ACADEMIC PORTFOLIO Stage 3, Natalia Piórecka by Natalia Piórecka

POR TF OL I O

Natalia Beata Piรณrecka

PO R T FOL IO Natalia Beata Piรณrecka

Academic

PORTFOLIO Natalia Beata Piรณrecka Student No.: 160718070 Studio: Palace of Ecologies Studio tutors: Rachel Armstrong and Andy Campbell Stage 3, 2018 - 19

nbp.

"The cure for everything is saltwater: sweat, tears or the sea."

- Isak Dinesen

Content : Reflective Report Introduction Charrette Primer Staging Case Study Thinking Through Making Realisation +Refinement Material Workshops Cultural Bibliography Bibliography

8 10 12 16 42 52 -61 80 - 83 86 154 164 168

Refined work New work

Reflective Report

Reflective Report Final year

Third year in the studio „Palace of Ecologies” was very engaging and a challenging time, when I looked at my architectural understanding through the complex prism of the Experimental Architecture. Developed throughout the Stage One and Two my architectural interests were defined and formalized at the Stage Three, outlining my focus as a designer. Since Primer, I was developing my personal understanding of the studio theme expressing my own design approaches, emphasising ideas and formulating them into a design manifesto.

I started my research about salt using diverse methodologies, then concentrating on similar to my dissertation project approach direct experimentation with the material. The method defined in my Theory Into Practice essay, as Experimental Prototyping was the key tool in order to conceive the natural mechanisms I wanted to introduce. The notion of exploration through experiments and testing models allowed me to make educated design decisions what resulted in creation of the prototype of the Crystallizing Salt Column System during the Thinking Though Making Week.

I believe that my dissertation research conducted during the summer and the beginning of the Stage 3 strongly contributed to my further design objectives throughout the year. In my MYCOsella dissertation project, I examined mycelium as a sustainable design media, exploring its potential as a substitute for hazardous plastics. The MYCOsella investigated mycelium material through various chair typologies, resulting in the creation of the biodegradable chair, entirely grown out of mycelium. The project met with a great recognition across the field of sustainable design winning the Ecovative Design contest.

The chance to work with experimental prototypes was an extremely enjoyable part of the project, where I could fully engage with the processes and at the same time physically develop the technical understudying required in order to tame the project complexity. The outcome from Thinking Though Making then informed my further design, expressing the essence of the SALINE project and eventually leading it from „an abstract conception” to the “refined realisation”. Translating the experimentation and the design ideas into the Integrated Technology Coursework, I worked on modern approach to salt production, driving the main inspiration from the well-known in Italy traditional evaporation salt-pans. Combining the gain knowledge and experience allowed me to investigate the organically sensitive project in a relation to the technological opportunities. That resulted in a reliable strategy for the technological systems applications, supporting rather than disturbing the salt crystallization processes.

The excitement found in the dissertation research, translated into my graduation project, where I continued the exploration on the sustainable intersection of biology and architecture. My graduation project „SALINE - Il Palazzo di Sale e Benessere” was an engaging journey, that pushed me to towards challenging and stretching the boundaries of architecture I was familiar with before. The project is located in a unique and exciting location, in Venice, in the area of Venetian Giardini gardens, hosting the most known around the world architectural Biennale Exhibitions. Responding to the Venetian Biennale explored on the studio Field Trip, in my graduation project I aimed to make my own architectural statement on sustainable collaboration between architecture and nature.

As a result of my research about salt presence in Venice, its historical and economical significance in the past together with my personal interpretation of the city and the conducted experiments on its natural extraction, my main objective for the graduation project was to reintroduce Venice to the salt production, increasing health and wellness of the Venetian people. Through the celebration of Salt and amplification of its processes, project utmost aims to strengthen the fading Venetian identity, supporting the reintegration of the disappearing local community. That is realized in the development of the new salt wellbeing complex, combining salt therapies and SPA treatments facilitated by the naturally harvested salts on the site.

Building upon my Primer manifesto, the SALINE project, is directly driven by the complex ecology and environmental conditions of the site. The building is celebrating luxurious Venetian Salt - the "white gold" of Venice, amplifying and integrating the natural processes of its extraction from the salty seawaters of Venetian Lagoon into a building.

Reflective Report

1 Concrete Block panels 70-150 mm (varies with shape) Insulation 100 mm Primary reinforced concrete structure 950 mm (Concrete class XS1 for exposed to airborne salt but not in direct contact with sea water) Damp-proof course (DPC layer) Interior plaster finish 2 Concrete roof panels (accessible for visitors) 20 mm Mechanically controlled salt pool rain protection cover (glazed layer, sliding over the pool top when raining) Damp-proof course (DPC layer) Screed 75 mm Shuttering board 40 mm Steel brackets Insulation 100 mm Steel decking composite floor slab 120 mm Stainless steel truss 500 mm (Services allocated between the voids) Interior plaster finish

3 Top Salt Pool high concentrated salt water 200 mm depth Laminated safety glass consisting of 12 x 12 mm toughened glass + 10 mm toughened glass 4 Sensor measuring the salinity level Sealed nozzle directing the brine onto the crystallizing structures Salina- Crystallizing structure

5 6 mm stainless-steel section two-component silicone jointing seal 6 GRC panels 40 mm with salt rock infill 30 mm stainless steel panel bracing Rigid connection holding the glazing Structural glass system (bolt fixed double glazed curtain wall) Glazing bolts Supporting glazed planar 300mm depth 25 mm wide

11 10

7 Sea Tide regulation pool max 4000 mm deep concrete shell 200 mm

8 Interior floor finish Waterproof Membrane Marine concrete raft and piles foundation (concrete XS2 for permanently submerged structures) raft 600 mm (1200 in maximum point) piles 4000 mm depth Sand layer 200 mm Hardcore layer 300 mm 9 Coloured and customised solar PV panels 10 Fire Sprinkler Suspending ceiling accommodating servicing spaces 11 Powder-coated stainless-steel smoke flap in frame - ventilation 12 High Tide Tank Regulating System with the spring - operated mechanical system, collecting the water durng hight tides (preventing flooding the salt ponds on site)

13 Drainage - regulating the water level in the Hight Tide tank

7 13

SECTION DETAIL SCALE 1 :20

graduation project grew and flourished throughout the year. I believe that that gave me an opportunity to understand and full engage into the final project. Concluding the journey in the "Palace of Ecologies" studio, I would like to thank my tutors Rachel Armstrong and Andy Campbell, for leading me though the excitements of Experimental Architecture and all its complexities contained.

As refined in the Professional Practice essay, the design would collaborate with the 40xVenezia movement addressing issues about the Venetian heritage protection. Fighting against the increasing rent prices beyond the reach of locals, the scheme would utilize the site conditions advantages to increase the local society wellbeing not only with health benefits of salt presence, but also supporting the locals with promising opportunities for the additional income and new job places.

In my future carrier, I would love to continue working on sustainable architecture, exploring it through the various methodologies, materials, tools and approaches.

The development of the project from various perspectives from integrated modules was a fascinating process of how the

Introduction

Palace

Celebration

Identity

Architecture

Inhabitation Collaboration Human

System

Energy

Coexistance

Non-human

Biology Life-cycle Sustainability

Process

Nature

Environment

Ecology

Introduction

Palace of Ecologies Studio Themes

The exerimental architecture studio â&#x20AC;&#x17E;Palace of Ecologiesâ&#x20AC;? focuses on estabilishing and amplifying the realtion between architecture and ecology. It was investigating the design though the eyes of various species and natural processes. Respecting both human and non-human organizms, the studio was exploring strategies for evocative, suistainable design, seeking for post human approach allocating humans as part of the ecological circle of the natural corealtion. Throughout the year we explored the Architecture that could be a touch, smell, feeling, emotion. The building should not only be an visual experience, it should cherish all the senses. Due to environment-induced demand, current architecture should produce a series of statements for the nearest future and its ecology. It needs to be open to change, it needs to strongly state its position and create its own ecology.

It should be a celebration, design with the infinite. It should be the Palace of Ecologies.

Charrette

Charrette Spectacular Terrazzo Terrazzo is an extremely versatile antient, composite material which with various application from floors, ceilings, furnitures and other surfaces, possible to cast into almost any shape. Terazzo (from Italian „terrazza” meaning terrace) originated as a type of flooring from the north eastern region of Italy - Friuli. Therefore, the traditional technique and craft of terazzo, trully developed and flourished in Venice. Currently, driving from personal experience in practice, I noticed that terrazzo, despite being very popular in the regions of Italy, around the world lacks the professionals who know the traditional Italian techniques of terrazzo. Therefore, I was very exciting to explore them during the Charrette Week. The technique of creating terrazzo is the same since 50 years. It is made of granules of marble bound together by cement or pebblebased lime. Each terrazzo is a unique, impossible to reproduce, piece of art that has its own hues, mosaics, and coloured glass. Our Charrette groups splitted into smaller teams to explore various pattern creating methods and tiles sizes. Once we prepared the mould and layered our pattern, the cement was poured. All the colourings were added to the cement before pouring. After the tiles dried they could be sanded, polished, coated in linseed oil, and finally waxed to achieve the beautiful surface of the Spectacular Terrazzo.

„Art beneath the soles of your feet” -Chiara Pecorelli

Charrette

Primer

Primer Approach The Primer project was an introduction to a studio aiming to develop our personal understandings of the studio themes of “Palace” and “Ecology”. The task for our studio was to create a bird box for one of the species of birds occupying the area of the Rainton Meadow Nature Reserve. The main focus during Primer phase was on existing environment and its flying occupants.

Primer

Rainton Meadow

Natural Reserve Our Primer research was based in the Rainton Meadow Nature Reserve recreated, in partnership with Durham Wildlife Trust and the City of Sunderland, area where our studio was investigating the exitint ecology though various method of exploration. As my main focus, I was looking at the specific location of my chosen bird inhabitation the Blue Tit. The most common occupancy is assigned to the areas marked on the map. I planned to allocate my design in one of them. As a studio during Primer Phase, we were working with an experimental practices in order to explore the site, through a series of different perspectives, understanding it not only though our visual sense, but also though smell, sound or touch, using self-made viewing devices, photography, films, noise recordings, texture rubbings, collections, sketches or automatic drawings.

Primer

Viewing device Butterfly

Prior to the Field Trip to Rainton Meadow, I designed the viewing device, imitating butterfly vision. Butterflyâ&#x20AC;&#x2122;s eyesight is extremely different to what human eye see. Imitating the perception of different specie, I realized how differently various species see the surrounding world. Also as part of the task I filmed a movie, indicating specific pace of the butterfly movement and the sound, amplifying the perception experience. The Viewing device task allowed me to analyse the site though different perspective leaving the comfort zon of my own perspective, what then developed into my manifesto and set my design approaches.

Different colours

Wide field of vision

314 degrees

Pixaleted & Blured images

Ultraviolet light

Primer

Automatic Drawings and Collections form the site

Manifesto:

In understanding where the "Ecology" is an integrated ecosystem of sustainability and collaborative nature, the building would be a celebrative highlight of the symbiotic and coherent coexistence of living organizm, responding to both the environment and the habitants. Relying on dependency of its parts, the building creates relations reflecting the symbiosis within its own "organismâ&#x20AC;?

Primer

Blue Tit Paridae

For the Bird House creation it was necessary to investigate the specific preferences of the Blue Tits. They are noisy, sociable, strictly residential birds, they do not travel from where they are initially hatched. They usually thrives in wooden habitats of deciduous trees. Having strong legs allow them to easily hang from the branches at any angle. Blue Tits regularly fight with small birds over food and territory in spring and summer time. Blue Tits are very curious birds and they do explore their surrounding a lot. When choosing the best place for their future home, they investigate the space several times, before they make a final decision. They usually lay 1012 eggs, so they are looking for the nest with sufficient comfortable space. They usually occupy the man-made structures, building inside a nest using soft fibres, as moss, hair, feather, leaves, spider webs, fur or wool. Due to its small size, the entrance hole should be only 25 mm diameter to prevent any predators to get inside the nest. It should be fixed facing NorthEast, thus avoiding direct sunlight and the wettest winds. Best it should be allocated within the trees providing additional shading with a clear path to the entrance hole, as they use it often, especially when feeding the chicks.

Primer

Bird House Study Process With the development of the initial ideas for the bird box, I concentrated on the relationship between the inhabitation of my chosen bird â&#x20AC;&#x201C; Blue Tit, the existing environment and areas of its most common occurrence according to the bird preferences. At the beginning I was focusing on the functional aspects of the typical bird house, then developing it though the eyes of my stated manifesto. The bird box in order to keep birds safe required some simple rules to follow. At first, it should allow the birds to comfortably function within their new house for that reason the design should be facing north-east direction, providing natural protection from direct sunlight, wind and rain, creating a more suitable and safe environment for growing birds. The bird house should be also appropriately insulated by adequately thick layer of the material, of minimum 15 mm. It should also allocate drainage holes, allowing the water to leak out of the design. The entrance hole preferably should be placed at least 150 mm above the base in order to do not allow the growing chicks to fall out of the bird box. Moreover, it should not have a perch, as it might aid access for the predators.

Primer

Mossy Bird House Moss Wall After conducting the research about the Blue Tits living conditions and preferences, I started to develop my initial ideas for the design. The Mossy Bird House was my early attempt for the bird box creation. It follows the traditional concept of the commonly known bird houses with some additional adjustments. It is constructed out of the Plywood accommodating the moss wall on one of the sides. The moss is aimed to provide the birds with the additional soft material to use inside the box while building its own nest and adjusting the interior space. The offset roof structure aims to protect the entrance hole (25 mm in diameter) and its pitched roof is designed to channel the rain water to the moss wall on one of the sides in order to water it.

Primer

Sphererical Nest Birds Ingeration Escaping from the traditional form of the bird box, I analysed the space the Blue Tits need for their internal nesting. In order to conduct the volumetric tests I decided to use balloon, explore the space needed by the birds though its spherical interpretation. The study was then useful in terms of further application into finalized designs, giving me the understanding of the volumes and necessary heights. It was also testing how moss could be applied into a spherical structures. Unfortunately, the study model was containing hazardous glue, therefore containing those toxic substances it should not be used as bird-box.

Primer

BIO-composite

Strawcrete Bird House Applying the internal sphere structure for the internal nest, the next prototype was exploring the bio-composite material. The BIO-composite Bird House, is made out of the experimental mixture of concrete and straw - strawcrete. It was designed for Blue Tits keeping the size of the entrance hole 25 mm in diameter and the appropriate volume inside. However due to its weight it could not be placed on the hight, providing the comfort for this bird species. Therefore the bird box would be used by other similar in size bird with slightly different inhabitation rituals. The BIO-composite Bird Box combines the organic fibres of chopped straw and concrete, being a first step between exploring fully organic materials, I planned to develop. Inside there is a place for the bird to nest.

Primer

MYCO-Moss Mycelium Bird House Referring back to my Manifesto about collaborative nature and following the ideas developed in the research conducted for my dissertation at that time, for my final Bird Box design I worked with the biodegradable material of mycelium. The final design, MYCO-Moss Bird House is following the specific inhabitation of the Blue Tits, responding not only to the birds preferences, but also to the whole surrounding ecology of the Rainton Meadow. MYCO-Moss is a grown out of mycelium, entirely natural structure, being a great insulation and water resistant material, providing the necessary protection for the bird occupancy. The exterior part of the bird house is overgrown with the moss, following the idea from my first prototype, supporting the birdsâ&#x20AC;&#x2122; settle by providing them with the soft material for the inner nest.

Primer

MYCO-Moss Instalation

The MYCO-Moss Bird House was successfully installed within the Rainton Meadow area. The shape of the bird house was designed to fit earlier designated location between the tree branches in area occupied by the Blue Tits, at height of 2 meters above the ground. Before the grown processes started design, the moldable nature of the mycelium material in early stage was easily adjustable. For that reason the MYCOMoss was perfectly adapted to its future location. While the mycelium material started to develop the growth should not be interrupted in order to do not disturb it, influencing the later structural stability. When fixed only an additional safety fixing using a thin, natural twine was provided to protect the bird house from falling due to the wind or any creatures. The twine would also blend to the environment with the growth. No other support is needed as the bird house will grow into the branches strengthening the fixing. The chosen location is around mossy area around the Joeâ&#x20AC;&#x2122;s Pond (marked on the map at the beginning of the chapter), with higher humidity level, which supports the further growth of the MYCOMoss Bird House and will eventually facilitate its degradation.

Primer

Grow and Degrade

Natural blend

The structure while still growing was delicate and fragile, however with the growth time the mycelium structure gain in strength. In order to maintain the growth of the moss, the design needed to be kept in humid environment, until it could be fixed in place in the designated area of Rainton Meadow. When the mycelium shell became extremely strong as the material was almost entirely dried out. Despite that the moss could still continue to grow after being fixed in place, due to the surrounding environment.

The bird box is fully biodegradable and eventually it will turn into moss garden, decaying and blending into the natural ecology of the site.

Primer

Primer Exhibition

Recreated Perception The Primer Exhibition was a showcase of studios work, that they have been developing in the semester one. Each of the studio shared they explored themes and exhibits with the rest of the final year. Our studio attempted to recreated our perception of the Rainton Meadow, using various media such as sound, visual effects or smells. We were also honoured by the guests from Rainton Meadow Natural Reserve discussing our work with us. I was strongly involved in the curation of the exhibition, creating its initial layout, curating the work and creating the reflective map of the Durhamâ&#x20AC;&#x2122;s Natural Reserve, on which we projected a our movies using our viewing devices. We also had a small exhibition in the Rainton Meadow for the boxes that we not fixed. The one fixed could be seen by the visitors in Rainton Meadow while walking around the Natural Reserve.

Staging

Staging Brief The Staging phase started with the Field Trip to Venice. Where we were privileged to attend last two days of Venetian Biennale 2018. The theme of this years exhibitions was „Freespace”. Taking part in Venetian Biennale evoked an interest in questioning how we review the ways of thinking, how we develop new ways of seeing the world and also how we invent the solutions where architecture provides the wellbeing and dignity to each citizen of our „fragile planet”. Several exhibition raised awareness about environmental issues, promoting amplification of nature, ideas of reparation and sustainability or impacts of technology. These few themes alltogether with my personal experience of the city, started to build my perception of Venice . The stimulating insight of the Biennale exhibitions durinng the Field Trip especially from the Polish, Australian and Danish Pavilion, pushed me towards my further understandinion of the Venetian city, stimulating the architectural and social disscussions. The Field Trip was useful in understanding the values of the site and appreciating the celebrations of the surrounding architecture, that started to fold up to a Project Brief.

Experimental map of Venice overlapped with iterated variance map of Warsaw

Staging

Venice Field Trip

Venice, a city always unique in its manner as in its status, is a place where the sea, land and sky come together as in no other place on earth. It is an outstanding and extremely fascinating place that our studio explored not only on the Field Trip, but also as our project site. Translating the ideas from Primer, we investigated Venice though various means of experimental practices, looking though the full prism of all human senses. The exploratory map on the left was part of the experimental practice, combining map of Venice with iterated variance of map of Warsaw (Poland, my home city). Then following the map on several walks I explored unknown city of Venice though the well known routes of Warsaw.

Venice Field Trip

Staging

Inhabitation patterns

Flow of the Environment

Venezia In Persona

Cultural identity

Living organizms 49

Venice was an ideal location for our studio themes explorations. It is a city of Palaces, coexisting within constant flow of the environment, accommodating water and other living organisms. We were investigating Venetian traditional architecture and the exceptional uniqueness of the city, through its inhabitation pattens and environmental conditions. I was recognizing the present issues associated with the city, considering the past and possible future strategies represented for instance at the Venetian Biennale exhibitions. I started to shape my initial design ideas, between the traditional and experimental architecture present in Venetian context, its inhabitation and its environment.

Staging

Palace of Ecologies, PRIMER Natalia Piรณrecka

Palazzo Grassi Scale, 1:100

Staging

Palace

Palazzo Grassi Exploring the theme of the studio, we were looking at the Venetian Palaces. The Palazzo Grassi was the one that driven my attention in particular. The building was rebuild between 1748 and 1772 and was the last palace built on the Grand Canal before the fall of the Venetian Republic. The building combines conventional definition of palace, initially intending to demonstrate the power and prestige of the owners family, currently celebrating modern contemporary art, as the Art Centre. Its intriguing combination of the distinctive, historical exterior of the building with the contemporary interior restoration by Tadao Ando of the Teatrino di Palazzo Grassi, established by Palazzo Grassi in 1950s as open air stage, was the a stong, thought provoking aspect influencinh the creation of my own definition of Palace. Is Palace just an immense statement of life quality or is it rather an ecology of people making the quality of living? Is Palace a celebration of luxury or rather a luxurious celebration? Is it a system of distorted hierarchies, or a circle of integrated functions creating a coherent ecology?

Case Study

Carlo Scarpa Architect Study Craftsmanship played a key role in Carlo Scarpa's architecture. His design details greatly demonstrate his appreciation of the artisan. After he studies at The Royal Academy of Fine Arts in Venice, he later taught at the IUAV Architecture School. Scarpa also worked as a glass designer, a trade intrinsic to Venice conveying his boundless connections to this city. Learning techniques from blowers and craftsmen, he demonstrates his regard for the skill required to create these unique pieces. The decision to pursue this craft instead of completing his architectural studies suggests his passion lies in the detail, the strive for hand-crafted perfection. This control was more achievable in glass than in architecture.

"Scarpa was someone with one foot in the past and one foot in the future" - Rachel Armstrong

Scarpa was intuitively sensitive to historical, traditional and cultural context, Yet he was open to the adoption of newer technologies and ideologies. The key takeaway from this is the level of understanding and craftsmanship he strives for. That was something that I wanted to follow him in, sinking into details of my graduation project. The adoption of new technologies is a mean of keeping up with context. Regardless of the tool or trend, a level of quality craftsmanship will always speak for itself.

Edited Case Study group work, original produced by Burcu Oglakci & Edward Yan

Case Study

Scarpa's Ecology

Detail in Nature

Carlo Scarpa was unique in his ability to break down the architectural form away from the large expanses of curtain walling and concrete blockaded of the modern architectural world. He worked in the minute, the essential and the luxurious understanding of curating a whole. We have come to understand the meaning of ecology though the interrogation of its very essence; in the simplest of terms, ecology is the marvel where the sum of the parts is greater than the the whole. Each unique component in our complex world brings a new strength, a different attribute, which when brought together creates something that no individual part could even reach. This essence is vital to Scarpa's work. His great attention to detail both respects and amplifies each element to new heights. Scarpas detail not only flourish throguh the understanding of ecology, but also embrace the ever changing environment. In his own words:

"These lines not only accommodate the weathering of the facade, but also emphasises the watermark from the very beginning. Thereby anticipating the inevitable transformation of the building over time"

- Carlo Scarpa

He explains how he designs for the impermanence of architecture and the dominance that ecology has over our man made build work. Instead of defenfing aganst the process, he celebrates it right from the building's first conceptual though. His true connection to ecology throguh dealing is an inspirational attitude, definitely worth to follow, while working with nature.

"The detail as the adoration of Nature" - Louis Khan

Edited Case Study group work, original produced by Burcu Oglakci

Case Study

Case Study Carlo Scarpa - Biennale Ticket Booth

Programme

Ticket Office Queue Area Entrance

Carlo Scarpaâ&#x20AC;&#x2122;s Ticket Booth and Entrance is a ticket office for the Venician Biennale. Due to that its programme is relatively simple. The open space in front of the booth accommodates queues of visitors. Inside of the booth the office and service are placed. The entrance to the site is accommodated as a part of the ticket booth itself.

Even though it was used for decades since 1952 and then completely restored in 2004, it is no longer in use. Presumably, it was due to the constantly increasing number of visitors of Venician Biennale. Starting with around 225 000 visitors at the first exhibitions, today it reaches over 500 000 - approximately 3 400 visitors per day. To handle greater volume of visitors the ticket booth has been replaced by a series of modern then also temporary booths. First by four of them, then even doubling the number. Moreover, the entrance and exit were allocated separately.

Case Study group work - produced by the author

Case Study

Exterior Due to the loose borders within private/public or open/closed spaces, the booth is read more like a part of larger landscape rather that an object itself. The exterior shapes along the concrete wall and extends under roof structure. The cylindrical wall septate the public exterior, creating a closed, external space accessible only for staff members, providing an secured area at the back, where the entrance door to the booth are placed.

Defining spaces

Entrance

Private

Ticket Office

Semi-Public

Roof Queue Area

Public

Interior

The interior of the booth is a relatively small space dedicated for maximum two people providing the service. The space is created by one third of the cylindrical wall and the full-height steel-framed wire glass wall. The glass walls are set along two straight lines radiating from the circleâ&#x20AC;&#x2122;s centre, meeting the concrete wall on the right side and following its curve. Case Study group work - produced by the author

Both booth and entrance are sheltered by the freestanding roof. The Roofâ&#x20AC;&#x2122;s leaf-like shape is taken from the vesica piscis, recognizable for Carlo Scarpa symbol. The roof extends beyond the booth itself occupying space around both physically and spatially, creating semi private space and also providing shading for the booth.

Case Study

Doors & Gates The only possible access point to the inside is the through the the back, transparent, glass door. The centre point where the main glass walls meets is also where the entrance door pivots, creating its own matching arch when opens, indicted at the booth ceiling. When not in use the entrance to the site was secured by closed gates.

Turnstile To enter the site, visitors needed to pass through turnstile. The turnstile, is a non-automtic system requiring manual action in order to spin and allow to pass through. Its mechanism use a simple blocking pedal, which after pressing is ready to be pushed to move. The space between the turnstile and the booth is just the right size to let person through with additionally restricted passage by small metal element on the booth wall.

Windows

Due to the size of the booth the main ventilation points were the small windows on the sides of the interior. The additional air flow was also supported by the doors.

Components & Functions Counter Interaction with the ticket agents happens through the clear, curved glass above the wooden counter. The counter supported by the lower part of the concrete wall, is the mainâ&#x20AC;&#x161; â&#x20AC;&#x17E;furnitureâ&#x20AC;? inside the booth. The counter includes useful for the service storage space underneath the deck and two metal cash trays.

Cash Tray The purchase is facilitated and accomplished throughout two circular metal trays sunk in the wooden counter, rotating to deliver the money-ticket exchange. The upper piece of glass creating the border where the service meets the customer.

Case Study group work - produced by the author

Case Study

Atmosphere

Light Study & Weathering

Morning - Sunny

Evening - Rainy

Afternoon - Rainy

Roof Craft Details

Glass Reflections

Case Study group work - produced by the author

Case Study

Carlo Scarpaâ&#x20AC;&#x2122;s deisgn is an amazing creation of forms, connections and material combinations. It is successfully responding to the requirements of the project, not impeding the view of the access avenue to the Biennle Gardens. Due to its characteristic for Scarpa language it provides an amazing material and structural experience with a great attention to details, creating combination of textures, colours and reflections. The thoughtful structure highlights the great crafting processes and the considerations on how he

treats the particular material. The atmosphere of the ticket booth is constantly changing throughout the day and night, also depending on the weather conditions. The intriquing theresholds of the external and internal spaces allows the visitors to cross its borders within the spaces. The roof and its detail are a fascinating celebration of the craft, adding to the landscape a uniqne lightness in its structure, sheltering the booth.

Case Study group work - produced by the author

Staging

Site

Declaration +Analysis Analysing the sites of the Venetian Giardinii gardens, I decided to work on the Site 6 located in the area right next to Venician Biennale site and the parkland around. The site is very attractive aesthetically, as its waterfront allows for various interactions between land and water. The site has four pedestrian access points and public water transport stop. For the site guests there is also a coffee place around the site. According to developing brief the designed building will be responding to the Biennale architectural celebrations. During the Field Trip we also visited one of the Engineering companies.

Environmental condition

GR S

AR E AG ER N AV IND TIO W REC DI

ISE

NO L

LE TY

ON T GO EN N LA RR TIO CU REC DI

ILI

TH ESS PA CC N SU UN A -S

Staging

Site context Infrastructure a

N IA

G IN IST EX FÃ&#x2030; CA

ST DE PE

SS CE

E SIT

D AN LE IB ITE SS ES S CE TH AC EN OF IEW OP EA N V AR PE

)

A M D) RA TE NO OT (D PA N N IO AI E M UT NS RO XTE E + TE ER VA AT RI W (P W SS NE CCE A

NS ALE LIO N VI IEN PA N B G IN TIA IST NE EX F VE O

G IN IST S H

D AN S N IN TIO TRA UC NS TR O TE) NS N C E SI CO SIG NAL DE IEN (B

T PA

IC BL R RT PU ATE SPO W AN TR

Edited part of the ARC1013 module, Integrated Technology Report - produced by the author

Staging

Site Recording

Photography, collection, rubbings

Staging

Brief:

Interconnection of Nature and Architecture Architecture is strongly overwhelmed by humans. As one of the most powerful languages it could aim to introduce and implement the approaches avoiding harm caused by people to the environment.Due to environment-induced demand, current architecture should produce a series of statements for the nearest future and its ecology. Responding to the environmentally or even planetary health, architecture should get rid of borders between man-made and natural, trying to accommodate both, allowing for its coexistence. Inviting the natural processes and collaborating with nature rather than controling it. The building should not just be a visually pleasing experience, but also it should contribute to the ecology around, contributing to its amplification and supporting its elements. Designing with infinite dynamics and processes of life, evoking different feelings and unique experiences. The ecologically effective design would start its own ecosytem, by defining the relationship between human and nature, achieving the sustainable development.

Staging

Biennale Pavilions

Staging

Biennale Exhibitions

Staging

Water

Living Waters Based on the research on Venetian history and my personal impression on Venice, my attention was driven to salt waters of the Venetian Lagoon. Waters of the Lagoon, the most characteristic aspect of the city, are both a beauty and a threat to Venice, constantly floating though its canals with the risk of flood. I wanted to explore this spectacular and worrying element, which makes Venice such a unique location.

Staging

Salt

White Gold Salt, Venetian "White goldâ&#x20AC;? extracted from the salty seawaters since half of the 6th Century. Being at utmost importance for Venetian monopoly for ages.

"Salt was a way that the lagoonâ&#x20AC;&#x2122;s wealth and status was increased." - Theory Into Practice essay, Venice and its lagoons :: Salt in Venice - The Future of Venice

Currently, salt is perceived mostly as a problematic challenge for the construction, rather than the successful mean of trade. I decided to reverse the salt destructive forces for the construction seeing salt as a potential solution for the decreasing wellness around Venice not only in in economical sense, but also ecological and social. The luxurious salt brought back to Venice would become a media uprising its fading identity.

Staging

Salt in Italy

Precedent

As an initial precedent for the incorporation of the salt production to the Venetian site, I looked at the natural salt production in Sicily, between Trapani and Marsala, that I had a chance to personally visit. The natural salt production use water evaporation ponds increasing content in water by its gradual evaporation. The distillation allows to highlight positive qualities and eliminate unwanted compounds as calcium sulphate or gypsum throughout the process, gently purifying the salt from non-favourable contamination. For the ponds the adequate strategy is very important as the level of salinity influence its mineral content. The great care is required throughout the whole process in order to achieve its best salt quality and most of its health benefits.

Staging

Early Experiments Material experimentation

In order to understand appropriately the processes of the salt production, I attempted to a series of small crystallization models. I analysed the process of salt crystallization, testing what materials reacts with salts, which ones support the precipitation and which provide most satisfying results. From the experimentation, I can say that the crystallization is the most successful on the twine due to its thread structure made of strands woven or twisted together, that provides the great texture for the water flow through the cord due to water surface tension. That therefore allows the salty water to be exposed for evaporation, while draining through the twine. For the crystallization processes metal or wood are not the best core materials. Plastic does not react with salt and it could be possibly used, however because of the plastic surface and its slipperiness the process itself is impeded.

Staging

Forming crystals Material experiment

For the typical crystallization experiment is the string is sunk in the solution and when the that allows water to penetrate the twine. The crystallization in that case starts from the bottom. Knowing the solid principles of the process I played with forms and the temperature of the surrounding condition influencing the speed of the process and sizes of the crystals.

Staging

Thinking Through Making Week

Thinking Through Malking Week The Thinking Through Making model was a result of my earlier experimentation on salt crystallization. Understanding the process well, allowed me to stretch it capabilities and partially control it. The conceptual prototype of Crystallizing Salt Column System bring the manmade system representing technology together with the natural process of salt crystallization. The model consists of two pools fixed on the wooden frame, connected by non-structural woven twine. The bottom pool is responsible for traditional evaporation as implemented in early experiments, which works from the soaked bottom of the twine all the way up though the threads, crystallizing the salt on the surface. The top pool allows for the upside down evaporation. The twine is fixed to the upper pool lid though the holes in the bottom. The holes are blocked by the small knot blocking the water from leaking and allowing the twine to be permanently soaked in the brine. Due to the gravitation the water travels downs through the threads of the twine crystallizing. That resulted in the crystallizing system with amplified processes of crystallization from both top and bottom pools. The process was continuously active, and only required to fill the top pool regularly with condensed salt solution in order to keep the process active, as it was not mechanical. The Columns were gradually growing and expanding, validating that the Crystallizing Salt Column System was a successful prototype and its strategy could be further explored and applied to the design.

Crystallizing Salt Column System Protoype Imagining the space

Staging

Imagining the space Pavilion The Crystallized Salt columns model from Thinking Through Making Week was an essence of the concept for the graduation project. For that reason, I explored the model from a perspective of its inhabitation what experience people would get form being in a space of crystallized white salty columns, how they would perceive the natural forms salt creates and how would that affect them. The columns created a Pavilion like space, where people could experience the celebration of salt. Later on, I aimed to translate this expression into my building design.

Realisation + Refinement

Experimental understanding and Finalization

Realisation phase was strongly focused on translating the experimental nature of my project into a buildable design scheme. I was also developing the technological possibilities of incorporating the natural salt evaporation and crystallization systems, looking at the balance between technology and ecology to fulfil the sustainability objectives of the design . The design was finalized in the Refinement Phrase, where the salt technology was applied and the design was developed. The Refinement section provides final drawings explaining the scheme and the development if its final design collaborating and integrating with the surrounding site in Venice.

Realisation + Refinement

ENERGY

PISTON PUMP

TOP SALT PONDS

SALT COLUMN

SALTY WATER FROM PONDS (HIGH SALT CONTENT)

PISTON PUMPS

Water from the Lagoon will go through the evaporation salt ponds. When the required salinity level will be acheived the brine would be pumped up thought the Piston Pumps. The salty water will travel through the building top an then when draining, it will leave salty sediment and eventually crystalise on the collumns.

SALT PONDS

Salt Column crystallization growth "Salination" Salt Water is from the Lagoon would be desalinated and filtered though the Harvesting Area and then distributed throught he building.

ENERGY

FRESH WATER SALT SALTWATER WATERFROM FROMLAGOON LAGOON (LOW (LOWSALT SALTCONTENT) CONTENT)

SALT MINERALS

Desalination

Technology vs. Nature Living technology

Salination and Desalination The advantages of the site in Venice provided a lot of possibilities for the technological application. Current technology, would allow the building to benefit the most form its location disturbing the Venetian ecology. The building will have two interlocking systems. First is the salt travelling through the salt ponds and the crystallizing Salt Columns. The second one will use the reversed process of salt production, the Distillation process. The first one will result in luxurious salt production. The second would become a supply of desalinated and filtered from the Lagoon fresh water.

Translating the Experiments and prototypes from earlier development, I concentrated in scaling up the systems from prototypes into a building scale. As far as the design aimed for the interconnection between the biology and architecture, the mean to express it was to combine organically sensitive design with technological facilities. The design was looking for the adequate balance between the man made structure, systems, organic forms and growth. That approach was also adapted into the Environmental Strategy.

Realisation + Refinement

Process Sketches for Salt Ponds Strategy

Process Sketches for the Crystallizing Salt Column System

Realisation + Refinement

Crystallizer

Collection

5. Collection 4. Crystallization

Third evaporator

Second evaporator First evaporator

3. Precipitation 2. Second evaporation

Source: Sea Salt Water

1. First evaporation

Dike

Sicilian Salt Ponds strategy

Processes of salt production

Source: Sea Salt Water salinity: < 35 ppt

Salt Production Procceses

solar panels (almost invisible, due to their coloured filter, located at the sloped surface of the building directly facing the sun) generating sufficient amount of energy. During evaporation, sediments that sink naturally to the bottom of the beds are removed. The natural conditions evaporate the water and concentrate its salt content. Before the brine reaches the concentration of about 30 degrees Baumé (measurement of liquid density, the Baumé of distilled water is 0), point when the salt concentration start to form a crust of salt crystals on the surface, the brine water will drain though the nozzles of the Saline Crystallizing system, partially precipitate on the surface of string based on the natural fibres in order to support the distribution of the salt particles

The salt-making process begins by filling the outermost salt pond (Salina) with fresh sea-water. The water travels relying heavily on gravity and the natural movement of water as the ponds are allocated on different heights. The depth of the ponds do not exceed 0.5 meter. The coastal breeze and the hot Italian sun will provide the ‘energy’ required to drive off the water. The water evaporating, remains the brine solution more and more concentrated. During the harvesting season from June to September, more salty water is pumped into another Salina nearer to the land every few days. As far as the Salina development, promotes the collaboration of technology and nature, the traditional windmills pumping water from one pool to the next one are replaced with pumps powered by

Realisation + Refinement

Pond 3 Second evaporation salinity: 80-140 ppt

Tide con

Pond 4, 5 Third evaporation Precipitation salinity: 140-180 ppt

syst

und

lev

el p

ond

Pond 1 First evaporation salinity: 35-80 ppt

Pond 6, 7 Crystallizers /Collection salinity > 260 ppt Bui

ldin

Venetian Salt Ponds strategy

Giardini Site

Gro

PUMPING system

trol

Pond 2 First evaporation salinity: 35-80 ppt

ond

Dike

Source: Sea Salt Water salinity: < 35 ppt

3D Salt Ponds diagram

Salt Journey The new Venetian salt production system consists of seven ponds. The brine waters constantly evaporating travels from the first to third pond due to the gravity, as ponds are located on various heights with minimal variation. That allows to, save the pumping energy for the salty water from the Pond 3, that is pumped up to 20 meters to the two top ponds on the building rooftop. The brine travels then to the sixth pond already containing water with high salinity content, crystallizing then though the Salina Crystal columns and dripping directly to the seventh collection pool. The last pool allows the accommodated final crystallization and collection. An additional, individual, mechanically regulated tide tank system in the waterfront of the site, preventing the salt ponds from flooding. Its detail is presented in the technical detail section later on.

and allow the sodium chloride crystals to form. Then the remaining water drain through the structure and fully crystallize in the interior pond of the building. Crystallised salt can be then collected from the pond channelled to the harvesting area. The salt will be collected every three- four weeks. As the maintenance treatment, the salt from the Structures would be also partially collected in order to reduce the salt due to its constant sedimentation. The freshly collected salt is immediately washed and filtered to remove traces of insoluble matter while preserving important micro-elements. A second cleaning process further purifies the salt, which is then dried, sieved and packed.

Realisation + Refinement

Negative ions collide with positive ions in the air, forming new eloctrostatic compound As a result of gravity these electrostatic compounds fall to the floor, removing harmful airborne particles

Purifies Air

The remove the fallen compounds entirely they need to remotely vacumed

Improves Breathing

Decreases Stress

Reduces Allergy Symptopms

Increses Energy

Improves Sleep

Hydrolisation realeases negative ions into the air

Natural Salt Light & Heat source

Benefits of Salt Eco-preservation of the brine

Health Boost & Wellness

The evaporation salt ponds accommodated into the design would positively influence the Venetian ecosystem currently polluted and disturbed by the huge amount of waste produced by the tourist contaminating the air and water. In such a warm climate as in Venice similarly to Sicilian conditions, the heated salt in both crystallised and liquid form would attract water particles that evaporate off as a salt solution producing, mostly negative ions and as a result improving the air quality. The introduction of the salt ponds within the site boundaries, despite intervening the existing park, would bring much more beneficial influence to the site across the time. In order to effectively use its advantages, the area covered with the salt ponds should be maximised. The introduction of the salt ponds into the existing ecology would further preserve the nature, supporting a number of plants and animals. This man-made landscape would play an important role as the habitat for migratory water-birds for over 170 species across the world.

The presence of naturally produced salt in the air has also a lot of health benefits, which will be then used within the SPA facilitated within my design. The SPA would accommodate the Salt therapies based on its Health Boosting advantages. The main focus will be placed on the respiratory conditions as allergies or asthma, which salt especially affects using mainly treatments of inhalation, known as Halotherapy. Moreover, salt is believed to improve the level of serotonin, a chemical involved in the mood regulation, reducing stress level and anxiety. It is also claimed to balance the body PH and positively influence the sleep patterns and relaxation. Salt therapies also promote healthier skin condition and improve physical fitness and endurance. Comparing the salt extracted from sea to the usual, refined table salt contains only small amount of natural iodine and many more beneficial minerals as sodium, magnesium, potassium, and calcium, all of which humans need for optimal health.

Realisation + Refinement

natural processes salt crystallization, evaporation environment salt water, wind, sun, Mediterranean climate

technology & function salt therapy, wellness, natural production

site Venice, Giardini, history inhabitants humans, animals, plants

White gold for locals

Saline Ecosystem

Introduction of Salt, by developing a salt production within the salt based leisure and SPA complex is aimng to bring Venice back to the Venetian people. Uprising tourism force locals to leave their houses due to the rising prices of the housing rates. Salt production due to its complex processes, requiring adequacy and a lot of car, would need specialists and staff to control the processes, therefore the scheme would provide additional job places, supporting the local industry and individuals with additional income. That would allow most of them to stay in Venice, affording the costs of living. That aspect adds a lot of value to the development, responding to the problems that todayâ&#x20AC;&#x2122;s Venetian society is facing, making the salt not only a luxurious product, but also a possible opportunity for wealthier community in Venice.

Ecosystem as a big community working together, collaborating and contributing their individual parts into a bigger system. Made out of living and non-living organisms, the Saline Ecosystem aims to create a network of circular relationships between the natural processes, site conditions, Venetian inhabitation and technology together with the function. The Saline building would create a collaborative system where instead of disrupting the nature, it responds to it, supporting and amplifying its life cycles and processes through the natural salt production integrated within the building structure and its facilities.

Realisation + Refinement

Programme Saline - Il Palazzo di Sale e Benessere My graduation project due its objectives and introduced SPA is amplifying actions with Salt. This is also where its name The SALINE- Il Palazzo di Sale e Benessere, derived from. Based on personal experience from investigating a SPA, I could appropriately design the SPA programme, considerig all the necessary spaces. The program is concentrated on Salt celebration and it will strongly emphasise the salt production. The total building floor area is 3000 m2 accommodating SPA and Welness leisure complex. The SPA facilities incorporate various salt therapies, wellbeing treatments, baths and pools, using the health benefits and great mineral content of the naturally produced salt on the site. The design feature public cafe and restaurant. The development also accommodates over 2000 m2 area of evaporation and crystallization salt ponds. The Crystallized Salt Columns creating public Pavilion like experience within the building will correspond with the Biennale, contributing to the Exhibitions, buy its statement in the area of natural architecture. Enhancing the experience of salt the building will expose the processes of the salt production and harvest, admire the landscape created by the salt ponds and highlighting the luxurious values and benefits of salt that could be experienced in the Salt SPA. The building programme will take the visitors though the Journey of Salt, starting from its historical use and significant presence in the past, though its current uses and further future possibilities, which they could experience though various spaces and activities.

SALINE (pl.) from latin: salina "a salt marsh, or salt pond, enclosed from the sea, made of salt" also salin salt-pans (pl.) Il Palazzo di Sale e Benessere from italian: Palace of Salt and Welnnes).

Realisation + Refinement

Venetian Context of Architectural Celebration Giardini della Biennale The project is located in very specific for Venice location. The area of Giardini since Napoleon's idealogical intervention of "modernity" demolishing the existing buildings in order to make way for a "garden" remained vacant until the 1895 when part of the gardens was chosen to hosting currently one of the most important and influential, international Architecture and Art Exhibition of the Venetian Biennale. The existing building on the site are all Experimental Buildings of Biennale with the exception of the public Cafe next to the waterfront. The building site is surrounded by the Biennale Pavilions currently highlighting architectural issues, possible solutions and strategies from various design perspectives around the World. The Pavilions, especially their facades, facing the Biennale site strongly reveals the role attributed to art in historical context. The architects of each pavilions competed against one another to best reflect, in architectural form, what they believed to be the fundamental trait of the country they represented. The site surrounding of the Biennale is both advantage, in its opportunity for expressive form of the architecture, as well as disadvantage creating construction and landscape constrains. However, due the positioning of the Pavilions next to the site, facing the Biennale site, the design was unlikely to disturb the context.

1 Italy

2 Netherlands

3 Belgium

4 Spain

5 Switzerland

6 Venezuela

7 Russia

8 Japan

9 Korea

10 Germany

11 Canada

12 United Kingdom

13 France

14 Czech Slovak

15 Australia

16 Urugway

17 Israel

18 USA

19 Nordic Countries

20 Denmerk

21 Finland

22 Hungary

23 Brasil

24 Austia

25 Serbia

26 Egypt

27 Venice Pavilion

28 Poland

29 Romania

30 Greece

Realisation + Refinement

"All the pavilions in the Gardens line up as an interactive machine. The garden is an since 1895 design and can be understood as a key moment in the industralization of art; in fact it's the frst real factory for the production of art..."

-Marc Wigley, 2004 Bie

ea l ar

ntia

ide

Res

site

ale

26 21

23 17 20

18 16

8 9 10

12 11

building front facade

Realisation + Refinement

Form Finder

Designing for Experience Working with the site right next to Biennale site, I developed my interest in contemporary architecture, often touched on during the exhibitions, which I then explored due to the opportunities provided by the site context. Due to the specifics of the Biennale site and the expressive context of the "Object Buildings" rather than historical, Venetian Gothic buildings the design could fully flourish in its sculptural form, fully expressing its celebration of salt crystals. The Saline - Il Palazzo di Sale e Benessere (Palace of Salt and Wellness), is expressively celebrating Venetian trait of Salt crystals though its sculptural shape. The shape evolves between the crystal like forms represented though solid and plane geometries referring back to the union between philosophical and scientific research as well as finite and infinite nature of the figures. The design stretches the Venetian Palace celebration through "2D facade" exploding the experience into bi-dimentional celebration of space and experience. Finding the ideal form for the SALINE building was a challenging process of multiple iteration, that evoked through soft and sharp geometries, exploring both curves, waves and soft lines as the initial "organic" form finding, developing into polygonal sharp geometries.

Realisation + Refinement

1 2 3

1 2

3 4 5 6 12

8 41

10 11

11 01

12 8

13 7

14 13

15 14

16 15

19 19

20 20

21 21

Groundflroor 1 : 200

main circulation (lift + stairs) salt wellness spa - reception pomp system control room + pomp system area cafe place pool and baths control salt harvesting workshop

Groundflroor Groundfloor 1 : 200

main circulation (lift + stairs) salt wellness spa - reception pomp system control room + pomp system area cafe place pool and baths control salt harvesting workshop

First flroor 1 : 200

main circulation (lift + stairs) salt pools + baths bar changing rooms

First flroor

Second flroor

1 : 200

First floor

1 : 200

Second 1 : 200 floor

main circulation (lift + stairs) salt treatments room

main circulation (lift + stairs) salt pools + baths bar changing rooms

100

Third flroor 1 : 200

Third flroor

Third floor 1 : 200

main circulation (lift + stairs) restaurant kitchen

Realisation + Refinement

Early design Spa organization

Pond 2 second evaporation salinity: 80-140 ppt

Pond 4 Crystalization salinity > 260 ppt

Pond 3 third evaporation salinity: 140-180 ppt

Finishing the Realisation Phase, I attempted to apply the analysed strategies of salt incorporation and form of the design into a buildable scheme. The initial concepts presented was re-formalised in the Refinement. Nonetheless, this early attempt for outlining the form together with the defined spaces accommodating Salt SPA was extremely helpful in further finalisation of both the form and programme. Deciding on incorporation of the salt within the space, main programme, spatial organization and circulation around the spaces in the initial concept, strongly informed the form iterations and the sculpting process of the building of both the interior and exterior spaces. It was a crucial step due to which I understood the spaces that then I could play with them.

Pond 1 first evaporation salinity: 80-140 ppt

Source: Sea Salt Water

Dike circulation:

ppt- parts per trillion

public horizontal public vertical Private vertical

Top view 1 : 200

101

Realisation + Refinement

Environmental

Salt Ponds

Intuitive

102

Realisation + Refinement

Scuplting the crystal

Designing through Research The design at the very beginning needed to deal with the constrains of the site, from both contextual but also and an environmental aspect. At the very beginning, the analysed opportunities recognized on the site, influenced the initial decision of incorporating salt evaporation ponds and also partially started to form a building itself. By looking at environmental conditions I set a number of constraints for the building, that then further iteration followed. The main environmental elements that formed the principal shape was sun, wind and water flow. The design then followed the organisation of salt ponds, based on the Sicilian example, incorporated within the site and the building, as well as the height variation of the ponds providing the water flow. The design was gradually changing and evolving through the media of various 3D software.

Final Salt Ponds organisation

The last series of iterations was a result of the early attempt of design formalization, which allowed myself to intuitively finalize the shape, respecting the interior spaces of the programme and at the same time sculpting it. The sharp geometries of the building are contrasting and amplifying the organic nature of the Salt structures, highlighting the manifesto of the of interconnection of nature and architecture.

103

Realisation + Refinement

Via

le G

iard

Pub

blic

MASSING

ini

Salt for Public Public & Private

The building is combining both the public and private uses. The public areas accommodated would be the main lobby where the Salt Columns are allocated as well as restaurant and cafe.

Via

le G

iard

Pub

blic

PUBLIC

ini

Via

le G

iard

ini

Pub

blic

PRIVATE

Due to the celebratory nature of the building and great significance of the public spaces playing an indispensable role in Venetian life and culture, the building takes over the main Viale Giardini Pubblici panorama, maintaining the uninterrupted flow of the pedestrians though the site, leading them either through indoor part through the main building feature at the Groundfloor - Crystallizing Salt Structures of the SALINE or through the exterior ramp accommodated on the water front side, mimicking the Venetian bridges (also leading to the entrance on the first floor - directly to SPA). The site visitors could also pass through the paths around the salt ponds, creating a Salt Park space.

The private spaces are the Salt SPA and Wellness Centre facilities located on two floors and also the harvest area (therefore open for public observation). Edited part of the ARC1013 module, Integrated Technology Report - produced by the author

104

Realisation + Refinement

105

Realisation + Refinement

Restaurant Kitchen

Toilets

Outdoor Tarracce Area

Dinning Area

Toilets Dry SPA - Salt Cave level 2

Dry SPA - Salt Steaming Room

Dry SPA -Salt Inhalation Room

Dry SPA - Salt Treatments Rooms Wet SPA - Bath Rooms

Internal Stairs

Internal Stairs Toilets Dry SPA Salt Cave level 1 Changing Room Women Bar Changing Room Men

Staff Room Escape Corridor Wet SPA - Life Guards Room

SPA Reception Salina - crystallized salt structure

Wet SPA - Pools Sauna Wet and Dry

Entrance

Plant room (Pools)

Plant Room + Pump Room Toilets

Cafe

Main Stair Case

Lift Fire Stair Case

Entrance

Detailed Programme of the building Edited part of the ARC1013 module, Integrated Technology Report - produced by the author

106

Salt Harvest Room

Realisation + Refinement

Detailing programme

Salt Spa

Groundfloor The Salt experience is available right after entering the main entrances at the Groundfloor, either from SouthWest or North-East side of the site, where the visitorsâ&#x20AC;&#x2122; attention will be driven by the marvellous three storey high salt structures starts at the Grounfloor. The visitors travelling through the building can experience unique history of Salt, especially in Venice, its presence, its usage and harvesting activities, it natural processes and its potentialities for future usages and development. Those salt structures, are a series of crystallized salt columns, which are part of the last part of the salt production incorporated within the site and the building scheme. The brine water from the top pools is slowly dripping down, being exposed for the surrounding conditions, precipitating and creating a series of salt crystals on its surface. The Salt columns are based in the collection pool, which then leads the salt to the harvesting area, where its processed and finalised as a product. The Harvest area located at the Groundfloor takes care of the final steps of salt production. In the exposed for the visitors Harvesting workshop the salt is additionally washed, drained and dried and then crumbed into smaller pieces, taken under quality control and then packed and further distributed or used within the Salt SPA facilities and restaurant.

First Floor The Salt SPA is allocated on the First and Second floor of the building. It is divided for two areas: wet and dry. After visiting the reception that can be accessed either by the stairs and lift from other floors or by the additional entrance on the first floor, guests are forwarded into the changing areas, from which he can decide what treatments he wants to experience. Allocated on the First floor the main Wet SPA area, feature two varied in size and depth salt pools, with the therapeutic salt waters, jacuzzi, dry and wet sauna, a bar, life guards office in order to keep a safe eye on the visitor and a pools control room. The Wet area is a double storey height space enhancing the bathing experience by a waterfall connecting the bathing rooms on the upper floor with the pools underneath. As safety precaution the pool area have a special room for the Life Guards. The First floor also accommodates separate entrance to the double storey height salt cave on the northern part of the building.

107

Second Floor The Dry SPA on the Second floor provides treatments based on inhalation of Salo - Halotheraphy. The presence of salt ions in the air around the whole building will positively influence our health. Therefore, the treatments concentrated on dealing with respiratory conditions will be held on the Second floor. The Dry area includes Salt Steaming and Inhalation Rooms, which will be used not only for relaxation and inhalation treatments but will also for active recreation. The second floor also provides salt baths private rooms, for full relaxations and various skin treatments. On the second floor the visitors could also try facial and body massages or scrubs. The whole Spa Centre aims to use full range of Natural Salt benefits, providing multisensual experience as a part of the journey and celebration the building promotes.

Roof Top On the roof top of the Il Palazzo de Sale e Benessere there is a Public Restaurant providing a great number of delicious dishes, exploring the various tastes of the naturally produced Salt extracted form the Venetian Lagoon.

Realisation + Refinement

Environmental Strategy OrganicTechnology

LAR

SALT POND

PAN

ELS

RAIN WATER COLLECTION TANK

ELECRTICAL

SALINE- CRYSTALLIZED STRUCTURE

SALT WATER PUMPS

BIRNE POND

CRYSTALLIZED SALT POND

PUMP RAIN WATER FILTRATION METER

INVERTER DC ->AC

Refined part of the ARC1013 module, Integrated Technology Report - produced by the author

GROUND WATER HEATING

108

STEAM

Realisation + Refinement

HARVESTED SALT DRY COLD WATER FEED DESALINATION STATION

109

Realisation + Refinement

Precedent

Zaha Hadid - Grand Théatre de Rabat The building precedent I investigated for my project design was the Grand Théatre de Rabat located in the prestigious site between the cities of Rabat and Salè, in Morocco, by Zaha Hadid. The building accommodates big open theatres with functional spaces sharing the back of the building, efficiently reducing the size of the building. The Grand Théatre de Rabat is a prominent example of building that due to its complex programme and form demanded advanced digital 3D tools, that also pushed me towards seeking for the form through the 3D modelling, leaded by the educated decisions and a series of primer constraints. What I found extremely interesting is that architects pushed the project to the architectural limits. The design derives its energy from the Bouregreg river and fits perfectly into its environment, mimicking the dynamic of this river extending proudly to the sky gradually merging with the surrounding landscape with its sculptural form of seamless structure. It touches on important aspects of daylight, escaping from typical commonly known ‘dark-box’ of the theatre spaces. This was the condition, I analysed in my building dealing with cave like spaces. The big glazed openings introduced allowed in both cases the buildings to glow. Its intriguing, brutal crystalline geometry is derived form by traditional Moroccan muqarnas, encouraged me to courageously experiment with the form.

Edited part of the ARC1013 module, Integrated Technology Report - produced by the author

110

Realisation + Refinement

111

Realisation + Refinement

Precedent

Constructuion Strategy The precedent, Grand ThĂŠatre de Rabat is a huge engineering challenge of 27000m2. It is constructed in majority in concrete, featuring a combination of steel frame and concrete shell with several glazings gaps providing ambient light during the day and glow in the dark at night. The complicated construction is dealing with the varied geometries of both vertically and horizontally curved walls. The structure is finished with the steel framed roof sandwiched between two concrete shells. The steel work trusses used can span for big distances of around 60 meters, creating a big open space. Zaha Hadidâ&#x20AC;&#x2122;s design is constructed based on a structural envelope wrapping around the whole building, stiffened by a series of regular ribs. The areas between the auditorium and the external envelope form the circulation zones. These extend out onto the site to create a vast new public landscape, including an outdoor amphitheatre with a 7,000-seat capacity.

Application toVenice The Theatre is currently under construction what allowed me to analyse well its exceptional structure. The building is supported n mixed raft and piles foundations - 325 piles with large diameter, acting as cantilevers withstanding the seismically lateral loads. The site in Rabat, similarly to Venice is exposed for flooding risks and issues with ground conditions. The area of Rabat development site is subjected to seismic activity, therefore the structural stability was crucial. Similar strategy should be applied to Venetian site, dealing with the poor soils, providing a stable base for the building. Also the separating the interior structure from exterior in order to minimize the construction movement applied in Rabat, was a significant engineering aspects that I then analysed and modified, applying a strategy based on similar approaches within my own project.

112

Realisation + Refinement

Construction study of the Grand ThĂŠatre de Rabat

113

Realisation + Refinement

Structural Strategy

Due to the construction difficulties in terms of weak soils in Venice, the exterior and interior structures are separated from each other to minimise the risks of the ground movement, introducing a strategy of concrete shell supported by the interior steel frame structure.

Shell of the Crystal The location of the site in Venice despite great opportunities also sets a number of issues for the building structure to overcome. The building needs to deal with the unstable, Venetian solid and resist the forces of oceanic water and its further threats of corrosion of the materials. As part of the Structural Strategy, deep pile foundation will be required. The pile foundation would be reinforced by the thick raft placed on them creating a stable base for the rest of the structure. For the foundation the XS2 concrete class will be used, aimed for 'marine' structures exposed to the salt waters.

The primary structure of the concrete shell, is using the XS1 class for the exposed to airborne salt, not in direct contact with sea waters. The secondary structure is the stainless steel which applies to both interior and roof structure. The structural shell closed with steel framed structure, will hold salt ponds located on the roof top. The tertiary concrete roof deck is covered with concrete panels. The exterior of the building will be finished with specifically designed geometries of GRC panels, creating continuous transition between the facade and the shading system. The shading system is created out of thinner concrete panels filled with salt rock, preventing the too much of the direct sun light from entering the open, glazed areas. for the building cladding GRC panels, inspired by Zaha Hadid's application through many of her projects. The concrete facade panels accommodate salt infill, what will be explained in more details later.

The construction material need to respond to the natural processes occurring in the building which might be a potential risk of construction corrosions. Therefore the well known and explored materials are used as long as technologically educated decisions could be taken in order to provide the tested and most effective protection for the construction.

114

Realisation + Refinement

Tertiary Structure

Glazed salt pool structure

Concrete roof deck

Secondary Structure

Steel frame for glazed salt pool

Roof steel structure

Primary Structure Secondary Structure (interior)

Concrete shell with steel supports

Interior steel frame structure Raft and pile foundation

Construction strategy explosion

115

Realisation + Refinement

Diagramatic Construction Sequence

CONTEXT AXONOMETRIC

116

Realisation + Refinement

117

Realisation + Refinement

Facade Panel Inspiration

The facade panel was a result on one of my salt experiments, where the fascinating geometrical abilities of sodium chloride crystallization were purely expressed. The salt crystals formed perfectly shaped squares, creating abstract patterns of geometries based on the square. This is where I found a great inspiration for the Salt Facade Panels. The facade is a dissolvable a living shading system, created out of thin concrete panels filled with salt rock, preventing the too much of the direct sun light from the big glazed, open areas. The panel is designed to be constantly changing, both the lighting quality and the salt experience throughout its dissolving process. The salt infill being exposed to the weathering will eventually dissolve, until it will be replaced by the next infill harvested into the Harvesting are in the site. Facade is not touching the glazing, so it could be cleaned and well maintained.

118

Realisation + Refinement

Interior Structure

119

Realisation + Refinement

Facade Panel Salt infil

The hand made salt infill for the facade panels will also bring health benefits. Referring back to "Benefits of Salt" section, the heated by the sun light salt rock would produce salt ions improving the air quality. Salt facade panels are another element of SALINE -Il Palazzo di Sale e Benessere contributing to the whole development, its created Salt Ecology and Environment, rising wellness around Venice and strengthening its fading identity.

120

Realisation + Refinement

121

5 6 mm stainless-steel section two-component silicone jointing seal

4 Sensor measuring the salinity level Sealed nozzle directing the brine onto the crystallizing structures Salina- Crystallizing structure

3 Top Salt Pool high concentrated salt water 200 mm depth Laminated safety glass consisting of 12 x 12 mm toughened glass + 10 mm toughened glass

2 Concrete roof panels (accessible for visitors) 20 mm Mechanically controlled salt pool rain protection cover (glazed layer, sliding over the pool top when raining) Damp-proof course (DPC layer) Screed 75 mm Shuttering board 40 mm Steel brackets Insulation 100 mm Steel decking composite floor slab 120 mm Stainless steel truss 500 mm (Services allocated between the voids) Interior plaster finish

Realisation + Refinement

13 Drainage - regulating the water level in the Hight Tide tank

12 High Tide Tank Regulating System with the spring - operated mechanical system, collecting the water during hight tides (preventing flooding the salt ponds on site)

11 Powder-coated stainless-steel smoke flap in frame - ventilation

10 Fire Sprinkler Suspending ceiling accommodating servicing spaces

9 Coloured and customised solar PV panels

7 Sea Tide regulation pool max 4000 mm deep concrete shell 200 mm

6 GRC panels 40 mm with salt rock infill 30 mm stainless steel panel bracing Rigid connection holding the glazing Structural glass system (bolt fixed double glazed curtain wall) Glazing bolts Supporting glazed planar 300mm depth 25 mm wide

Realisation + Refinement

Detailed Construction Section

Saline Crystallized Columns and Salt Facade Pannels

ealisation + Refinement

(Insert im

mage)

Exterior

Salina - Il Palazzo di Sale e Benessere

Saline Salt Crystallized Column Structures

Salt Baths

Salt Spa & Wellness Centre

Interior The Public Groundloor

Salt Cave Salt Spa & Wellness Centre

Realisation + Refinement

19 18 20

1 2

5 3 4

21 15 0

Groundfloor 1. Salt Crystallization Salt Pond + Salt Structurs 2. Salt Channel for Collection in Harvest Area 3. Salt Harvest Area 4. Staff toilet 5. Production and Harvest Office 6.Pumping Area (for the Wet SPA) 7. Salt Ponds Control Office 8. Open Sitting Area 9. Café 10. Café Storage

11. Public Toilets 12. Pumping Area (for Salt Ponds) 13. Fire Safety Stairs + Lift 14. Public Stairs 15 Public Boat Access 16, 17. Main Entrance Doors 18. Salt Pond 1 - First Evaporation 19. Salt Pond 2 - First Evaporation 20. Salt Pond3 - Second Evaporation 21, 22. Exterior circulation - Ramp

132

Realisation + Refinement

3 4

16 12

13 17

First Floor 1. Salt Cave 2. Changing Room (Women) 3. Internal SPA circulation stairs 4. Changing Room (Men) 5. SPA Entrance 6. Storage 7. Bar 8. Reception 9. Staff Room

10. Life Guard Office 11. Wet SPA - Pools Area 12. Escape Corridor 13. Dry Sauna 14. Wet Sauna 15. Storage Room (SPA facilities) 16. Fire Safety Stairs + Lift 17. First floor SPA entrance 18. Public Stairs

134

Realisation + Refinement

8 3

10 14 11 15

13 17

Second Floor 1. Toilets 2. Salt Ihalation room 3. Salt Steaming Room 4, 5, 6. Salt Treatment Rooms 7. Storage 8, 9, 10, 11. Salt Bathing Rooms 12. Wet SPA - Pools Area 13. Massage Room 14. Escape Corridor 15. Fire Safety Stairs + Lift 17. Public Stairs 18. Salt Cave

136

Realisation + Refinement

3 4 2 5

1 9

Third Floor 1. Public Stairs 2. Restaurant Kitchen 3. Toilets 4. Restaurant Dinning Area 5. Cloak Room 6. Restaurant Entrance 7. Fire Safety Stairs + Lift 8. Salt Tarrace 9. Salt Pond 6 - Crystallizer

138

Realisation + Refinement

Perspective Section Various Spaces Uses RESTAURANT

Realisation + Refinement

DRY SPA RECEPTION

CAFE

WET SPA

HARVEST

Realisation + Refinement

Elevation Scale 1 : 200

Realisation + Refinement

ealisation + Refinement Realisation + Refinement

Realisation + Refinement

Celebration though Representation Salt site model

147

Realisation + Refinement

Salt Model

Setting the lights

152

Material Workshops

Material Skills I

with Rachel Currie, "Pattern Magic"

154

Material Workshops

Material Practise & Skills I

Poppy Whatmore: "Transforming Objects"

156

Material Workshops

Material Practise & Skills II

with Sophie Cobley "Working with wood"

158

Material Workshops

Material Practise & Skills III

with Russ Coleman, „Introduction to Stonemasonry”

160

Material Workshops

Material Practise & Skills IV

with Amy Linford, „Cating”

162

Od: Ecovative Team

Cultural Bibliography

12 kwi 2019 21:35

Do: mnie npiorecka@wp.pl Temat: You're a Winner!đ&#x;?&#x201E;đ&#x;?&#x201E;

Cultural Bibliography

You're a Winner! We've reviewed all the contestants, and your project stood out. It was not only innovative in purpose and materials, but the additional effort you gave the contest really made the project successful in our eyes. Next Steps: We'd like to write a feature about you for Ecovative's Designer Spotlight on the Grow.bio blog. Our Digital Media Specialist will follow up with details. Prizes: To send you your prizes, please email contest@ecovativedesign.com your shipping address. Embroidered Ecovative hat

This year I was very engaged into developing my various skills. The dissertation in which I put a lot of my time and passion, was one of our most successful achievements this year as it won the Ecovative Design Contest. As a winner I had an interview with the company, which will be soon published online. That success gave me a great motivation for further development. During 3D I continued on developing my 3D software modelling skills, working with Rhino 3dsMAX and Rhino. I also worked on my representation which I got very inspired about, after Pery Kulpar's lecture at our University. This year I also attended a number of various Exhibitions. I visited the amazing exhibitions of the Venetian Biennale, several exhibition in Hamburg, Wroclaw and Warsaw, and also in Newcastle such as RIBA Medal's Exhibition or Open Studios at Osborne. Also I visited Oxford taking part in the Congress of Polish Societies, as a president of the Newcastle Polish Society. I am also a part of the Degree Show committee, working in on the media of the Show. I was also the initial author of this years Degree invitations contributing to the whole Degree Show graphics All of the trips were very engaging and developed my architectural perspectives, being a great inspirations for my graduation project. Though the year I worked on my photography skills, enjoying the beauty of architecture though the camera, especially while travelling. In the spare time I was boosting my motivation by positive energy derived from dancing. And I also managed to visit SPA, that allowed me to fully engage and understand my own SPA development.

Mushroom Stool GIY Material GIY Growth Form Designer Spotlight feature Prizes may take weeks up to a month to arrive. We appreciate your patience. Congratulations again! We had fun and hope you did too. We are also all ears for feedback and experience! Do All the best, The Judges

If would like to continue using mycelium in your projects, our GIY kits are always available online. Buy Now

https://poczta.wp.pl/k/#/mails/show?id=7370ac93713ecdbca4811901&label=1&q=ecovative

164

1/2

Cultural Bibliography

165

Cultural Bibliography

166

Cultural Bibliography

167

Bibliography

Bibliogrphy Books and Articles:

Press, 2018) Riahi, Pari, Expanding The Boundaries Of Architectural Representation, The Journal Of Architecture, 22 (2017), 815-824 <https://doi.org/10.1080/13602365.2017.135 1671>

Armstrong, Rachel. 2015. An Experimental Approach Towards Characterizing Architectural Ecologies, Systema Journal | BCSSS, 2,

Parisi, Stefano, Valentina Rognoli, and Marieke Sonneveld, "Material Tinkering. An Inspirational Approach For Experiential Learning And Envisioning In Product Design Education", The Design Journal, 20 (2017), S1167-S1184 <https://doi.org/10.1080/14 606925.2017.1353059>

Armstrong, Rachel. 2015. Vibrant Architecture : Material Realm as a Codesigner of Living Spaces (Warsaw: De Gruyter Open) Badarnah, Lidia, and Usama Kadri, "A Methodology For The Generation Of Biomimetic Design Concepts", Architectural Science Review, 58 (2014), 120-133 <https://doi.org/10.1080/00038628.2014.922458>

Sankaran, Shrikrishnan, Shifang Zhao, Christina Muth, Julieta Paez, and Aránzazu del Campo, "Toward Light-Regulated Living Biomaterials", Advanced Science, 5 (2018), 1800383 <https://doi.org/10.1002/advs.201800383>

Calvino, Italo. 2009. Invisible Cities (London Vintage)

Stamets, Paul, Mycelium Running, 1st edn (Berkeley, Calif.: Ten Speed Press, 2005) Camere, Serena, and Elvin Karana, "Fabricating Materials From Living Organisms: An Emerging Design Practice", Journal Of Cleaner Production, 186 (2018), 570-584 <https://doi.org/10.1016/j.jclepro.2018.03.081>

Websites:

Di Lucchio, Loredana, "Design For Next Challenges", The Design Journal, 20 (2017), S1-S8 <https://doi.org/10.1080/14606925.2017.1352648>

"40Xvenezia – Archivio Documentale Dell'attività Del Movimento Ed Associazione 40Xvenezia", 40Xvenezia.It <http://40xvenezia.it/> [Accessed 24 March 2019] Anneke. “Teatrino Di Palazzo Grassi - Guiding Architects.” Guiding Architects, 16 Apr. 2016, www.guiding-architects.net/teatrino-di-palazzo-grassi/[ Accessed 28 Jan. 2019]

Farrell, Yvonne, and Shelley Mcnamara. 2018. Freespace : Biennale Architettura 2018 : Short Guide (Venezia: La Biennale Di Venezia, May) Florio, Wilson, and Mario Lascar Segall, Experimentation And Representation In Architecture: Analyzing One’S Own Design Activity - Sheffield Hallam University Research Archive, Shura.Shu.Ac.Uk, 2008

Arifin, Yusnani Hajar, and Yusri Yusuf, "Mycelium Fibers As New Resource For Environmental Sustainability", Procedia Engineering, 53 (2013), 504-508 <https://doi. org/10.1016/j.proeng.2013.02.065>

Giulia Foscari, and Rem Koolhaas. 2014. Elements of Venice (Zürich: Lars Müller, Cop)

Centre, UNESCO, "Venice And Its Lagoon", Whc.Unesco.Org, 2019 <https://whc.unesco.org/en/list/394> [Accessed 21 March 2019]

Mccarter, R. and Scarpa, C. (2013). Carlo Scarpa. London: Phaidon Press. Morris, Jan. 2015. Venice (London: Faber & Faber)

"Do People Have Allergic Reactions To Sodium Chloride? | Livestrong.Com", LIVESTRONG.COM <https://www.livestrong.com/article/524244-do-people-have-allergic-reactions-to-sodium-chloride/> [Accessed 26 March 2019]

Imhof, Barbara, and Petra Gruber (Eds.), Build To Grow - Blending Architecture and Biology, Angewandte edn (Basel, Switzerland: Birkhäuser, 2016)

Encyclopædia Britannica <https://www.britannica.com/science> [Accessed 16 June 2018]

Marzano, Annalisa, Harvesting The Sea (Oxford: Oxford University Press, 2013), pp. 119-141

“Floor in Venetian Terrazzo - Venice Wiki, La Guida Collaborativa Di Venezia.” Venicewiki.Org, venicewiki.org/wiki/Floor_in_venetian_Terrazzo. [Accessed 26 Apr. 2019]

Ptak, Anna, and Galeria Zachęta. 2018. Amplifying Nature : The Planetary Imagination of Architecture in the Anthropocene (Warsaw Zachęta - National Gallery Of Art) Psarra, Sophia, The Venice Variation, Tracing The Architectural Imagination (UCL

168

Bibliography

“Foraging & Harvesting Sea Salt.” The Cape Coop, 10 Feb. 2018, www.thecapecoop. com/foraging-harvesting-sea-salt/ [Accessed 30 Mar. 2019] Giuffrida, Angela. “The Death of Venice? City’s Battles with Tourism and Flooding Reach Crisis Level.” The Guardian, The Guardian, 21 Feb. 2019, www.theguardian. com/world/2019/jan/06/venice-losing-fight-with-tourism-and-flooding [Accessed 28 Oct. 2019] Grassi, Palazzo. “Teatrino Di Palazzo Grassi.” Palazzo Grassi, 2009, www. palazzograssi.it/en/about/sites/teatrino/ [Accessed 22 Aug. 2019] Growing Salt Crystals <http://www.loadtve.biz/growing-salt-crystals.html> [Accessed 13 February 2019] Gunther, Marc, "Can Mushrooms Replace Plastic?", The Guardian, 2019 <https:// www.theguardian.com/sustainable-business/mushrooms-new-plastic-ecovative> [Accessed 13 July 2018]

“Halotherapy Salt Room - PürLux Spa.” PürLux Spa, 2019, purluxspa.com/ halotherapy-salt-room/. Accessed 14 Mar. 2019. https://www.facebook.com/riccardo.bianchini.505. “Palazzo Grassi - Venice François Pinault Foundation.” Inexhibit, 2016, www.inexhibit.com/mymuseum/ palazzo-grassi-venice/[Accessed 28 Mar. 2019] "Heading To Venice? Don’T Forget Your Pollution Mask | Axel Friedrich", The Guardian, 2017 <https://www.theguardian.com/environment/2017/jul/31/heading-to-venice-dont-forget-your-pollution-mask> [Accessed 26 March 2019] Metal Supermarkets. “How to Prevent Rust.” Metal Supermarkets - Steel, Aluminum, Stainless, Hot-Rolled, Cold-Rolled, Alloy, Carbon, Galvanized, Brass, Bronze, Copper, Metal Supermarkets Inc., 31 July 2015, www.metalsupermarkets. com/how-to-prevent-rust/[Accessed 25 Mar. 2019] "Mycelium Design", Nwo.Nl <https://www.nwo.nl/en/research-and-results/research-projects/i/67/10467.html> [Accessed 6 July 2018] “Palazzo Grassi Museum, Fan of Contemporary Art?” Venice-Information.Com, 2012, www.venice-information.com/Palazzo-Grassi.html [Accessed 28 Mar. 2019] “Salt Therapy Benefits For Breathing, Skin & The Immune System - Dr. Axe”, Dr. Axe, 2019 <https://draxe.com/salt-therapy/> [Accessed 15 February 2019] "Saltpans Conservation In The Mediterranean Region — Medwet", Medwet.Org, 2018 <https://medwet.org/2018/09/saltpans-conservation-in-the-mediterranean-region/> [Accessed 27 March 2019]

"Unesco, International Fund For The Promotion Of Culture (IFPC) | Med Culture English", Medculture.Eu, 2015 <https://www.medculture.eu/resources/donors/public/unesco-international-fund-promotion-culture-ifpc> [Accessed 23 March 2019] “Venice And Its Lagoons :: Salt In Venice”, Venicethefuture.Com <http://www.venicethefuture.com/schede/uk/174?aliusid=174> [Accessed 6 February 2019] “Venice, Italy, Is Being Destroyed By Tourism And Flooding”, Wanderwisdom, 2019 <https://wanderwisdom.com/travel-destinations/Venice-Tourism-Sinking> [Accessed 12 February 2019] "Venice And Its Lagoon – Action Plans", Veniceandlagoon.Net, 2018 <http://www.veniceandlagoon.net/web/en/management_plan/action_plans/> [Accessed 25 March 2019] “Venice Architecture Biennale 2018 Preview | RCR – Dream and Nature.” Wallpaper*, 2018, www.wallpaper.com/venice-architecture-biennale/2018/preview/rcr-dream-andnature. [Accessed 31 Sept. 2019] "Venice, Itally.], Local Progress Report On The Implementation Of The Hyogo Framework For Action (First Cycle)", Preventionweb.Net, 2019 <https://www.preventionweb.net/files/31927_LGSAT_5HFA-Venice(2011-2013).pdf> [Accessed 29 March 2019] “Venice: From Gated Lagoon to Bioregion.” Thackara.Com, 2012, thackara.com/placebioregion/venice-from-gated-lagoon-to-bioregion/[Accessed 23 Mar. 2019] “Venice: Making the Lagoon Worth Its Salt | ParadoXcity Studio Venice.” Virginia.Edu, 2012, pages.shanti.virginia.edu/Venice_11Sp_ALAR/tour/venice-making-the-lagoonworth-its-salt/ [Accessed 30 Apr. 2019] "Venice World Heritage Status Under Threat", The Guardian, 2017 <https://www.theguardian.com/travel/2017/may/26/venice-tourists-cruise-ships-pollution-italy-biennale> [Accessed 26 March 2019] “WCS Wild View: Salt Is Essential To Life For Flamingos”, Blog.Wcs.Org <https://blog. wcs.org/photo/2015/01/21/salt-is-essential-to-life-flamingos-bahamas/> [Accessed 11 February 2019] “What Makes Venice So Unique? Well, There’s All That Beauty For Starters...” NeverStopTraveling, 31 Aug. 2018, www.neverstoptraveling.com/what-makes-veniceunique [Accessed 17 July 2019] Zhu, Ling, and Na Li See Less, “Crystallization”, Bartlett Bpro Reaserch, 2014 <https:// issuu.com/soomeenhahm/docs/rc6_1314_crystallization> [Accessed 10 February 2019]

Spa, Halotherapy, “HALOTHERAPY SALT SPA”, Halotherapy Salt Spa <https://halotherapysaltspa.ca/halotherapy-%2F-benefits> [Accessed 9 February 2019] “The Venetian Terrazzo: Marvellous Flooring between Tradition and Innovation.” Italian Interior Design by Chiara Pecorelli, 2016, www.italiabychiara.com/venetianterrazzo-floor/ [Accessed 21 Feb. 2019]

169

Bibliography

Video:

El Masaiti, Amira. “Rabat Zaha.” Moroccoworldnews.Com, 2019, www.moroccoworldnews.com/wp-content/uploads/2017/07/RabatGrandTheatre-640x347.jpg. [Accessed 5 Mar. 2019]

Are Mushrooms The New Plastic?, 2010, https://www.ted.com/talks/eben_bayer_are_ mushrooms_the_new_plastic [Accessed 18 June 2018]

Bouillon, Chemical. “EXPERIMENT - Salt Crystals Growing - Time Lapse (Micro Macro).” YouTube, 15 Jan. 2017, www.youtube.com/watch?v=0g7qYPZHf0A. [Accessed 3 May 2019]

Mitsubishi. “Gran Theatre de Rabat.” Melcohit.Com, www.melcohit.com/img/progetti/userFiles/gallery/zoom/project4999_2.jpg. Accessed 14 May 2019. “ZahaHadid Hadid Inlocuieste Formele Ascutite The.” Rupohimg.Pw, 2014, rupohimg. pw/ZahaHadid-hadid-inlocuieste-formele-ascutite-The.html.[Accessed 24 Feb. 2019]

"Fungus: The Plastic Of The Future", Video, 2019, https://video.vice.com/en_us/video/ fungus-the-plastic-of-the-future/55d349a52b68305332db7143 [Accessed 30 July 2018]

Page 111 Archdaily. “Rabat Grand Theatre Zaha Hadid.” Adsttc.Com, 2010, images.adsttc.com/ media/images/55e8/95f9/6c9d/b53d/0100/006b/slideshow/1615_grand-theatre_ rabat-3.jpg?1441306094. [Accessed 1 Dec. 201]

“GTR SITE PICTURES 2014-2018 - AKTII Copyright - Structure Grand Theatre de Rabat Morocco.” Vimeo, 18 May 2019, vimeo.com/279277284. [Accessed 24 Mar. 2019] Liang, Yan. “Watching Salt Crystallize Is Way More Beautiful Than We Could Have Imagined.” Digg.Com, Digg, 2014, digg.com/video/salt-crystallization. [Accessed 23 Apr. 2019] Ross, Phil, The Fungi In Your Future, 2016, https://www.youtube.com/watch?v=fJlkuW1Elug [Accessed 13 June 2018].

Page 112 (from the top left) “GTR SITE PICTURES 2014-2018 - AKTII Copyright - Structure Grand Theatre de Rabat Morocco.” Vimeo, 18 May 2019, vimeo.com/279277284. [Accessed 24 Mar. 2019]

STERLING, Nicolas. “AKTII Copyright - IASS2017 Presentation - The Structure Grand Theatre de Rabat - Morocco - Nicolas Sterling - Jeroen Janssen.” Vimeo, 28 May 2019, vimeo.com/249564634 [Accessed 18 Jan. 2019]

AKT II. “Grand Theatre Bouregreg Site Photo 3.” Akt-Uk.Com, akt-uk.com/medias/ images/diaporamas/229/grand-theatre-bouregreg-site-photo-3_940x414.jpg. Accessed 21 May 2019.

UH. “Modeling Zaha Hadid’s Grand Rabat Theatre with Blender.” YouTube, 3 Apr. 2018, www.youtube.com/watch?v=Ccbi00JNAbI [Accessed 29 Jan. 2019]

Autodesk. “An Early Building Phase.” Autodesk.Com, cdn.redshift.autodesk. com/2019/04/theatre_rabat_construction-pano-FW-1024x333.jpg. Accessed 25 May 2019.

Ilustrations references:

Bearch. “GRAND THÉÂTRE DE RABAT.” Bearch.Ma, 2019, www.bearch.ma/wp-content/uploads/2018/11/PHO_OK-bicubic.jpg. Accessed 28 Nov. 2018.

Page 87

Vimeo. “Grand Theatre de Rabat, Zaha Hadid Architects, Structural Engineer AKTII, Site Construction Pictures Concrete Ans Steel Work September 2014 - July 2018.” Vimeocdn.Com, June 2018, i.vimeocdn.com/video/712500345.webp?mw=900&mh=506. Accessed 25 May 2019.

(exported from Video, edited) Bouillon, Chemical. “EXPERIMENT - Salt Crystals Growing - Time Lapse (Micro Macro).” YouTube, 15 Jan. 2017, www.youtube.com/watch?v=0g7qYPZHf0A. [Accessed 3 May 2019]

Page 113 (exported from Video, edited) “GTR SITE PICTURES 2014-2018 - AKTII Copyright - Structure Grand Theatre de Rabat Morocco.” Vimeo, 18 May 2019, vimeo.com/279277284. [Accessed 24 Mar. 2019]

Page 94 TouchAmerica. “Himalayan Salt Wall Kit.” Https://Www.Touchamerica.Com/Products/ Himalayan-Salt-Walls, 2019, cdn.shopify.com/s/files/1/1367/8795/products/ SaltInhalationRoom1_smaller_2048x.jpg?v=1558059558. Accessed 29 May 2019. Trend:, Fitness. “Fitness Trend: Salt Yoga?” YouTube, 30 Jan. 2017, www.youtube.com/ watch?v=vCvAaZzH6Ew. [Accessed 29 Apr. 2019] Page 110 (from the top left) Archidatum. “Gran de Theatre de Rabat / Zaha Hadid Architects.” Gstatic.Com, 2019, encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRmPUVSyAOTv5sS4lsz7xRbnuPmrKQd977XPeIdGgsyybts2ozW [Accessed 25 Apr. 2019] Bearch. “GRAND THÉÂTRE DE RABAT.” Bearch.Ma, 2019, www.bearch.ma/wp-content/ uploads/2018/11/PHO_OK-bicubic.jpg. [Accessed 28 Nov. 2018] Boutegreg. “The Grand Theatre of Rabat Pictures.” Bouregreg.Com, 2019, www. bouregreg.com/wp-content/uploads/photo-gallery/vue-globale%20(1).jpg. [Accessed 21 May 2019]

170