Portfolio Vol. 02

PORTFOLIO VOL. 02 PATRICIA SCHLEEH 2015-2016

index redrawing the city 02 syntactical study: windows&walls

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syntactical study: roof&gutter 08 edge study & captain‘s village

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syntactical study: step&door 12 syntactical study: balcony&screen

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special agencies 16 big model strati 18 fieldtrip 20 sketches and drawings 22 Andrea Branzi weak urbanization models

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set scale drawings 30 Ministry of Olives in progress

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series of models & drawings sections 44

redrawing the city edge - gap border grit slip

The architectural and urban design study is situated in Bari, Italy. The city of Bari lies on the Adria�c Sea in the region of Apulia. It is an anchor point for many important sea routes and therefore has economic significance for Italian‘s South.

The design thesis is part of the urban design study in Bari - a progress from the agency edge to the forma�on of a new urban design thinking. Over the past year the agency EDGE worked on the development of territories in terms of landscape and architecture. How can we collec�vely occupy ground? How can we include the territoriality of things and create a host that welcomes and transforms in different situa�ons and condi�ons?

Redrawing the city of Bari pointed towards the two main areas of residen�al and industrial zone – the edges of the city including and excluding certain spaces, crea�ng voids and diffuse urban textures between the two edges of the city.

Geological pleateau: Bari sits on the north edge of the altopiano murgia (large geological plateau) topograhy marked by migratory agricultural prac�ces (movement of people and livestock) in such terrain each season has its own territory and associated architecture

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This is where Stanic, an old industrial site (refinery), is situated, it is mostly abandoned and occupied by small local businesses and social housing. A community or neighbourhood almost closed off from the city centre with scarce public transport connec�on.

The road network consists mostly of busy motorways, small to none pedestrian areas and long streets along fields, abandoned grounds, and bridges crossing the blade lama lamasinata.

The natural territories are agriculture, flowers, olive trees, and the importance of the absence of water (the constant awareness of the blade turning into a torren�al river).

The veal ban mily

act of polishing is very similar to our research - taking off thin layers of metal to rewhat is underneath, to achieve a deeper understanding of the situa�on and the urplacement. A sense for tradi�on and ownership is essen�al for Italians. Polishing the fasilver is the expression of the a�en�on paid in their tradi�ons and in their heritage.

polishing the family silver

ownership/heritage

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Residen�al: Edges held by edges. The metal text pieces in the model are facade panels, these panels create edges holding the window frame. The crea�on of a double edge through thin layers of different materials.

The window frames are long and reach out from the wall in both direc�ons, inside and outside.

The different layers of wall, construc�on, window frame, glass and metal edge give depth and detail to the design.

Therefore, we can create different light and shadow situa�ons.

Addi�onally, the glass in the small window frame sits in the centre, presen�ng a double edge: glass - frame - metal edge. On the other side the big window frame creates an interior space.

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windows & walls

syntactical study

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roof & gutter

Amenity: The design or in this case also main construc�on feature is a grid out of squares, which are held apart by edges. This construc�on is raised from the ground by pillars, walls and glass and is framing the roof of the design study.

The layer on top of the roof construc�on is building the waterproof barrier. The spaces between the squares are forming the drainage system.

The roof has a prominent design and its construc�on mirrors the airiness of olive trees.

syntactical study

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edge study

captain‘s village concept

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step & door

syntactical study

Workshop: In this design, the idea was to create different edges and spaces. The architectural features in the entrance situa�on create layers of circumstances- light, weather and temperature changes throughout the sec�on. The concept of edging is visible in big scale in form of the building, but also in its details of step and door.

The extension details in the back of the model show construc�on and wall structure.

balcony & screen

syntactical study

Amenity: The double edges create a very simple sec�on. The edge of the wall is holding the edge of the screen - the edge of the screen is holding the balcony. The repe��ve screen design creates a very clear structure. The colours black and grey show the different materials and a high contrast in construc�on a�ributes.

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special agencies

With the help of four special agencies – olive tree, industry, garden, agriculture – the design study analyzes what is uncovered by edging these agencies. Revealing the query of what happens between these edges. Each agent focuses on a specific field and the corresponding enzyma�c territoriality. The distribu�on of the four territoriali�es is also related to the area around Stanic. Everything is coming together in Stanic: an old industrial site, close to the cemetry and its flowers, agriculture on the blade and between the vast numbers of olive trees.

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strati - edges

city model

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Puglia is Italy‘s top regional producer of olive oil with around 40% of total output. Nothing is quite as Puglia-defining as the 50 to 60 million olive trees that carpet the region, from the north to the south.

The sheer number of trees is amazing, but so, in many cases, are their size and age. Ulivi secolari are ancient trees with kno�ed, gnarled, robust trunks that have been twisted into grotesque shapes by a mix of �me, wind, sun and man’s hand.

fieldtrip

A few years ago these monumental olive trees were the object of an illicit trade. Wealthy northern Italians, in a quest to add age and pres�ge to their gardens, paid enormous sums of money to olive tree rustlers.

Local Puglian farmers would find their prized trees had been dug up during the night. Strict laws were created to prevent such prac�ces and now Puglia’s olive tree patrimony is closely safeguarded.

A�er more than 2,700 years, the rela�onship between the locals and their olive trees is stronger than ever.

Occasionally the priests might carry finely woven palm fronds, on Palm Sunday, Chris�an Italians almost exclusively carry olive branches, handed out to the faithful at the entrance to most churches. In the Hebrew and Chris�an religions, the olive branch symbolizes peace and brotherhood.

Thanks to its rela�ve flatness, Puglia has always been an agricultural region, producing, amongst others, olive oil (more than any other Italian region), wine, tomatoes, ar�chokes, aubergines and wheat.

In terms of livestock, sheep-farming reigns supreme, a trait that Puglia shares with its near neighbour Greece. Olive trees prefer to grow on well drained limestone soils. These proudly aging trees are small evergreens and extremely important, economically, cultural, and historical.

BARI

The original design idea comes from the importance of the territory. Olive trees have an imense historical and cultural value for Puglia. These fields or carpets of trees create a landscape, which has its origin in the italian/ puglian countryside but also make its way through the edges of the ci�es. Omnipresent, essen�als of life.

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ministry of olives

sketches & drawings

The actual city is not just the result of an architectural process but is a very complex reality.

Architecture is becoming more a territory then an actual building. This is an experimen�al territory full of knowledge, informa�on, sensa�on, flow of people.

The city is different from just a set of architectural boxes it is an enzyma�c reality.

This is characterized by dynamicity and transforma�on, where quality is made by a molecular process. The role of a designer is to create quality of the environment by doing small things; things that are small in dimension but very important from the anthropological point of view.

Architecture is a process that works as tool for culture to reach this reality by using an enzyma�c urbanism.

When we define things, things already change. A big part of architecture and design has not been realised but it s�ll has been defused through media, books, newspapers and magazines. Research leads to a big theme understanding the contemporary city not only as architecture but as emo�on, sensa�on and micrology. There is no difference between architecture and the world of mobile phones and cars. We live in a plankton that keeps transforming, never dividing in define categories, unlike urban projects, architecture and object design. Everything is merged and changes the philosphy of the project, the gestures and the strage�es.

The challenge of the project is always to solve the dualism between technology and aesthe�c quali�es. This big problem is unsolvable. There are no safe methodologies - all streets are walkable.

Andrea Branzi - 5 suggestions

weak urbanization models

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Today there is an environmental pollu�on but there is also an aesthe�c pollu�on. The contemporary aesthe�c crisis comes also from an ethic crisis it is an unstoppable research.

The role of the designer is to be interested in the quality of big metropolitan territories.

That means that architecture is becoming more territory and less a building. An experiental territory where you learn knowledge, sensa�on, you see flows of people. The city is something different from a bunch of architectural boxes it is an enzyma�c reality.

An enzyma�c reality is dynamic and in transforma�on where the quality is realised through molecular processes.

That means that the presences of all these microscopic and apparantly useless things, inside the environment actually are the reality in which every civiliza�on invests in. Every big civiliza�on always invested in things that look pointless like literature, art, music - they are useless but they are apsolutely indispensable.

Architecture in the contemporary city suffers. We live in an era of globaliza�on, of global market and diffuse deindustrializa�on. We live in a system which does not have an outside anymore, it does not have a perimeter not poli�c nor geographic.

We want to understand in some way, the concept on infinte that can seem like a literary concept but is actually scien�fic.

During the rennaissance the prospec�ve born as representa�on of the infinte in which we build a universe of values etc.

While contemporary architecture is based on the opposite. It will always stuck on perimeters, closures and solid fundaments.

the city as network-

-transformation through microstructures

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no-stop city-

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-cosmic hospitality

A world that in some way creates difficul�es to architecture. As Serprise said in the 60s: architecture is characterised by microclimaliza�on. The quality of the air coming from the air condi�oning is more important than the form of the building that contains that air. This opens a whole new vision of reality, far away from the built universe. The guggenheim in Bilbao is one of the first and clear manifesta�ons of architecture in conflict with the urban context. The universe of objects does not have any rela�onship with the prebuilt envirnment anymore. It develops and expands itself. The problem of architecture is the problem of a design and contruc�on modality that is not able to be protagonised in the urban space anymore because around it there is a big density and not the void that there used to be. Architecture used to stand in the void that does not excist anymore. It is all full of messages, signs, informa�ons, movements and flows. Therefore architecture cannot be the performa�ve element of the city and that is one of the reasons of the big difficul�es of architectural tradi�on that is not able to renovate itself and has big problems with entering into the 21st century.

The useless works are the indipensable ones in the life of a man. Oscar Wild used to say take away everything from me but not the unnecessary.

Human history, actuality, processes and the project located among those things.

Architecture is a culture way more complex - research, experimenta�on and theore�c work. It is rare but indispensable.

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detailing

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This set of drawings shows the development of the urban design engaging with its enzyma�c territoriali�es and the outcoming progress of individual architectural studies within the site.

The city has various beaurocra�c zones, these are clear defined edges. What is not a beaurocra�c edge is enzyma�c. Old Stanic is confronted with a vacant site under both condi�ons

set scale drawings in progress

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merging edges

The urban scale shows the intersec�on of the city and the tree edges – highligh�ng the increased aggrega�on of trees around the blade area. These edges, taken from the ci�es larger scale show the plan landscape, further south the famous puglian carpets of olive trees begin. The architecture for garden is a registry office B.L.M.L.D., agriculture is a dwelling, and indutry is a water treatment centre, collec�ng and recycling rain and ground water. The territory for olive trees guides visitors through the area toward the Ministry of Olives. A Museum, visitor centre, and interac�ve natural playground adopts the landscape within the building. The blade (limestone ground) got extended to build the root level of the building. The Ministry of Olives connects olive tree territories on two levels.

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The design is based on the architectural language developed through the agency edge, the previous city model and the landscape of the old refinery site & the blade Lama Lamasinata. The building is situated at the edge of the old refinery site and takes in the depth of the blade; a part of the wall edge func�ons as a combining-separa�ng-edge between the blade and the refinery site. Visitors have the chance to wander through fields of olive trees arriving at the Ministry of Olives, which is opened up in different layers to allow the olive tree territory to be part of the building. Visitors arrive at the ‘treetop level’ and slowly make their way down to the ‘trunk level’. The building consists of large permanent and temporary exhibi�on space, archives, offices and a cafe. Different openings in the floor and ceiling enable various perspec�ves on the landscape and the trees.

Ministry of Olives

The visitors are within or above the treetop and can enjoy the view.

The main access to and within the building is along the edge between blade and site level. The history of olive trees, interac�ve areas, temporary and permanent exhibi�on occupy both levels. On the ‘root level’ visitors can find a café, research and olive oil produc�on facili�es. The design allows air and wind to cool down the hot Mediterranean weather. The roof spans over the building and allows shading.

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This is a very tradi�onal mediterranean design approach, using local materials to reflect textures and clear lines to contrast the twisted and gnarled ancient trees.

The building was originally planned as olive oil produc�on facility, however it is here visualised as sports hub following a design study under the programme amenity.

Accordingly, this and further similar structures are part of the urban design approach spread all over the site of Stanic: oil produc�ons, markets, and sports facili�es.

Together with the other three programmes, administra�ve, dwelling & produc�on space, and all their varie�es, the site is exposed to a dense urban network filled with possibili�es and encounters.

sports hub 37

Bari impressions & olive territories

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The territory for olive trees guides visitors through the area towards the ministry of olives. A Museum, visitor centre, and interac�ve natural playground adopts the landscape within the building. The blade (limestone ground) got extended to build the root level of the building. The Ministry of Olives connects olive tree territories on two levels.

The grid/roof of the museum func�ons as a frame for the landscape scaling the carpets of olive trees for the visitors eye.

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Ministry of Olives vol 02 41

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The entrance at the piazza opens up to a building with 3 floors between the level of the piazza and the level of the blade; two walls out of grids - remind of the stacking of the olive crates used for the olive harvest – create spaces for permanent and temporary exhibi�on, historical display, and interac�ve zones. The floor levels create various condi�ons of light and viewpoints with ramps and stairs for an open movement. The construc�onal main systems are rising up from the ground carrying the weight of the building and the roof, while the roof creates a pla�orm for airy suspended elements, which allow the visitors to experience olive trees from different heights and distances. Reflec�onal panels on two sides of the building form intriguing moments of landscape as an impression within design.

Ministry of Olives vol 02 41

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final drawing sections

The importance of the ground speaks through the various scales of the special agencies (agriculture, flower, olive tree, water) and the corresponding territoriality - represen�ng the thickness of the landscape in the architecture.

It is an intensifica�on of landscape in architecture and design represented throughout the scales and details - sec�ons and different scales of grids intertwined with each other. .

Hard and so� edges take on the natural condi�ons within the architecture; crea�ng an exci�ng rela�on of nature, landscape, and built environment. The suggested architectural and urban design thesis reinforces the importance of the ground, the landscape, and the parallel development of the various territoriali�es within the dimensions and scales of architecture and design.

The sec�on model, built in 1:100, presents the blurring of edges between inside and outside, opening up the natural shif�ng and moving of the territories in the landscape (carpets). The grid allows an infinite expansion of these territorial condi�ons; facilita�ng an open movement of people, objects, territories and networks.

The site model on the right, however, is a detailed visual, focused from the following large scale site model.

The black grid edges combine the transparent sec�ons, presen�ng an endlessness of enzyma�c condi�ons. Grid edge and sec�on edges are holding each other.

section model M.o.O. sections 46

site model M.o.O. sections

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A design which is almost completely based on the idea of edging, deďŹ ning what is within or without the edge, holding apart or seeing it as two sides of the blade- in the end it all comes together, edges not holding apart but revealing what is between the edge and using it at as design tool that combines all.

stanic site model sections

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