonometric drawings of handrail

Located near the entrance, Scarpa exhibits an ancient prune stone sarcophagus. He designs a box, in which a complex pattern between rough and polished prune stone cubes are juxtaposed carefully to create a sense of mystery. The drawing

by Scarpa show to what extent he treats the smaller parts of the building with care for detail and craftsman work through material exploration. The man-made stone tiles are cut through to reveal the natural soil that lies beneath. Not only is there a confrontation between the fabricated and natural but a play between soft and rough surfaces in textures and materials.12

Scarpa was sensitive to materiality and craftsmanship. The Castelvecchio contains the most extensive collection of examples of Scarpas celebrated detailing. Windows, junctions, staircases, handles have all been documented in measured drawings. The detailing and density of design make an undirect criticism of the lack of both in much of twentieth century modernism.14 Moreover, not only is there a richeness in the design of the handrail but the junction with the floor is carefully seperated through a small void, highlighting a sharp contrast between the two elements.

Fig.46 Detailed section of handrail by Scarpa

Fig.48 Photograph of handrail

Fig.38 Photograph of prune stone cubes

14

W A T E R

Studio Studio Specific Specific Criteria Criteria 01 |04 Daniel | Otto Mijalski Jaax | page 10

E X H I B I T

Studio Specific Criteria | Otto Jaax | Studio Specific Criteria 01 |04Daniel Mijalski | page 12

12 Fig.49 Photograph of main gallery

Fig.50 Photograph of St Cecilia

Fig.51 Photograph of St Bartholomew, St Martha & St Catherina

Fig.52 Photograph of St John & St Zeno

Fig.41 Photograph of fountain

St Catherina

Fig.42 Close up photograph of fountain

Fig.44 Photograph of floating stairs

126

St Cecilia St John

Fig.43 Gallery corridor

Growing up in Venice, a city flooded frequently, Scarpa was fond of water. The fountain, lacated in proximity to the entrance sits on a thin surface of water. The fountain itself composed of rough stone seems to extrude slightly from the smooth water surface, as if it had succombed to a flood.

Moreover, the apsects of water are not always as literal. The use of polished floor screed which reflect light can be seen as an analogy to water.

The stair that is slightly elevated above the floor appears to be floating seamlessly. The corridor in the main exhibhition rooms contrasts between the roughness of the prune stone slabs and the floor.

A transition appears where the floor casacades into the perimeter of the heavy prune stone.13

13

St Martha

St Bartholomew

St Zeno

When you walk into the gallery you see the rear of St.Cecilia (Fig.48). It is placed carefully to intrigue the observer to find himself in front of the statue. One can then observe St Catherine, her gaze is slightly tileted to the right and illuminated by sidelight (Fig.49). When one comes closer the viewer might realise that her gaze is directed at St.Martha and St Bartholomew (Fig.50). Then, if the observer stands adjacently to St.Bartholomew, he or she may realise that most statues are looking in their direction. Thus, Scarpa gives life to the sculptures he exhibits by manipulating their position in a thetrical composition. Scarpa also places St John and St Zeno above as their gaze is looking down. This allows the statues to interact with the observer when he or she walks through the arch (Fig.51).15 Moreover, Scarpa designs each plinth differently in relation to the sculptures he exhibits.

One of Scarpas most prevelant gesture is the idea of the hand offering something to the observer.

The attention to the exhibitng of the art gives the space a sense of fantasy, as if the sculptures awaken at night and live in the shadow of the museum.

15

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Environmental Reaction

Studio Specific Criteria 03 | Dongpei Yue | page 13

- Light and shadow - Views and Orientation - Vegetation

Studio Specific Criteria 03 | Dongpei Yue | page 15

N

N

Introducing environment into the spaces Scarpa16 designed a series of window pattern, openings to shape the lights and cast the shadow. He used a variety of method to react to the environment. the idea of using those methods is not only to show the exhibits better but also provides multiple perspectives to review the architecture such as the thickness of walls, using the light to express the statues. When we look back, those methods are old and have been used in modern architectures. but at that time, Scarpa brings significant details into the museum, and that is the way we learn from analysing those skilful presentations of the environment from the details

Fig.53 Photograph of Environmental Reaction

Window Pattern The reason why Scapa designs a series of windows (Fig.2) with lines in the middle is to convey an idea of moving windows. It will demonstrate a liveliness when visitors walk through the spaces.

Fig.1 Sun Path Diagram

Two layers of window pattern (Fig.4) not only shows the relationship between new and old but also demonstrates the depth of the wall, and it gives the material a three-dimensional perspective.

The grid pattern (Fig.3) brings the curiosity of visitors that it can be partly seen through but also creates a feeling of mystery.

Fig.65 Photograph of Museum elevation

Lights and Views towards to the river There are no many openings that face the riverside because the museum was used to be a castle for military uses. However, the glass part which was highlighted by the white line was designed by Carlos Scarpa that is not only to respond the idea of new and old but also provides abundant sunlight to the interiors that make up for the problems of lack of windows19

The sculpture responses to the sun that facing toward to the lights

Fig.63. Photograph of Indoor Space

Light and Shadow Renderings The diagram shows the atmosphere of lights and shadow in the space.

Fig.64. Lights and shadows Diagram

Fig.54 Photograph of Window Pattern

e 14

Fig.55 Photograph of Indoor Space

Fig.56 Photograph of Window Pattern

Studio Specific Criteria 03 | Dongpei Yue | page 16

14 Studio Specific Criteria 03 | Dongpei Yue | page 16

Openings

Vegetation Vegetation creates a journey from the entrance to the museum

Scarpa17 was thinking about how the museum displayed and how the museum design inseparable, and he conceived an idea of using light to focus on the sculptures and paintings. With the movements of sunlight in a day, the light will enhance the quality of exhibits at different times.

B

Fig.60 Photograph of Statue

A Fig.66. Model of Vegetation walk path

Fig.57 Diagram of sunlights

Fig.69. Spatial Sketches

A

B Fig.70. Spatial Sketches

Hedges

B A

Topography Fig.62 Photograph of Statue

Shadows What Scarpa18 want to express is the multiple perspectives of the sculpture. It is not only about the statues themselves but the relationship with architecture. Lights and darks are also approaching to read and understand the sculptures.

Fig.67. Photograph of Castelvecchio Museum

A

Fig.68. Hedge Walk Path

The hedge is about eye levels height that shapes visitors’ views to lead them to the entrance of the museum. The narrow spaces limit the people’s experience that forces visitors to look forward. And the purpose of cutting the horizontal hedge is to bring the focus low rather than seeing over the top.

Fig.71. Hedge Diagram

Scarpa20 designed a hedge with horizontal cutting edges to respond to the topography. when visitors walk from A to B, they will gradually see the surroundings, and the feeling is about the surroundings slowly displayed with a calm rhythm

Fig.58 Photograph of Indoor Space

B

Fig.59 Photograph of lights and statue

128

Fig.61 Diagram of Light and Shadow

Once the visitors reach at the end of the hedge, they will suddenly find a lawn next to the hedge.

And it is an excellent way to approach and experience while on the way to the museum.

AUTHOR’S WORK 129

Relation to other Buildings Kolumba Museum Peter Zumthor

The Kolumba is an art museum in Cologne, Germany. It is located on the site of the former St. Kolumba church, and is one of the oldest museums in the city. In 2007 Peter Zumthor won the competiton to build a museum on top of the ruins.

Fig. 78

Fig. 79

Sverre Fehn

Located in Hamar,Finland teh museum goes back to the 13th century. reveals four layers of history and its thoughtful renstoration was done by the Pritzker winner Sverre Fehn

Fig. 81

Importance of DETACHMENT In castelvecchio Scarpa achieves a sense of continuity through the historical layers often visible in the joint. For him the joint is an opportunity to add detail and expose the nature of an object. His seemingly unnecessary gestures appears as a poetic touch.26

Fig. 76

Fig. 73

The detachment can be observed in Zumthor’s Columba as well. Looking at the stairs they can be regarded as a sculptural piece in both cases. Fig… showing scraps stairs , Fig… showing Zumthor’s. The shadow gap on each side of the stairs make them an element that appears to be detached from the walls that enclose it. That detail creates depth and recognises the individuality of each element - the stairs and the walls.28

Fig. 86

Often the new additions don’t quite touch or create a visible distance between in order to acknowledge the old construction. A sense of cohesion and the underworld going on is created, emphasising on the layers of the building and the historical sense.27

Fig. 77

Despite the differances in the approach, materiality is used in both buildings to manifest the relationship between the old and the new, reveal history and trigger a sensatory experience.

Fig. 83

When approaching the space the visitor passes through a dark threshold. Those few seconds of darkness silence the images and sensations one felt in the previous spaces and prepare the experience of the space behind the curtains. (Fig.83) Lifting them the first thing that catches your attention is the gentle small lights coming through the walls.25

Fig. 80

In Scarpa’s building a constantly moving shafts of natural light are casted over the choreographically arranged sculptures, creating unexpected drama in the constrained space.23 Fig. 75

Fig. 74

Hedmark Museum

For Zumthor light is also an artistic tool, it is not connected to the spiritual meaning it has in churches as a mean of connecting the old to the new, but instead to give a dynamic quality of the interior.24

Fig. 82

While Scarpa often used materials contradicting the original ones (Fig 72,73,74) in order to emphisise on important features , Zumthor adopted a natural, almost seamless integration of the old and the new.21 There is no contrast effect between the two, but the old structure is gently higlighted by the new addiotion.22 (Fig.75.76,77)

Fig. 72

Play of LIGHT

Fig.8

Approach to MATERIALITY

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Studio Specific Criteria 05 |Neli Barezva| page 17

Fig. 84

Way to the ENTRY

Way from the parking towards the entrance

Scarpa intentionally moved the entrance of Castelvecchio from the center to the edge of the facade. The route to it is long consisting of several turns and separated from the exit. It is intended to slow the pace of the visitor and offer a variety of perspectives.34 (Fig.106)

Entrance ramp

Fig. 87

page 18

The exhibition spaces’ organisation is carefully considered. Work is placed strategically varying in size, orientation, level of position and material background.

(Fig. 110,111,112 ) It is rarely right in front of the viewer when approached, allowing them to engaging with it rather than pass quickly through. That approach is similar to Scarpa’s, whose statue organisation offers the viewer an experience that unfolds in front of them and engages them in a dance through the space (Fig.109).36Fig.109

Fig. Fig.106

view.35

Fig.110

Fig.113

The roof is fixed in wide intervals and elevated from the top of the masonry.

The minimised contact gives the illusion of the roof floating above the castle.30 In addition the location of the fixings, on the inside of the masonry wall, creates the visual sense of the masonry pushed to the front, highlighting the old wall.

Nieto Sobejano Arquitectos The Moritzburg Castle is a significant example of German military and religious architecture of the late fifteenth century. The new intervention was made by Nieto Sobejano Arquitectos and aims at protecting the ruins that have represented it for centuries.

Fig. 99

Similar approach of both material ‘contrasts’ and the hovering roof (although not realised (Fig. ) can be observed in Scarpa’s design.(Fig.) The powerful dialogue between the new and the historic fabric of the castle emphasises on the old through modern materials.31 In fact as much as the new layer highlights the ruins the opposite is valid as well. The new would lose its significance isolated from the old.

Fig. 96

The castles and HISTORY A lot of similarities can be observed between Castelvecchio (Fig.) and Moritzburg Muzeum (Fig.) in terms of structure, historical periods that influenced the buildings, interior layout even location and purpose. Those factors inevitably influenced the design decisions made during reconstruction and some similar aspects of the buildings are chosen to be highlighted.

Fig. 91

The reconstruction of Mortizburg includes a new roof designed to fit the already existing masonry.

The materiality of the roof and its folded design create clear distinction between the new and the existing structure.29

Fig.97

EXHIBITION spaces Fig.92

1797-1799

Fig.90

Fig. 89 Moritzburg Plans

130

12th century

1345

The two castes, constructed more than 5 centuries ago, went through different historical periods which affected their a p p e r a n c e .

D i f f e r e n t architectural styles can easily be seen onboth their facades signs of their gradual transformation through time.

Fig. 93 Castelvecchio

Fig.94

Fig.95 Moritzburg Museum

The new roof encloses the exhibition spaces inside and forms two additional spaces suspending from it, providing flexibility and qualities lacking before.32 But the new fabric is visibly gives way to the old, something seen in Scarpa’s approach as well. The additions don’t quite touch the ruins leaving space in between (Fig.). That adaptation of the new in accordance to the already existing (Fig.) allows preservation without major intervention and stress on the importance of the historical layer.

The dialogue between the old and the new is based on constant interplay of materials, rough and smooth surfaces, light and shadows, small and big spaces.33 The value those constant interactions between the old and new add to each other gives the distinctive character of the museum.

Fig. 104

Fig.100

Both Castelvecchio and HM offered secure structure for restoration so the new additions were carefully inserted into the old. Scarpa’s approach of visibly acknowledging the old while pulling away the new can be found once again in Fehn’s reconstruction.

The glass enclosing the openings in the walls is noticeably distanced, attached only in the corners, framing the rough lines of the stones.37

Fig.118

The new roof is left exposed(Fig.118) resembling Scarpa’s(Fig.116), clearly asserting that the intention is not to restore the old but rather to continue building while preserving the history.39

Fig.115

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HOW DOES THE CASE STUDY RELATE TO OTHER BUILDINGS OF ITS TYPE ?

The Moritzburg Museum shows how ‘the contrasting’ as in Scarpa’s design is not an unusual approach, actually quite common. Although it may seem as an aggressive intervention if it is carefully considered it can generate a powerful dialogue between itself and the historic fabric.40 Moreover in MM’s instance exactly the reflective property of that modern material diminishes the unusual shape of the new, directing the emphasis toward old.41

REASONS for choosing those BUILDINGS

Where is the RELATION ?

The three buildings weren’t chosen by chance.

Each of them is considered for a reason and intended to contribute to answering the main question. he Kolumba Museum is chosen to give an example of how there is not a one and only way to preservation. The museum is in a clear opposition to Scarpa’s approach to materiality.

While scarpa adopts more contrasting to the old materials and a more aggressive strategy in revealing history, Zumthor treats materiality as the logical choice almost natural integration. Despite the different design approaches and engagement with the old structure, history can be conveyed and preservation can be successfully achieved.

Fehn’s reconstruction of Hedmark Museum, is a well know example influenced by Scarpa’s. The architect was a keen admirer of Castelvecchio project and the relationship between the two was described as “direct and unequivocal” in Francesco Dal Co’s monograph.42 Choosing this building I wanted to underline that the architectural approach to preservation might be deliberately or subconsciously influenced by techniques employed in an earlier building.43 Designing is not an independent process, in fact the manifestation of knowledge and experience gathered form already existing structures is a common practice.44

Fig.119

Fig.121

Fig.120

Fig.101

Fig.102 Section showing the new roof enclosing the exhibition spaces and forming two additional ones

Fig.103

Fig.105

Fig.117

Fig.108

Fig. 88

Fig. 98 Scarpas drawing for the elevation

Floating ROOFS

Fig.116

Fig.114

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Moritzburg Museum

Sverre Fehn stated himseld “It is the object that is constant, but the visitor experiences the exhibited object differently.

The exhibitor injects a new personality into the object, but it is the visitor who decides if it is understood.”

Fig.111

The subjecting role of the new construction to the historic ruins in not only portrayed in the detailing but also through the whole structure of the roof. Its wooden trusses gently follow the irregularities of the walls on which they rest. (Fig.115) The structure is taking the subjective role guided by the ruins, highlighting and leaving them on display. 38

Fig.107

The visitor is intentionally slowed down through the cultural and physical space. While walking they become aware of themselves positioned in a thoughtfully arranged sequence of perspectives, and levels, targets of

Fig.112

STRUCTURE consideration

Passage ramp

Fehn adopts the same approach.

The entry is located on what appears to be the back of the building. The visitor goes around passes through a door in the building only two exit from the next and reach an extensive ramp that will bring him through the entrance back inside the building. (Fig.107)

Fig. 85

Exhibition EXPERIENCE

Fig.122

The relation is in the aim and the meaning of the end result.

The process and the approach might differ it might be based on clear similarities between the old and the new or on seemingly contrasting materials and forms, but the connection is hidden in the intention that drove the design.

In any case the new additions will certainly be different from the existing structure, making their own contribution to the evolving history and expression of their own time.45 However, in the dialogue between the old and the new, history is nether irrelevant nor ignored, its fabric is preserved and its qualities are emphasised through contemporary design.

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132

133

LIST OF FIGURES N.B. All images which do not appear in list of figures are produced by author Cover : Image source: (online) https://www.archdaily.com/638534/spotlight-carlo-scarpa (Accessed 12.12.2020) Figure 1: Image source: Google Earth image download annotated by author (Accessed 12.12.2020) Figure 2: Image source: Google Earth image download annotated by author (Accessed 12.12.2020) Figure 3: Photograph of Scaligero bridge by Ilya Burlak image source: (online) -https://www.italianways.com/the-scaliger-bridge-in-verona-majestic-past-and-present/ Figure 4: Photograph of Scaligero bridge by Ilya Burlak image source: (online) -https://www.italianways.com/the-scaliger-bridge-in-verona-majestic-past-and-present/ Figure 5: Bird-eye elevation and diagram traced by author Figure 6: Verona’s fortification walls layers, image source: Google Earth image download annotated by author (Accessed 12.12.2020) Figure 7: Plans of medival Castlevecchio, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 8: Napoleon troops barracks as left by Italian Army, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 9: Facade of French barracks transformed into a musuem (imitation of a gothic palace), image source: https://www. youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 10: Section discovered by Scarpa, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 11: Scarpa’s ciculation strategy diagram, image source: Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) annotated by author Figure 12: Excavated approach, image source: Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) annotated by author Figure 13: Different layers of histroy, image source: Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) annotated by author Figure 14: Barracks north wing elevation, image source: Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) annotated by author Figure 15: Panel contrasting with logia, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 16: Panels highlighitng facade, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 17: Panels geometry creating tension with facade, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 18: Exposed fragment of masonry structure, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 19: Cangrande space, preservation through staircase demolition, image source: https://www.youtube.com/ watch?v=-UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign annotated by author Figure 20: Preservation results, moat excavation, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign annotated by author Figure 21: Cut in the facade highlighting tower (Scaligeri) and barracks (French troops), see roof tiles cut, image source: Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, 2017 annotated by author Figure 22: Ground floor plan , image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign annotated by author Figure 23: New floor geometry highlighting old wall angle , image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign annotated by author Figure 24: Ground floor section , image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign annotated by author Figure 25: Ground floor section , image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 26: Exposed fragment of structure, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign annotated by author Figure 27: Cangrande exhibition section, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign annotated by author Figure 28: Roof framing tower, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign

Bibilography | page 25

Figure 29: Roof from the ground floor, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 30: Stairs leading to battlements , image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 31: Window connecting with river and Scaligeri bridge, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 32: Bridge over space demolished for Cangrande, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 33: Roof framing tower, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 34: Geometry of roof contrasting wall geometry, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure 35: Sculpture framed by roof, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure 36: View from commune wall, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign annotated by author Figure 37: Photograph by FEDERICO PUGGIONI of prune stone Sarcophagus, image source: https://divisare.com/ projects/332703-carlo-scarpa-federico-puggioni-museo-di-castelvecchio Figure 38: Photograph by FEDERICO PUGGIONI of prune stone Sarcophagus, image source: https://divisare.com/ projects/332703-carlo-scarpa-federico-puggioni-museo-di-castelvecchio Figure.39: Detail drawing of the box by Scarpa image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.40: Photograph of floor tiles by Richard Murphy image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.41: Photograph of fountain by FEDERICO PUGGIONI image source: https://divisare.com/projects/332703-carlo-scarpafederico-puggioni-museo-di-castelvecchio Figure.42: Close up Photograph by Richard Murphy of fountain image source: https://www.youtube.com/watch?v=UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.43: Photograph by Richard Murphy of Gallery corridor image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.44: Photograph of floating stairs image source: https://www.pinterest.at/pin/159174168057214929/ Figure.45: Photograph by Richard Murphy of handrail, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.46: Detail section of railing by Scarpa, image source: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_ channel=MelbourneSchoolofDesign Figure.47: Section, plan & axonometric drawings of handrail traced by author, image source: Murphy, R., 2020.

CARLO SCARPA AND CASTELVECCHIO REVISITED. [online] Breakfastmissionpublishing.com. Available at: <http://www. breakfastmissionpublishing.com/> [Accessed 14 December 2020].

Figure.48: Photograph by Richard Murphy of handrail, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.49: Photograph by Richar Murphy of main gallery, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.50: Photograph by Richar Murphy of St Cecilia, image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.51: Photograph by Richar Murphy of St Bartholomew, St Martha & St Catherina, image source: https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.52: Photograph by Richar Murphy of St John & St Zeno , image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.53 Photograph of Environmental Reaction, Photograph by Richar Murphy , image source: https://www.youtube.com/ watch?v=-UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.54 Photograph of Window Pattern Figure.55 Photograph of Indoor Space annotated by author Figure.56 Photograph of Window Pattern Figure.57 Diagram of sunlights .

Figure.58 Photograph of Indoor Space Figure.59 Photograph of lights and statue ,Photograph by FEDERICO PUGGIONI, image source: https://divisare.com/

BIBLIOGRAPHY 1. Italian Ways. 2020. The Scaliger Bridge In Verona, Majestic Past And Present - Italian Ways. [online] Available at: <https:// www.italianways.com/the-scaliger-bridge-in-verona-majestic-past-and-present/> [Accessed 12 December 2020].

2. Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 10 December 2020] 3. Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 10 December 2020] 4. Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 10 December 2020] 5. Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 10 December 2020] 6. Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) 7. Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) 8. Murphy, Richard, and Carlo Scarpa, Carlo Scarpa And Castelvecchio Revisited (Edinburgh: Breakfast Mission Publishing, 2017) 9: Coleman, N. (2013). Recovering Utopia. Journal of Architectural Education, 67(1), pp.24-26 10: Frascari, M. (1999). A Heroic and Admirable Machine: The Theater of the Architecture of Carlo Scarpa, Architetto Veneto. [ebook] Duke University Press. Available at: https://www.jstor.org/stable/1772557?seq=3#metadata_info_tab_contents [Accessed 3 Mar. 2020].

11: Coleman, N. (2020). Materials and meaning in architecture. Bloomsbury, p.73 12: Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 14 December 2020] 13: Ibid 14: Murphy, R., 2020. CARLO SCARPA AND CASTELVECCHIO REVISITED. [online] Breakfastmissionpublishing.com. Available at: <http://www.breakfastmissionpublishing.com/> [Accessed 14 December 2020].

15: Murphy, Richard, “Carlo Scarpa: Remodelling The Castelvecchio Museum”, Youtube.Com, 2017 <https://www.youtube. com/watch?v=-UmJi0Ws-Yo&t=2877s&ab_channel=MelbourneSchoolofDesign> [Accessed 14 December 2020] 16: Murphy, Richard, and Carlo Scarpa. Carlo Scarpa and Castelvecchio Revisited. 2017. Print.

17. Murphy, Richard, and Carlo Scarpa. Carlo Scarpa and Castelvecchio Revisited. 2017. Print.

18. Melbourne School of Design. 2017. Carlo Scarpa: Remodelling the Castelvecchio Museum. Available from: https://www. youtube.com/watch?v=-UmJi0Ws-Yo&ab_channel=MelbourneSchoolofDesign[Accessed 7 December 2020] 19. Murphy, Richard, and Carlo Scarpa. Carlo Scarpa and Castelvecchio Revisited. 2017. Print.

20. Sheffield School of Architecture. 2014. Richard Murphy lecture about the work of Carlo Scarpa. Available from: https:// www.youtube.com/watch?v=v_78_KQZiP8&t=3995s [Accessed 7 December 2020] 21. Jonathan, Levi, (2011), Difference and deference, rethinking architectural conservation, [Online], Available at: https:// cargocollective.com/jihoonkim/DIFFERENCE-DEFERENCE (Accessed: 8 Dec 2020) 22. Jonathan, Levi, (2011), Difference and Deference, Rethinking Architectural Conservation, [Online], Available at: https:// cargocollective.com/jihoonkim/DIFFERENCE-DEFERENCE (Accessed: 8 Dec 2020) 23. Ghirardi, Giulio, (2013), The Poetry of Castelvecchi, [Online], The Blogazine, Available at: http://www.theblogazine. com/2013/10/the-poetry-of-castelvecchio/ (Accessed: 8 Dec 2020) 24. Senthil, M., (2018), Kolumba Museum Presentation, [Online], Slide Share, Available at: https://www.slideshare.net/ senshots/kolumba-museum-presentation-by-m-senthil (Accessed: 8 Dec 2020) 25. De Linares, Jaime, The Unrecordable Form, [Online], Available at: https://1159designsite.files.wordpress.com/2018/03/ k1106950_-jaime_de_linares_tectonics_chapter_disseration.pdf (Accessed: 8 Dec 2020) 26. Ghirardi, Giulio, (2013), The Poetry of Castelvecchi, [Online], The Blogazine, Available at: http://www.theblogazine. com/2013/10/the-poetry-of-castelvecchio/ (Accessed: 8 Dec 2020) 27. Murphy, Richard, (2017), Carlo Scarpa: Remodelling the Castelvecchio Museum, [Online], Melbourne School of Design, Available at: https://www.youtube.com/watch?v=-UmJi0Ws-Yo&ab_channel=MelbourneSchoolofDesign (Accessed: 8 Dec 2020) 28. De Linares, Jaime, The Unrecordable Form, [Online], Available at: https://1159designsite.files.wordpress.com/2018/03/ k1106950_-jaime_de_linares_tectonics_chapter_disseration.pdf (Accessed: 8 Dec 2020) 29. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 9 Dec 2020) 30. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www.

List of Figures | page 27

academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 9 Dec 2020) 31. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 9 Dec 2020) 32. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 9 Dec 2020) 33. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 9 Dec 2020) 34. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 10 Dec 2020) 35. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 10 Dec 2020) 36. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 10 Dec 2020) 37. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 10 Dec 2020) 38. Meeuse, M.G.H., (2018), Learning from a building, Hedmark Museum, [Online], Available at: https://pure.tue.nl/ws/portalfiles/ portal/97347958/Meeuse_0806803.pdf (Accessed: 10 Dec 2020) 39. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 10 Dec 2020) 40. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 11 Dec 2020) 41. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 11 Dec 2020) 42. Neveu, Marc J., (2014), 11° east: The intersection of Scarpa and Fehn, [Online], Available at: file:///Users/nellyburzeva/Downloads/265Article%20Text-858-1-10-20140716.pdf (Accessed: 11 Dec 2020) 43. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 11 Dec 2020) 44. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 11 Dec 2020) 45. Foti, Marina, (2017), “Designing A Future for The Past” – From an Architect’s Point of View, [Online], Academia, Available at: https://www. academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_of_View (Accessed: 11 Dec 2020)

List of Figures | page 26 projects/332703-carlo-scarpa-federico-puggioni-museo-di-castelvecchio Figure.60 Photograph of Statue, Photograph by Richar Murphy , image source: https://www.youtube.com/watch?v=-UmJi0WsYo&t=2878s&ab_channel=MelbourneSchoolofDesign Figure.61 Diagram of Light and Shadow, Photograph by Richar Murphy , image source: https://www.youtube.com/watch?v=UmJi0Ws-Yo&t=2878s&ab_channel=MelbourneSchoolofDesign Annotated by Author Figure.62 Photograph of Statue, Photograph by Richar Murphy , image source: https://www.youtube.com/watch?v=v_78_ KQZiP8&t=3995s Figure.63. Photograph of Indoor Space, Photograph by Richar Murphy , image source: https://www.youtube.com/ watch?v=v_78_KQZiP8&t=3995s Figure.64. Lights and shadows Diagram. Digital Model Made by Author Figure.65 Photograph of Museum elevation, Photograph by Richar Murphy , image source: https://www.youtube.com/ watch?v=v_78_KQZiP8&t=3995s Figure.66. Model of Vegetation walk path. Digital Model Made by Author Figure.67. Photograph of Castelvecchio Museum, Photograph by Mapcarta , image source: https://mapcarta.com/32952306 Figure.68. Hedge Walk Path, Photograph by Richar Murphy , image source: https://www.youtube.com/watch?v=v_78_ KQZiP8&t=3995s Figure.69. Spatial Sketches, Sketches made by Author Figure.70. Spatial Sketches, Sketches made by Author Figure.71. Hedge Diagram, Diagram made by Author Figure.72 Glass on river facade, image source: http://www.breakfastmissionpublishing.com/ Figure.73 Facade, image source: http://www.breakfastmissionpublishing.com/ Figure.74 Roof addition, image source: http://www.breakfastmissionpublishing.com/ Figure.75 image source: https://coastarc.com/k-o-l-u-m-b-a Figure.76 image source: https://coastarc.com/k-o-l-u-m-b-a Figure.77 image source: https://cargocollective.com/jihoonkim/DIFFERENCE-DEFERENCE Figure.78 Statue shadow, image source: https://digitalcommons.calpoly.edu/cgi/viewcontent. cgi?article=1051&context=arch_fac Figure.79 Statues and light, image source: https://digitalcommons.calpoly.edu/cgi/viewcontent. cgi?article=1051&context=arch_fac Figure.80 image source: https://www.archdaily.com/72192/kolumba-musuem-peter-zumthor Figure.81 image source: https://www.archdaily.com/72192/kolumba-musuem-peter-zumthor Figure.82 image source: https://www.archdaily.com/72192/kolumba-musuem-peter-zumthor Figure.83 Curtanins, image source: https://1159designsite.files.wordpress.com/2018/03/k1106950_-jaime_de_linares_tectonics_ chapter_disseration.pdf Figure.84 Beam crossing, image source: https-//archiobjects.org/museo-castelvecchio-verona-italy-carlo-scarpa/ Figure.85 Stairs, image source: https://www.buildingonthebuilt.org/archive-richard-murphy-and-castelvecchio Figure.86 theblogazine.com Figure.87 Kolumba stairs, image source: https://www.pinterest.co.uk/pin/481955597602315917/ Figure.88 Kolumba stairs detail, image source: https-//www.pinterest.com/pin/318911217342474161/ Figure.89 Moritzburg Plans, image source: https://www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_ Architects_Point_of_View Figure.90 Plan traced by the author Figure.91Moritzburg site plan, image source: https://www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_ Architects_Point_of_View Figure.92 Castelvecchio site plna, image source: https://twitter.com/hairy_glasses/status/949611236802646016?lang=en Figure.93 Castelvecchio, image source: https-//www.dimoreverona.com/en/verona-history Figure.94 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_ of_View facade Figure.95 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_ of_View facade Figure.96 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_Point_ of_View facade Figure.97 Moritzburg fasade, image source: https://archello.com/project/museum-of-art-moritzburg Figure.98 image source: https-//www.ribaj.com/culture/book-review-carlo-scarpa-castelvecchio-revisited-richard-murphy Figure.99 image source: https-//www.italybyrun.com/castelvecchio-destination-verona/.jpg Figure.100 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_ Point_of_View. contuinity Figure.101 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_ Point_of_View facade Figure.102 image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_Architects_ Point_of_View facade Figure.103 New exhibition, image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_ Architects_Point_of_View Figure.104 New exhibition, image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_ Architects_Point_of_View Figure.105 New exhibition, image source: https-//www.academia.edu/35074127/_Designing_A_Future_for_The_Past_From_an_ Architects_Point_of_View

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Figure.106 image source: https://www.semanticscholar.org/paper/11%C2%B0-east%3A-The-intersection-of-Scarpa-and-FehnNeveu/16536dd82b938b4adbd873b9714ae33dfaeed02e Figure.107 image source: https://www.semanticscholar.org/paper/11%C2%B0-east%3A-The-intersection-of-Scarpa-and-FehnNeveu/16536dd82b938b4adbd873b9714ae33dfaeed02e Figure.108 image source: joshuamings.com/newsite/files/Mings_fellowship_lecture Figure.109 image source: https-//issuu.com/tasostheodorakakis/docs/scarpa_comp. issue already svaed in bookmarks Figure.110 image source: https-//www.atlasofplaces.com/architecture/hedmark-museum/ Figure.111 image source: https-//www.atlasofplaces.com/architecture/hedmark-museum/ Figure.112 image source: https-//www.atlasofplaces.com/architecture/hedmark-museum/ Figure.113 image source: https-//www.atlasofplaces.com/architecture/hedmark-museum/ Figure.114 image source: https-//www.atlasofplaces.com/architecture/hedmark-museum/ Figure.115 image source: https-//espaciosto.es/los-mejores-proyectos-de-arquitectura-segun-los-arquitectos-sto/hedmarkmuseum/.jpg Figure.116 carlo-scarpa-castelvecchio FEDERICO PUGGIONI divisare.com Figure.117 image source: https://www.conceptualfinearts.com/cfa/2020/03/19/museum-displays-is-now-the-time-to-rethinkthem/ Figure.118 image source: https-//baochickawowwow.wordpress.com/2011/08/26/day-o3-sweden/.jpg Figure.119 image source: https://inspiration.detail.de/report-kolumba-in-cologne-a-museum-for-art-112798.html Figure.120 image source: https://www.freecadworld.com/a-new-roof-by-nieto-sobejano-arquitectos-turned-this-ancientgerman-castle-into-an-enlarged-exhibition-space/ Figure.121 image source: https://arquiscopio.com/archivo/2013/07/27/museo-de-la-catedral-de-hedmark/?lang=en Figure.122 Moritzburg fasade at night, image source: https://archello.com/project/museum-of-art-moritzburg ___ Fig.1 - ELEVATION OF RIVER FACING FAÇADE* Fig.2 - SECTION BEHIND RIVER WALL SHOWING EXIT STAIRCASE* Fig.3 - AXONOMETRIC OF REGGIA COURTYARD STAIRCASE* Fig.4 - SECTION THROUGH REGGIA COURTYARD SHOWING SCARPA STAIRCASE* Fig.5 - PLAN OF STAIRCASE CONSTRUCTION* Fig.6 - PRE-WAR VIEW OF THE SOUTH-EAST CORNER OF THE COURTYARD AND PASSAGEWAY: Murphy, Richard. Carlo Scarpa and Castelvecchio Revisited, Pg.231 Fig.8 - SCARPA’S STAIRCASE HALF COMPLETED: Murphy, Richard. Carlo Scarpa and Castelvecchio Revisited, Pg.231 Fig.9 - VIEW OF SCARPAS STAIRCASE PROMENADE CONNECTING THE BRIDGE APPROACH ROAD TO THE REGGIA COURTYARD: Murphy, Richard. Carlo Scarpa and Castelvecchio Revisited, Pg.231 Fig.10 - SECTION OF THE CONCRETE ‘ADIGE RIVER’ STAIRCASE* Fig.11 - SECTION THROUGH THE SOUTH-WEST TOWER SHOWING THE ELEVATION OF THE METAL FRAMED STAIRCASE* Fig.12 - PLAN OF STAIRCASE CONSTRUCTION SHOWING THE 45° ANGLE IN THE STAIR CUT* Fig.13 - VIEW OF THE NARROW PASSAGEWAY WEDJEGED BETWEEN THE ADJACENT WALLS: ©Urizzato, https://commons.wikimedia.org/wiki/File:Scala_sfalsata__carlo_scarpa_in_castelvecchio.jpg Fig.14 - VIEW OF THE SUSPENDED STAIRCASE AND THE CONNECTION TO THE EXSITING TOWER WALLS: © Miguel Vigil, https://br.pinterest.com/pin/415527503088664837/ Fig.15 – AXO OF METAL STAIRCASE CONSTRUCTION* Fig.16 - GROUND LEVEL VIEW FROM THE FRENCH BARRACKS OF THE EQUESTRIAN MONUMENT TO CANGRANDE DELLA SCALA: Museo di Castelvecchio, Verona ®Prakash Patel 2017 – courtesy Archivio Carlo Scarpa – Museo di Castelvecchio – Verona Fig.17 – SECTION OF THE VIEWPOINTS TOWARDS THE MONUMENT FROM THE THEATRICAL OPENING TO THE OUTSIDE: Murphy, Richard. Carlo Scarpa and the Castelvecchio. Butterworth Architecture: London, 1990.

Fig.18 – SECTION OF LUBETKIN’S PENGUIN POOL* Fig.19 – VIEW OF THE PENGUIN POND AS A ‘THEATRE’: British Cement Association April-June 1988, CONCRETE QUARTERLY 157, Pg.1 Fig.20 – PERSPECTIVE OF THE THIN PLATFORMS OF THE METAL STAIRCASE* Fig.21 &amp; 22 - IMAGES OF BOTH EXPERIMENTAL SYSTEMS OF LEVEL CHANGE: ©Luca Onniboni https://archiobjects.org/museo-castelvecchio-verona-italy-carlo-scarpa/ British Cement Association April-June 1988, CONCRETE QUARTERLY 157, Pg.4 Fig.23 – PERSPECTIVE OF THE ANGLED CONCRETE STAIRCASE* Fig.24 - VIEW OF SCARPAS ALTERNATITING CONCRETE STAIRCASES: ©Luca Onniboni https://archiobjects.org/museo-castelvecchio-verona-italy-carlo-scarpa/ Fig.25 - LUBETKIN’S OPENINGS IN THE WALLS OF THE PENGUIN POOL TO VIEW SPECTACLE: British Cement Association April-June 1988, CONCRETE QUARTERLY 157, Pg.4 Fig.26 - SIMILAR IDEA IN RIVER FAÇADE DRAWING*

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