paulina kowalska
project4.0 Camera Obscura
tutor: Grieff Evans
group 10
MSA year 2
PORTFOLIO
MADF Event 15 Kinetic Cosmos
Site Analysis
location of Manchester
The project is based in the city centre where the urban fabric influences the site. The surroundings are historic and constantly used by a range of inhabitants, thus the design must respond to existing conditions. The project includes three places: the Gothic Memorial Hall, probably the most mysterious street in Manchester- Lloyds street and left, sunken Peace Garden. In all of them an unique character can be found and appreciated, and the ghosts of history are sometimes floating , sometimes hiding between the corners. While the task is to capture the emotions in the architectural Camera Obscuranew public gallery and Urban Futures Observatory.
Albert’s Square monuments
car ‘roundabout’
Peace Garden memorials
tram rails
Not only is the area under conservation, but also there are many monuments, plaques commemorate a variety of people and moments in history. There is a big distinction between the scale and form of them between the Albert’s Square and Peace Garden, with the subsequent presenting rather blantly.
location of site within the urban fabric scales of buildings differ greatly
figure ground drawing through the ages scales of buildings has changed
light and shadow around the site throughout the year
1850
1950
cycling path
2010
wide range of users in the area
collision of two street grids
pedestrian routs and their use
conservation area and the ages of buildings 1820-30
1860-70
1900
1930-40
1970-80
1990-
public use buildings
office buildings
commercial buildings
Streetscape Analysis
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buildings with stone cladding
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the end of walk- noisy Market street
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6 brick buildings deep retreat of the building forms dark dump spot
rounded, glazed corners of buildings on the crossing reflected the light around
A walk along the Clarence Street about 1 pm has revealed interesting, tactile experiences formed by the sunlight and shadows, the quietness of narrow, empty streets with majestic buildings and rumble of the Market Street.
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The Lloyds Street has its own character- detailed walls, over hanged corridors, sunken basements, iron street lamps. The photomontage shows the impressions. Still the pavement of cracked concrete somehow does not fit to the place.
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Memorial Hall Analysis
paulina kowalska
The grade II* listed building of Memorial Hall was built in year 1866 from money left after the Albert’s Memorial, built to commemorate the 1662 Act of Uniformity- known as a birth of Nonconformity. While the Venetian Gothic exterior is well preserved, the interior is in poor condition. The roof is not original as was changed after the 2nd World War.
RELIGION
aluminium roofing with timber rafters, changed after war as EARLIER ROOF WAS BOMBED balcony with original ballustrade
MEMORY
PAST
damaged wall surfaces
temporary wall
MONUMENT The UNCONSCIOUS TACTILE INGREDIENT IN VISION is particularly important and strongly present in historical architecture. Pallasmaa, J., The eyes of the skin
geometry of space is difficult
external skin of the building, the interior is badly damaged, does not require saving
can be seen as a rectangle with additions
formal stair lead through the whole building
but only on the internal wall
Concept
paulina kowalska
‘Images are converted into ENDLESS COMMODITIES MANUFACTURED TO POSTPONE BOREDOM; humans in turn are commodified, consuming themselves nonchalantly without having the courage or even the POSSIBILITY OF CONFRONTING THEIR VERY ESSENTIAL REALITY’ Pallasmaa, J., The eyes of the skin
flow of people through the Memorial Hall The three sites are seen as a journey of a bomb from the top- ‘roof’ of the Memorial Hall to the sunken garden. It was inspired by the section of the route showing a variety of levels along the way. The journey is supposed to expose a person to the surroundings, think about them more conscientiously, through tactile experiencing of height and material, triggering the visual perception.
Visitors to the gallery are perceived as a temporary guests or even intruders inside the monument that is designated to the past. People are seen more like a flow than individuals and contrasting with the solidity of place. journey through the sites inspired by the bombed roof
the cross section of the Lloyds street also reveals changes of levels Instead of reinforcing the EROSION OF EXISTENTIAL MEANING, we must reflect on the multitude of secret ways in which THE ART OF ARCHITECTURE IS TIED TO THE CULTURAL AND MENTAL REALITY OF THIS TIME’ Pallasmaa, J., The eyes of the skin
Design development- Memorial Hall
paulina kowalska working with stairs and staircases
emphasising simple geometry
working with heights
scaffolding stairs, as if they were just temporary, expose to the height, should bring physical discomfort, focus the visitor on the reality and what is going around him or her
interior type- installed and space usage
working with interiors
cutting through the levels to open the space upwards, emphasising the envelope, but also solidity of the form
beginning of opening the space upwards- leg type stairs
Design development- Peace Garden
paulina kowalska
Peace Garden as a place of ‘storing’ memorial plaques,-building from stacked containers street edge- a wall protecting the garden height of a tram- forming a corridor working on the form and materials
scale of building compared to the surroundings
open towards the garden and reflecting it through the glazing and gaps in the wall precedent Galician Museum of Art, Alvaro Siza
interiordecision point gallery or the cafe urban elements and landscaping
change of scale from garden to the building, exterior and the interior cafe
paulina kowalska
Roof plan
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site plan 1:500
Floor plans- Memorial Hall
paulina kowalska
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13 6 ground floor 7 1 Mezzanine gallery 2 Installed ‘scaffolding’ stairs 3
3 Main gallery 4 Back stairs 8b 5 Lift 6 Front stairs
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7 Reception area
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8 Temporary exhibition gallery 8a Exhibition entrance 8b Exit
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9 Staff room
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10 Storage 8a
11 Toilets 12 Cloak room
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13 Cleaning room 2nd Mezzanine floor
2nd floor
1st floor
14 Entrance to the main gallery for the disabled
Floor plans- Memorial Hall
paulina kowalska
I 1:10 front stair details
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1 60/34mm handrail 2 50mm magnesite screed 120 mm reinforced concrete 3 steel I- beam 300mm deep 4 2x13 mm plaster board 5 60/27 mm steel U-section 6 22 mm ash riser 7 22 mm ash tread, 6 mm steel sheet 8 accoustic plaster on 25 mm sheeting 2 x 13 mm plaster board 9 10,5 mm composite ash boarding 45 mm mineral wool 55 mm cavity 10 mm steel sheet 20 mm trapezoidal section steel 2x 13 mm plaster board 10 100/ 250/10 mm hollow sheet-steel beam
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II 1:10 scaffolding stair details
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1:100 longitudal section
1:200 cross section with surroundings
1 225/ 750/55 mm galvanised tread 75/750/55 mm nosing bolted to an angle 2 steel balustrade beam open grid infill panel bolted to the U-profile
paulina kowalska A brise-soleil, prevents direct sunlight
roof- natural lighting and thermal insulation
circulation scheme
B double glazed skin with UV film C computer monitorised aluminium louvres A C
D loft thermal buffer zone
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E laminated glass ceiling for maintenance access of louvres and lights
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F perforated metal panels with diffusing paper
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G flat insulated roof with access on the glazed roof
2nd mezzanine floor security and access
A B security- member of staff checking tickets
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2nd floor 1st floor reception area with cloak room staff areas with coded entrance
D PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
ground floor with restaurant
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
journey down
ground floor
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
journey up
1st floor PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
lift to the first and second floor
thermal control
A bricks provide thermal mass separate entrance to the restaurant fire escape
B window shading controls sunlight and is a thermal membrane C double volume of room provides natural air movement and stabilises temperature D external cooling tower controlling temperature
paulina kowalska
Interior
2nd mezzanine floor
2nd floor permanent exposition gallery
impression on the scaffolding platform, looking temporary rises questions about the place of the visitor in the gallery
paulina paulina kowalska kowalska
N 1:100 upper floor plan
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PARALLEL REALITIES,
URBAN FUTURES GALLERY IN PEACE GARDEN
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projecting rooms with temporary programmes about possible future of the world parallel rooms alternating with glazed corridors showing the street exit on the busy, noisy street from the dark interior intensifies the perception of the reality building provides a wall for adding value to the forgotten memorials located in the Peace Garden
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1 reception area 2 projection rooms 3 glazed rooms 4 cafe 5 toilets 6 bar storage 7 exit 8 staff stairs to the lower floor 9 storage 10 memorial wall with important plaques
paulina kowalska
general drawings
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1 roof plants growing medium 200 mm 300 mm gravel around sides drainage pipe filter fleece waterproofing membrane reinforced concrete roof 150 mm suspended ceiling 3000/300 mm plasterboard efficient spotlights 2 overhead roofing urethane waterproofing calcium board 5 mm bonderized steel plate, bent steel hollow profile 100/100/6 mm U-profiles
4 raft foundation reinforced concrete 200 mm waterproof membrane insulation 150 mm underfloor heating timber panels 22 mm raised floor on timber 5 rain screen sandstone cladding, stanton moor buff, 300/900/45 mm screwed in place; vertical battens, horizontal; air gap; metal flashing; batt insulation 200 mm; damp proof membrane; concrete 200 mm gypsum board painted
1:200 cross section
3 curtain walling mullions double glazing
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1 stairs 2 security office 3 corridor 4 staff meeting room 5 digital laboratory
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6 storage 7 water management system 8 management of projections 9 storage room 10 toilets 6
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1:50 cross section
1:100 lower floor plan
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paulina kowalska
surroundings
street view
1:200 elevation towards Town Hall
park view
memorial wall view at night
lighting and water management
paulina kowalska
lighting scheme during projections in the gallery
when there is a projection going on no one should walk inside the closed gallery zone, once the projection is finished the room is changed, new people can come in
rainwater harvesting scheme
daytime occupancy
during the day both the cafe and the gallery are open changed surface of Lloyd Street and added lights to add mystery and underground level
evening occupancy
the cafe can be rented for parties or meetings and be open after the gallery closure due to its internal doors
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building closed B
once the building is closed the park can still be used
permeable paving enables water harvesting
A grated panels above lowered pavement spotlights installed to expose depth B block paving on laying course drainage layers impermeable membrane drainage pipe
location of the water storage tank connected to the Lloyd Street piping and the green roof stores water for flushing toilets
GROUP 15: KINETIC COSMOS
paulina kowalska
MITOSIS
COSMOCONICS- analysis and interpretation of text to form a kinetic model
3 words from the text
working on the 3D forms to interpret the text
interpretation through collages
SUBJECTIVE
inside vs outside
REPEATED multiplication growth closed circle morphing creating
IMPULSIVE
explosive
reactive
flexible
‘you start out saying you are objective and then with one thing or another you end up being subjective’
circles, spirals of the cycle, rest and tension phases
p. 210
‘whereas if there is an agile and impulsive organism were you can’t make all these distinctions it is unicellular organism’
p. 214
‘each of the chromosomes was repeated in a second chromosome’
p. 217
the repetition of line getting denser and leading to the release of tension, just to get back to the rest and start the process again
the text has concentrated on the enclosed form of the unicellular organism that is BROKE FREE BY THE ACT OF REPETITION- ‘expression of itself’, whether really caused by the cell or caused by the outside forces, is a SUBJECTIVE OPINION. Collages accompanied the process of understanding the thoughts related to the text and became more informative along the way. Formed by drawings, models and photographs they try to capture TENSION REQUIRED FOR A CHANGE, emotions of fullness perceived as love that enables the CYCLE to continue.
paulina kowalska
SKETCH MODELS
as the author has never before worked with the kinetic models first a variety
building up a form from repeated elements
of them was checked online and one was reproduced and developed further
rigid form influencing movement of the surrounding elements strongly
in order to develop an understanding of the tension working in it. As the sick is moved forward and backwards in the circular manner, the foamboard sticks bend one after another, because of being tied to the stick
working with kinetics- tensile model
flexible form passing the force to other elements the model is made of repetitive element reacts to a force applied by a person playing with it and is supposed to spring back to the original position sketch model has shown the weaknesses of the materials used rods need to be incorporated with the joints and of wire so as not to fall apart and flexible to spring back
flexible form passing the force to other elements
shots from the short development video model was built up through experiments and checking how the joints will work and what shape will result from that
elasticity of the rods does not work in the model as they are not firmly attached to the base
paulina kowalska FINAL MODEL ‘the nervousness of an individual who knows there are all those lines, he is all those lines, but also there’s something that cannot be represented with those lines, a void (...) Or rather the tension towards the outside, the elsewhere, the otherwhere, which is what is then called A STATE OF DESIRE’
p. 215
‘from a state of satisfaction one passes to a state of mounting satisfaction and then immediately thereafter to a STATE OF DISSATISFYING SATISFACTION, namely, of desire’
p. 215
‘the state of lack is experienced always in contrast with a previous state of satisfaction’
p. 215
‘This movement of desire remains basically a DESIRE FOR MOVEMENT, as usually happens WHENYOU CAN’T MOVE TOWARDS SOME PLACE because the world doesn’t exist or you don’t know it exists, and in these cases desire moves you to do, to do something, or rather to do anything’
p. 216