Metamorph.
Enter,
Portfolio of Octorino Tjandra
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Start,
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16/17
Portfolio of Octorino Tjandra
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Stage 3
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School of Architecture Planning & Landscape
Start,
Newcastle University
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Building Upon Building Studio
Academic Portfolio
Submitted in partial fulfilment in a partial fulfilment of the BA Architecture Honours Degree, Newcastle University 2016/2017
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Hello.
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Preserve, Demolish.
Contents
Building Upon Building
Completed on: 16 th June 2017
Pages: 84 Pages, 47 Spreads
01 19 25
Projects: 3
Pg.
Primer.
Start: 17 th October 2016
The Grand Tour. Departure: 27 th November 2016 Return: 3 rd December 2016
Let's Begin.
Origami / Dulwich Gallery / Pavillion
Rome / Verona / Venice Screened on: 12 th December 2016
The New Bank of England. Start: 9 th January 2017 Staging / Realisation / Refinement Keyword: Metamorph
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Integrated Technology - Reflection Non-Design Works
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01 86
Building Upon Building
Origami / Dulwich Gallery / Pavillion
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Location: The Old Stairs
Duration: Week 1 - 4
Group Project
Welcome. In the span of 5 weeks, Building Upon Building
Studio’s primer stage consists of a series of extensive exercises that includes origami folding, designing a geodesic pavillion over Sir John Soane’s Dulwich gallery, and constructing an installation for the primer exhibition.
Completion: November 2016
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Origami ...
week
I,II V
Transformable, Folding Spaces? Origami indeed has its own popularity and history, whether in arts or architecture, but it is by folding and experiencing them directly they could be better appreciated.
The transformibility quality of paper itself could be visualised as a space that its form is unsettled. The progressive nature of Origami inspires the future proposals along the year, by viewing architectural design and construction as a non-linear progress.
3
4
week
III V Dulwich Gallery ... Cover. The challenge of this short project is to design an enveloping pavilion onto one of Soane’s creation, the Dulwich Gallery in London. It mainly aims to design a geodesic dome utilising the shapes explored in the earlier weeks of the primer.
Through wrapping the dome partially, mainly at the top and sides, the front and back could be use as an access point. Patterns were then utilised to filter the direct sunlight onto the building and its surrounding garden.
5
6
Fluidity. 7
Folded ornamental patterns are laid all across the added pavilion to reduce the angular shape of the geodesic dimensions and filters the sunlight.
1:500 Plan and Section Through the Pavillion
8
week
IV,V V
Exhibit ... Connect and Retrace.
Proposal.
Final.
For the Primer exhibition, our studio went
My inital proposal for the exhibition
The winning proposal incorporated three
through an internal competition phase in
incorporates three full paper domes
large sections of a geodesic dome and
the 4th week. A winning proposal would
scattered across the site. Between these
hung them over the ceiling. A projector
be polished and constructed in the 5th
domes, a series of tesselated origami
that loops a video of the construction
week.
structure spans across the space to
process is then displayed on these
create interactivity. These tesselation are
domes. All activities over the Primer
able to be pulled down through strings
were also displayed in pictures frames
that hangs from the structure.
and tabletops. A narrow timeline of the Bank of England were also installed in a circular geodesic structure.
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Experimentation. The design develops through sketches and paper folding exercises. Inspired by the dynamism and interactivity of a tesselated origami, the proposal attempted to incorporate the technique.
10
Fold/Roll. Firstly, the construction of the domes was began by rolling A4 sheets of unused papers into taped,15mm diameter tubes. The stacks of paper waste were then split and grouped into larger rolls of 150, ready to be assembled.
Construct. Connectors are then made by folding A5-sized paper into long, thin folds and taped on its centre and ends. These connectors were inserted into the rolled sheets to form the finalised geodesic domes. The dome consistsd of hexagons and pentagons. Origami textures from earlier stage were installed on the gaps.
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Install. The domes were finally attached across the walls through installing a variety of nails and wall hooks, and also utilising existing parts of the building. A projector were prepared to project our film onto the surfaces of these domes. After the completion of the installation, models. design and researched materials over primer were then assembled and combined to form a collective exhibition.
Connect. Our primer were presented through a video that both recapped, reintroduced and explained the concept of our primer. Through a wide discussion, the short documentary introduces the justification behind our approaches and experiments, whilst explaing the long architectural history of the Bank of England. It also closely relates and serves as a closure to our project by relating the four different elements of the primer.
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Unveil ... Into the Dark. As the design incorporates combinations of lighting from various light sources, it is necessary to ensure that other light sources were sufficiently dim. After the evening progresses, hues and lights from the projector and spotlights could properly highlighted the installation.
A looping video were also made to accompany the installation by projecting onto one of the geodesic domes and adding dynamism to the overall installation.
Available at:
https://is.gd/QhHWlO
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Timeline of Bank of England’s history.
Exhibited models of the Bank of England’s skirting wall.
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Geodesic domes being projected with a looped video.
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19 86
Rome
Enjoy.
Building Upon Building
Santa Maria degli Angeli, Roman Forums and Capitolium, Pantheon, St. Ignatius, Piazza Navonna, Santa Maria della Pace, Castello St. Angelo Colosseum, Titus Arch Notre-ÂD ame University Vatican Hertzian Library Ara Pacis Auditorium Santa Cecilia Maxxi Palazzetto dello Sport
Verona
Castlevecchio Verona Cathedral
Venice
Fondaco dei Tedeschi St. Marc's Basilica Piazza San Marco
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Documented on Nikon D750 & Jack’s Microphone
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Port of Departure: Edinburgh
Location: Italy
Length: 7D/6N
Rome / Verona / Venice
Italia. In the Grand Tour, our studio visited a wide range of architectures and witnessed its history through Rome, Verona and Venice.
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Date : 27 th November 2016 - 3 rd December 2016
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Collection of photos from the trip.
Travel ... Inspire. The Grand Tour, a week of experiences through Italy, stands as an inspiration and insights into architecture which further extends my design philosophy through the year. By witnessing the long history in architecture and directly visiting the places that inspired Soane in his life. This broad compilation of atmospheres held the significance of stretching my language used in future proposals.
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Gr In the following pages, images that are marked with this emblem are self-taken during the Grand Tour and significantly inspires the design project.
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Stills taken from the film.
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Unravel ... Film. A short film that documents and presents the trip in detail was produced. The film itself is divided into two, introduction and full.
The introductory video mainly focuses on summarising the trip densely in under 2 minutes in a celebratory manner.
The full video closely documents the trip in short interviews that guides and explains through the video.
Available at:
https://vimeo.com/197517016
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Task: Preserve and Demolish
Building Upon Building
Staging / Realisation / Refinement
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Architect: Sir Herbert Baker
Area: 3.5 Acre
Design Project
The Threadneedle Castle. Entailed with its extensive history, The Bank of England, has been standing in the densely occupied Threadneedle Street in the City of London since 1939. The current building sits upon Soane's Bank which was demolished in the early 20th Century to satisfy the need for a larger building. Questions and criticisms inescapably arise throughout the years that criticises the building’s spatial issues. Nikolaus Pevsner describes the demolition as “the greates architectural crime, in the City of London, of the twentieth century”.
The tension between the approach and its architectural criticisms has set the main brief of this project to inquire the means of preservation, function and aesthetics.
Building Completion: 1939
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‘Protagonistic’ Discipline ... Preservation Manifesto. The formality and informality of one’s behaviour within a space itself is conditioned by the boundaries set by the ambivalence within their mind. Repetition of these formalities and informalities leads to the development of a concious yet unspoken traditions within an enviroment. This impromptu behavioural development creates an intimate relation between an architecture and its consumers regardless of their status (In the bank, as an example, are the Governor, the employees or the public).
Baker's Bank has stood for nearly a century and has become a space where cultures, rituals and memories are, both conciously and unconciously, shaped during its lifespan. Facing against the criticisms, from Pevsner as an instance, Baker's Bank has undoubtedly performed in fulfilling the modern demand for enlargement and increased functionality in comparison to Soane's
Bank.
This proposal attempts to stand upon the intimate relation between people and a building, where it respects existing traditions and cultures of its occupiers. It ultimately believes that all buildings have its respective qualities to be preserved, undetermined by the building’s performance in the scale of time, place and form.
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The Protagonist(s). The bank’s protagonists are not only those with a title or position the in the Bank’s system, but it involves as little as those who pass around the bank. The culture of the bank’s architecture also includes both the outdoor and indoor spaces.
For example, during rain, people naturally uses the niches around Soane’s skirting walls as a rain shelter. The proposal aims to stand as a platform that understands, respects and supports these behaviours and traditions.
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Context ... A Moated Castle. 29
Traffic actively surrounds the bank throughout the day, especially in Threadneedle Street. Pedestrians and cars movement entirely surrounds the Bank, perhaps related to the condition of a moated castle. Aware of these conditions, the proposal should encorporate the impact of the surrounding dynamism through aiming to protect and maintain the bank’s secrecy. The challenge and aims of this project is to invite the public into the building whilst controlling the entire system.
Density. Threadneedle Street area is filled with tall buildings that nearly diminishes the bank. Furthermore, the heavy traffic continually circles around the bank. The proposal aims to maintain the stature of the bank by working through the existing volume and preserving it as a mass.
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Podium of Untold Stories. In a form that diminishes the people, Soane’s skirting wall entirely surrounds the bank with a number of niches on. These niches could be in the form of an arch, squares or merely an offset part of the wall.
The interactivity of these niches emerges when pedestrians utilises these spaces on the wall as shelters, framing them as a “statues�.
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Memorial Statue of Sir John Soane
The Living Statues ... Intuitive/concious? Whether it’s a concious act or something purely natural, these ‘living statues’ framed itself within the bank and coincidentally reflected a similarity towards Sir John Soane’s statue on one of the arched niches on his skirting wall. By framing these unconcious protagonists, the bank has already engages public involvement.
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Metamorphosis ... “If the physical reality is understood and conceptualised as an analogy to our imagination of reality, then we pursue a morphological design concept, turning it into phenomena which, like all real concepts, can be expanded or condensed.� - Oswald Ungers, City Metaphors in MAN transFORMS
All about the people. When the project was previously unnarrated, the discussion focused on the idea of preserving and cultivating the unconcious decisions as mentioned previously. Not only through the niches, with the age of the bank, other cultures and traditions surely emerges within the bank which mature in time. It is by prioritising the people, the brief of this project aims to preserve the majority of the bank in a subtle, yet significant manner, in order to preserve not only the building but also the unspoken traditions.
Morph. The concept of Metamorphosis was inspired by Sir John Soane’s loggia that was transformed into an indoor space, to accomodate his need for space. It is further matured by Oswald Ungers's essay that visualises architecture as a transformative subject, like an Origami. Rather than constructing the bank in a single, terminative process, the proposal focuses on being progressive through dividing into three episodic phases. Through this approach, the transition from the old and new could be gradual, adaptable and inhabitable along the process without the need for relocation.
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Therefore, the approach that this proposal has taken is to divide the construction process into four progressive stages, which on its own possesses individual architectural value, in order to fulfil our brief and methodology. Built in primarily steel frames, the building allows itself to be deconstructed systematically, which endorses the first stage to focus on reconstructing the ground floor through selectively demolishing any non-primary structure and reinforcing the structure with steel lintels in order to create an open-plan museum.
A collage of the transforming Bank of England.
The construction is the design. The proposed approach envisions design and construction as a single entity that shifts in parallel until its completion. As the Bank is operating, the building would transform progressively in three episodes in streched period of time.
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- (clears throat) People, it’s time for the Bank to morph.
Original.
Phase I.
Old Lady of Threaneedle Street.
Remove and Reinforce.
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__ The Ground and First Floor, is entirely
The Original Bank, construction in steel frame and finished with stoneworks.
transformed into a site wide museum, gallery and educational area that is open to public through removing walls and reinforcing the existing columns. This aims to introduce the key spaces of the bank when these floors
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were once operating as an active bank.
Phase II.
Phase III.
Envelope.
Serve.
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Second Floor upwards now operates
Finally, after the completion of the external
as the main banking area.
corridors, these corriders are converted into indoor spaces by glazing the gaps
A self-supporting external skin will
and installing stoneworks.
be attached to the bank for additional circulation areas whilst undergoing
This concludes the bank’s transformation
internal alterations.
with a finally matured facade and facilities.
As the structure and circulation shelters the building from direct public sight, the internal floors and walls are selectively removed to provide better light sources through creating lightwells and
enlarging the windows.
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Original.
The current and following diagrams cuts through the corner of the offices vertically, from the roof down to the ground floor.
The Bank. The original bank, located in the central part of the City of London, are surrounded heavily with traffic and pedestrians. Openings are limited to maintain the privacy from outside.
Phase I. Larva
Remaining spaces are kept as rooms and offices for the museum/gallery.
Series of Soane's spaces (yellow coloured) are
resurrected in its original places.
Existing walls, both load bearing and non-load bearing, are removed for
mobility that leaves only the vertical The banking area starts from the Second Floor upwards and concentrated at the
front and back of the bank.
The Museum/Gallery. Privacy of the bank has always been the upmost concern, but that action has completely excluded and separated themselves from the public.
The ground and first floor of the building are where the bank’s important rooms (Parlours, meeting rooms, lobby, etc.) are located. The main strategy in Phase I is focused on eliminating the boundaries between the public and the bank by the opening
the entire ground and first floor to public as a recreational architectural museum and gallery spaces.
elements.
Selective Demolition. The bank’s interior is known to be complicated and contains hidden spaces/stairs. To exhibit this rarely seen qualities within a building, especially the Bank of England that has stood for nearly a century,
walls are demolished selectively to unwrap the maze within the bank. The methodology is primarily used to construct new rooms, spaces and
necessary offices to ensure the operativeness of the space.
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This also introduces new light entrances through creating open areas. The lower part of the bank is now exhibited to the public as a ruin of the
previous bank, in the form of spaces that now caters the public.
To sustain the building’s weight on top after the demolition, the existing structure requires further reinforcement.
It is achieved by installing sets of acroprops to support the load temporarily, then
two adjacent steel lintels are attached between pairs of columns. Afterwards, the walls underneath are ready to be removed leaving only the vertical elements.
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Areas with reinforced columns.
Original,
Uncover,
Wrap,
Reinforcing the Columns. Fill, In preparation for Phase II , a selection of existing
columns are reinforced by disassembling the stonework
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that surrounds the existing steel structure, then covering
it with two steel L-Beams. Afterwards, concrete is then poured into the space in between. The stonework is then reinstalled, thus giving the structures an additional structural strength whilst preserving its forms.
Clad.
Access to the Bank
Preserved, Reinforced Structures
Public Access
Entrance.
Added Load Bearing Walls Demolished Walls
Columns.
Removed Walls.
As the public is separated from the private
The reinforced columns would sustain the
To create an open plan space, walls are
area by levels, the entrance to the bank will
added weights in the later phase, therefore
removed, and this involves the load bearing
located at the front and back of the Bank. In
as the replicas are being constructed,
walls. Steel lintels are added in between the
the front entrance, staircase and elevators
reinforcement would be necessary.
columns to sustain the load.
leads directly to the second floor of the bank.. New walls are built to create new boundaries that divides the new main banking area, the public and Soane’s Bank replicas.
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Golden Hour
...
Replica. Working from the existing grid of the current Bank, the proposal takes advantages from the possibility of replicating some areas of Soane’s Bank. Acting as glimpses from the past, these spaces will now exhibits the grandeur of Soane’s bank in the form of a museum and gallerial spaces.
Resurrection of the Painted. Joseph Gandy worked as Sir John Soane’s draftman during the commisioning of Soane’s Bank of England. The rooms has been largely exhibited through his painting that has its own distinct colour.
Warm and soft tint from the sunrise or sunset, the painted rooms each has its distinctive atmospheres but they all shared a similar element, colour palette. Gandy’s dramatic emphasis has labeled these rooms with its own characteristics.
Instead of reconstructing these rooms in any fitting spaces, it ultimately prioritises in replicating Soane's
spaces in areas that could retrieve the same atmospheric qualities as the paintings.
The people has been accustomed in experiencing Soane’s rooms merely through Gandy’s paintings and this proposal aims to grant the public an access to the
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dramatic experience.
Soane’s Bank of England
Stock Office
Transfer Office
Replicas of Soane’s Spaces
Replicas of Soane’s Spaces
Public Museum/Gallery
Taller Office Areas
Entrance to the main Bank
Preserving the Light. To avoid blockage from the sun, the selected spaces rims around the existing offices which stacks 7 stories high. These spaces wraps around the taller areas of the bank, from its southern to eastern side to guarantee the sunlight’s penetration in the morning and evening.
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Phase II. Pupation
Lightwells serves as an additional light sources and communal areaas. Obelisks
are placed in its centres as a remnant of the demolished bank.
External layer of exposed steel frame structure that serves as an alternative
circulation space.
Transparency. The Bank’s demand for privacy and secrecy from the public has been blatantly displayed all this time.
The skin acts as a signal or metaphor that the bank
is experiencing a change, a change towards a more transparent and honest financial system. The outdoor circulation envelopes the existing whilst transforming
the internal parts of the building.
This process could be visible to the public, and yet its visibility is still limited and maintained through protecting it with the mobility of the external skin.
Enveloping the Bank. As the aim of this project is leaned towards cultivation rather than
removal, preserving the existing is a priority. The entire existing facade is now being preserved by enveloping it with a new structure. This wraps the bank with a continuously moving facade that not only serves as a circulation space, but also as a balcony. Existing office system within the bank is not majorly affected as the addition is not
intended to replace any existing circulation. The office spaces are, however, reallocated and reprogrammed throughout the building in the duration of the construction.
53 The steel structure stands independently and attached to the the existing building. Internal spaces are altered after the skin is ready
to minimise disruption in the office flow and system. By installing the lightwells, lighting within the building is not scattered but controlled. These wells additionally serves as a division between offices
(horizontally) and private/public (vertically)
1:500 Diagramatic Model of the Skin
The skin wraps around the building from its south-west side up to east-north side. Parts that are being wrapped functions as series of offices, with the lightwells as the communal areas.
The unwrapped areas seclude itself, containing places for important meetings, private spaces and services that are also provided with a lightwell.
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The Immovable & The Unsettled ... Statues. A number of old windows are converted into niches that’s filled with statues from the other parts of the previous building. These statues are intended to contrast the mobility of the skin through being static, and also by being adjacent to balconies, they would blend with the bankers when viewed from afar.
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Piazza del Campidoglio Gr
Static and Mobility. The contrast created in the contrast between the static and the mobile ensures that the spaces remain seemingly occupied. Echoing the characteristics of the niches on Soane’s walls, these people synchronises with the statues to further dramatise this effect.
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Lightwell ... Boundaries. The addition of these lightwells are not only to distribute additional light sources throughout the building, but also to act as internal boundaries,
vertical connectors and communal spaces.
Four lightly illuminated obelisks marks the corners within the building. In the museum areas, these obelisks marks through the complicated area as a guidance for the visitors similarly to Bernard Tschumi’s Parc de la Vilette that utilises red follies to define boundaries.
In the office areas, the lightwells serves as a closure
for the junctions between the offices. Office pantries and vertical circulations are directly placed next to
Bernard Tschumi’s Parc de la Vilette
these voids, forming series of communal corners.
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Added Structure
Old Walls
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Pitt’s Cenotaph, John Soane.
Il Gesu Church. Rome.
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The Well. As the lightwell stretches across seven stories, lighting quality distributed to the lower area might be decreased. Therefore, the lightwell is designed to narrow down as it descends to ensure equal distribution of sunlight. The well is constructed with concrete within the existing walls for its flexibility and thermal properties.
Totem in Soane’s Museum.
The Obelisk ... Remnants of the Past. In Phase I and early Phase II, parts of the buildings are selectively removed in order to create new spaces and experiences. Although the Bank is furnished lavishly in ornamental elements, the proposal still necessitates demolition in certain areas. Rubbles, stoneworks, columns and statues are extracted carefully from these spaces during the process.
As a form of respect and salutation of Baker’s Bank, the remains from the demolition are assembled and stacked in a vertical structure to form a collection of monuments. The collection involves the classical columns, profiles, statues, stoneworks and engravings.
The Obelisk is placed in the centre of the lightwells, standing tall whilst exhibiting the rich, extravagant
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The obelisk viewed from the ground floor
history of the Bank.
Columns. Classical columns of many types are present throughout the building, spread in different areas, each has their own sizes and materiality.
This obelisk uses the taller Corinthian
columns that streches across the ground and first floor, Ionic columns, and Doric columns.
Statues. The Bank are rich in statues, for instance, 8 statues from Soane’s Bank are preserved and exhibited in the current museum. The remains of these statues are placed within the obelisks.
Stonework. In Phase I, walls are removed to create an open plan space. The stoneworks, instead of being thrown away, are
reassembled to support the base of the obelisks, connect the columns, and create arches or podiums for the
statues to rest.
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Lightness. This early conceptual model explores the aesthetical quality that could be produced by the design approach, which is then utilised to define the materiality and structure of the design.
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1:100 Early Conceptual Model
Colosseum, Rome. Fondazione Querini Stampalia, Venice.
Gr
Construction & Materiality ...
Gr
Form and Materiality. The words honesty are the deciding factor in this intergrated design. Materiality choices are aimed to dictate the final aesthetics of the building.
Through the Grand Tour, the exposure to historical buildings indirectly affected the building’s form and material decision. Inspired to colosseum’s exposed structural elements, the skin of the building is built with exposed steel grid structure that is selfsupporting.
Existing stonework are removed to attach the new structure into the existing steel frame.
The light wells’ interiors are poured with concrete, utilising the existing walls as its ‘flask’ to form a smoother cone-shaped lightwell.
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Phase III. Butterfly.
Cover. As Phase II has been completed and running, the final step of the design is to finally glaze the gaps in between the steel frame structure.
The previously outdoor spaces are now indoor, extending the building’s floor areas and improving the existing services.
Bank of England now operates as central banking which permanently hosts a 3.5 acre museum and gallery on its ground and first floor.
Conclude. The construction has concluded. The added external corridors are now covered in glass, the outdoors has now become the indoors. This new face gives the bank a new identity that promises a more transparent and public-inclusive central banking system.
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Baker’s bank, through keeping the walls and the obelisks, are being preserved as a permanent architectural remnant throughout all levels. Encased in a new preserving structure, the Bank still operates similarly to its precessor but in a different manner.
A Curtained History
...
More than its function. The Bank has now been fully transformed. Along with its new skin and features, it now operates in a different office programme. Through relocation of spaces, meeting spaces and offices, the flow and thermal performance have now been wholly developed.
However the strategy did not only focus in the productivity of a space, but also concerning for a wider context. As a historic building, the entire bank itself is preserved in a ‘glass case’ where histories are not deleted but only encased. The remnants’ functions are not solely to divide spaces into rooms, but a showcase of the past.
Phase III.
braces are exposed, but glazed in
grid to the corridor’s roof. These
Spans across the lowest part of the
Bracing.
creating a stack effect ventilation.
the patio to act as a trombe wall whilst
areas for the bankers, the glazing allows
Roof are accessible as a communal
Patio.
trusses.
are installed onto the preserved steel
steel trusses. Glazings and windows
Existing roof are removed, exposing the
Roof.
71 ground floor.
light and also a formless boundary in the
to the ground floor, acts as new sources of
Lightwells that spans across from the roof
Lightwell.
demolishment in Phase I and Phase II.
Monuments built from the remnants of the
Obelisk.
Axonometry of the added programme and features into the existing building.
are placed.
the steel frames. The outdoor spaces
increasing the surface area.
floor areas into an open space.
Removed walls shape the ground
Columns.
are turned to niches where statues
installed within the spaces in between
now become indoor spaces, thus
As several existing windows and walls
Statue.
In Phase III, arched windows are
Window .
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- (rains) - It’s getting colder. - Exactly, how I wish the rain would just stop.
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Halls Communal Zone Offices
New walls, new entity. By adding separating walls, new rooms are added to serve the new reprogrammed office spaces.
Renovated Areas
Office programme. As the corners are marked with the light wells, the offices (yellow) are spaced in between these lightwells and connecting them thus internally wrapping the building. More private meeting rooms (purple) are located in the centre facing the Lothbury Court.
Halls Communal Areas Private or Meeting Space Offices
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- (footsteps) - (yawns) 10am and I’m already yawning. These books are not helping at all. Bet it’s going to be one hell of a long day.
The Corridor. The previously outdoor, external circulation spaces are now fully glazed and transformed into indoor spaces. The steel frames and balustrades are exposed when glasses are installed around the building.
Linearity. The follies are spread across 5 points throughout the bank. Other than standing as a monumental remnants, these follies are designed to guide the
inhabitants of all levels by marking each corners of the bank.
Visibility of these diminishing monuments from each other has been a priority. Through a numerous layers of windows and columns, hindering walls that disrupts
the linearity are cleared to guarantee an effortless visibility of the obelisks.
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The Obelisk. Obelisks are erected, lightwells are spread, interactivity between the public and the private are exposed through extreme verticality. Anonymity of workers from public are maintained by the glare and juxtapoxing statues.
- It’s kinda dim in here, am I allowed to use flash? You know what, I’ll just... - Ssh.... just enjoy. - (blushes) Oops, sorry. That’s actually true.
- (people munching and laughing) - (sips, talks to self) Summer is approaching. Just a bit more.
The Pantry. Pantries are located in adjacence to the lightwells at all office levels with windows facing directly to the obelisks and corridors.
Fresh air are accessible through the openable windows that leads to each 7-storey lightwells that circulates air through stack ventilation.
- (bushes swaying) - Oh boy.. look at those crowds down there..
The Patio. The attics are now functioning as fully glazed patios with openable windows for air circulation. It’s directly connected to the void and the obelisk, forming a dramatic vertical experience. These communal areas are accessible through both stairs and elevators.
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Images from Part I
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ARC3001 - Part 2
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Building Structure / Building Construction & Materiality / Building Environmental Strategies & Services / Studio Specific Technology
Integration of Technology .
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Deconstruct.
Substract.
Volume.
Studio Specific Technology ... Change in Methodology. Same strategy was used to define the project from the beginning, that is through creating a methodology that has a potential and strong enough justification to
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alter the entire bank. However the earlier formula was missing a theme that ties the project together, lacking a reasoning behind the demolitions.
Extend.
Original.
Phase I.
Phase II.
Phase III.
Closer Integration. As the previous method accomodates various way to alter the entire building, it lacks the wider justifications behind each actions and its loosely integrates construction. The final methodology compensates these errors by redesigning the design method through incorporating technology from its core.
Hence, a stronger proposal could emerge through intertwining construction and design processes into the final product. By prioritising the practicality and process of constructing the building, the bank could be constructed as it’s operating.
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Building Structure ... Support, handrails, columns and arches. In the previos strategy, the structures stand on its own columns that extends all the way to the ground floor, but this causes problems in the ground floor strategy. It becomes a hindrance in circulation flow for the museum.
In the final proposal, the structure stands onto the existing columns that are reinforced by wrapping them with steel plates then filling it with concrete. After the process, the stonework is recovered. In this manner, the ground floor could be preserved in its fullest potential with the addition of disruptive elements.
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Honesty and Functionality. The external skin is intended to be constructed swiftly to make sure it could start operating as soon as possible. The independent skeletal structure are directly attached onto the spanning steel beams, readying itself up to be used.
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Frame and Bracings. As the bank’s levels has different heights, window sizes comes in various sizes. The exposed steel frame structure adjusts its spacings base on the modularity of these windows. Arched windows that fill the frames come in two sizes, narrow and standard. Exposed cross bracings are placed in the middle of the entire steel frame structure to prevent shearing.
Exposure. Even after the final phase, the remains of the exposed structure are not hidden. Glass only covers the open area, and the bracings. The visibility of the structures symbolises the bank’s transparency towards the public.
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Building Construction ...
Systematic. To ensure the space is running as the construction progresses, the building will be renovated systematically. The first act was to reinforce all the necessary structures to prepare for demolishment and adding additional structures onto the building.
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Original,
Uncover,
Wrap,
Fill,
Clad.
Running Economy. By dividing the construction into stages, the bank’s could function whilst undergoing construction. The museum could still operate and earn funds as the main banking area are under construction.This approach eliminates the need for the bank to move a place, thus reducing the loss in economy.
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To add, not to remove. Spaces are cultivated through preserving the old, the lightwell is created by pouring in-situ concrete to form a concrete cone behind the old external wall to form a lightwell.
The remaining elements from the demolishment are stacked with the assistant of steel structure to create an obelisk at the centre of these wells.
Light penetrates through the converted old steel trusses than are now glazed. Automated windows are also installed for air circulation.
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Building Environmental Strategies & Services ... +
99 Adding the final phase. Final Phase is added into the building after the Part I to conclude the overall process. It further enhances the performance and services of the building through creating a thermal buffer area and endorsing natural ventilation.
Passive Solar Gain. By allowing lighting to enter through various entrances within the building, the previously unreached space could now receive sunlight access throughout the day in a more even distribution. Not only it minimises the use of electrical lights but it also improves the overall thermal performance.
Open, deep plan. The ground floor, being an open plan space that leads to courtyards, has a constant flow of new air. These lightwells a;sp extracts the air in stack effect ventilation and expelled through the roof windows.
Trombe wall. Windows now envelope the old wall, this creates a trombe wall effect through opening gaps onto the walls. Heat can then be circulated throughout the building.
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Reflection ... Form. During the initial design phase, my personal approach
By prioritising the integration of technology within the
largely focuses on creating fitting boundaries through
design, the finalised form has become wholly reliant to its
developing design methodologies and rules due to the
construction. Furthermore, the approach has managed to
scale and brief of the project. The development of these
tackle issues concerning potential disruption during the
methodologies, however has always been focused in
proposal’s construction. These benefits has given me richer
preserving the entire bank, rather than finding justifications
insights as the year progresses on the variety of how a
for demolishment. In the earlier Part I technology report,
design or construction could be perceived. It also prepared
the methods involves cultivation of existing spaces through
the proposal for the coming technological report that
extending, narrowing and heightening. As the design
discusses the integration of technology, which is where it is
progresses, these methods was not discarded but instead,
solely based.
its philosophy’s core was combined with architectural construction.
Through these experiences throughout the year, my personal perception towards the integration of technology
The earlier report has provided me with a critical feedback
has changed drastically. Not only it helps to mature my
on why the preceding approaches would not work. Therefore
thinking, but also strongly highlights the necessity of
in an attempt to include constructional aspects into design,
developing a project whilst solving its technicality in a
a more mature and refined methodology could be designed.
parallel. Perhaps a more efficient approach could be
Through trial and errors, tutorials and presentations along
discovered if the project was integrated with technology in
the year, various methods and materiality could be richly
earlier stage. Further steps for me would include in enriching
explored. The lessons and analysis learned during this
my language in construction and its extensive possibilities,
exploration was insightful in tackling challenging encounters.
and also learning to integrate any other frequently unsought
In addition, the experimentation on exploring a particular
aspects in architecture.
subject through utilising the newly discovered methodology forces me to be analytical in finding precedents follows a similar approach. These sources of inspirations might not be the ultimate technological solution to my proposal, but the philosophies of the architects itself is a rich source that could be studied.
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Fin.
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Fin.
Thank you for reading cover to cover.
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