Firstly credit has to go to David Taylor, the TD teacher, the man, the legend who gave the initial push down this path I’ve now found myself on. Secondly Lyons’ Gold Blend deserve a mention. Then the family, friends and tutors that have gotten me through this. To Johanna and Hugo for inspiration when I needed it and to Dominick and Cian for the continued support. And to Brian who helped with the finishing touches. To my classmates who’ve been there for a chat or a laugh, I couldnt have done it without ye all!
ACKNOWLEDGEMENTS
This thesis looked at boundary, territory and presencing in architecture and interrogated these through a public park on parnell square. It was determined that culture was found in communication and that fostering it through a series of bounded spaces was an effective way to generate culture. It looked at how different forms, varieties and scales of boundaries could act as positive elements in an urban setting. It found that through this variety and by expanding boundaries through ground texture and extensions of roof cover and canopies, boundaries could extend their area of effect beyond the limits of the wall to affect the phenomenological experience of spaces.
ABSTRACT
ACKNOWLEDGEMENTS I ABSTRACT II CONTENTS III INTRODUCTION IV 1. THEME Exploring Culture 8
Here I Stand 14
2. IDEA Preface 18 HTC Essay - Boundaries of Culture 19
4. PLACE Past, Future, Present 36
Site Choice and Analysis 40
3. PROCESS SEMESTER 1
PROJECT 1 - Parnell Square A PLACE OF CULTURE URBAN WORKSHOP I+II 52 ARCHITECTURAL WORKSHOP I - IDEA 56 ARCHITECTURAL WORKSHOP II - PLACE + BUILDING 58 PROJECT 2 - A HOUSE OF CULTURE 60 SEMESTER 2 PROCESS WORK 65 VARIOUS CRITS 72
5. BUILDING FINAL DESIGN 76
PLAN 78 SECTION 94 DETAIL DESIGN 106 LANDSCAPE 112 MODELS 114 RENDERS 118
contENTS
INTRODUCTION
This thesis will explore and define what is meant by boundary, territory and culture and use these to show whether the synthesis of boundary and territory is conducive to creating culture. It will also be investigated if using boundary to create culture is an effective method of doing so. I will explore the typology of the public park as it stands today in an Irish context and use some international examples to reinforce this exploration. I will investigate the role of this typology in modern society and see how it functions in a city centre. Does it have a use and place in modern cities and can it support the aims of this thesis in creating culture through techniques boundary. Furthermore it will be examined how boundaries can act as positives in the city scape and how do they affect the phenomenological experience of the spaces.
AIM OF THESIS 6
Exploring Culture Here I Stand
THEME
WHAT IS CULTURE THEME - Exploring Culture 8
“Paraphrasing Bourdieu, “first, there are individual, agents. They are intentional and reflexive: they have wants needs, desires and goals, and they can reflect on these and alter their actions at will… every agent lives in some sort of relationship to other agents, and every society is therefore constructed of relationships. The patterns of these relationships tend to be reproduced through time, enduring beyond the lifetime of any individual.”” p.49, The Favoured Circle
THE SOCIAL NATURE OF CULTURE
THEME - Exploring Culture 9
Through communication with one another people are able to construction numerous dwellings and civic structures in a relatively ordered and consistent manner. This culture of construction is communicated across the society and by these cultural interactions entire towns and cities are constructed. This is shown here in Morocco where the tight knit urban fabric is a result of careful communication between inhabitants to agree upon how to construct their city.
CULTURAL CONSTRUCTIONS THEME - Exploring Culture 10
Aerial view of a portion of Morocco.
Genesis 11:6 The Lord said, “If as one people speaking the same language they have begun to do this, then nothing they plan to do will be impossible for them.” This is a biblical reference to the power of communication as the Tower of Babel symbolises the efforts that man can achieve when they communicate and work in synchronisation. The Tower of Babel by Pieter Bruegel the Elder
TOWER OF BABEL - ANOTHER CULTURAL CONSTRUCTION
THEME - Exploring Culture 11
1
2
“Each subculture needs a centre for its public life a place where you can go to see people, and to be seen.” A pattern Langauge In Life Between Buildings and Cities for People, Jan Gehl talks of the numerous benefits of public space and how to go about achieving these. Measures include scaling the space appropriately, 25m is a good size for a square as it responds to the outter reaches of a persons public social sphere, making the space easily accessible and creating an invitation William H. Whyte talks of how people occupy the edges of space’s over their ‘exposed’ centers and how people watching is a common activity. 3
SCALE AND EDGE THEME - Exploring Culture 12
1. Diagram showing the use of the Seagram Plaza, NYC. William H. Whyte. 2. Aerial shot showing the Seagram plaza being occupied. 3. View of Piazza del campo, Sienna. A good example of a lively square.
1
“Man has created a new dimension, the cultural dimension.... The relationship between man and the cultural dimension is one in which both man and his environment participate in molding each other” Edward T. Hall, The Hidden Dimension
1. Photograph taken of a singles market in Shanghai, where mothers try and marry off their children. 2. People sitting at a cafe watching passers by
2
“coffee is probably the ostensible reason for someone to be seated at a sidwalk cafe, but it is also an excuse to watch city life go by” Cities for People, Jan Gehl
PEOPLE IN PUBLIC
THEME - Exploring Culture 13
1 2
HERE I STAND THEME - Here I Stand 14
3
4.2 4.1
1. -Maison CarreĂŠ, Nimes, France 2. -Piaza San Marco, Venice, Italy 3. -View from Cholaiste Mhuire, Parnell Square, Dublin 4.1. 20 years expansion, Pudong, Shanghai, China 4.2. European style buildings on the other side of the river 5. -Bebelplatz, Berlin, Germany 6. An Imagined Space - Hugh Lane underground extension towards Garden of Remembrance 7.1. Tahrir Square Full, Cairo, Egypt. 7.2. Tahrir Square Empty, Cairo, Egypt.
5
6
7.2 7.1
HERE I STAND
THEME - Here I Stand 15
Preface HTC Report
IDEA
This Essay, will interrogate the theoretical foundation and critical reasoning employed in exploring the ideas of boundary, territory and presencing. It was an early investigation into these areas and was influential on the eventual thesis direction. While initially uncertain what the eventual direction would be, as the theme of CULTURE had been established for the year and had been defined as communication, it became clear that some form of public space would be necessary to accomplish the goal of creating culture through communication.
preface IDEA 18
1. Fort George, Scotland
1 1. Analysis from Learning From Las Vegas
To begin I will talk of the background to this work and give it some context. This begins in the early and mid-20th century, where a key component in the shaping of cities was the automobile. Melosi (2010) estimates that over half of all American cities’ space is dedicated to serving the automobile. These are spaces ranging from streets and roads to parking lots, service stations and driveways. In Learning from Las Vegas (1972), Robert Venturi talks us through the architecture of the Las Vegas strip and how the automobile has left an indelible mark on its design. He remarks on the idiosyncratic architectural space that is the strip and how it relates to the speed at which one travels through it. This is the speed of the automobile, a speed of movement that was not experienced previously in human history. Venturi talks of the history of such spaces too, exploring other spatial typologies including the Middle Eastern bazaar, medieval streets and the archetypal main street. He talks of their scale in relation to the speed of the pedestrian passing through them and how these are typologies about space whereas the Las Vegas strip is spaceless. In its formation by the motor car Las Vegas is no longer a defined space but, contrary to the notion of architecture being about creating space, it is about spacelessness. In this spacelessness there is a confusion which is compensated for by intense signage. This signage now communicates to the person instead of the physiognomic form of the building.
A SLOW CHANGE
IDEA 19
This high speed architecture is not confined to Las Vegas alone with highway systems and intense road networks spanning the length and breadth of many cities and countries worldwide. This typology is a far cry from the intimate streets of the past, sized to man’s dimensions and where chance encounters and community spirit were the norm. Now, “Above all, it is important to bear in mind that our new urban realities, in a continual state of expansion, are only navigable by motorized means, be they public transport or private vehicles. The whole of the territory-city is therefore fundamentally interpreted in terms of travelling by vehicle: from a perspective on wheels.” (Closes, 2005) This is not how man should be living, contained within cities that are built for machines. In fact in 1966 Edward T. Hall went so far as to say that “one has the feeling that the automobile is at war with the city and possibly with mankind itself”. This is not an isolated incident of retaliation against the automobile and we are now seeing more of a shift away from the auto centric design of the early 20th century. The design of urban environments with a sensitivity to the pedestrian are becoming more commonplace and indeed, necessary, in the theory and action of architectural practice. This has been going on since the 1960’s and 1970’s. In 1967 Henri Lefebrve wrote his seminal essay, Right to the City, which according to David Harvey (2012) was a “cry to the existential pain of a withering crisis of everyday life in the city” due to factors including the automobile, and a demand “to look that crisis clearly in the eye and create an alternative urban life that is less alienated”. Harvey himself speaks of finding a poster for the ‘Ecologistes’, “a radical neighbourhood action movement dedicated to creating a more ecologically sensitive mode of city living” in mid-1970’s Paris. He writes that it was “a wonderful ludic portrait of old Paris reanimated by a neighbourhood life, with flowers of balconies, squares full of people and children, small stores and workshops open to the world, cafés galore, community gardens here and there”, all in all a seemingly utopian vision of society. And this utopian vision is what must become a reality and be wrenched back from the controlling grasp of the automobile. In The Walkable City (2010) urbanist Jeff Speck shows how we can free ourselves from dependence on the car - which he calls “a gas-belching, time-wasting, life-threatening prosthetic device” by making our cities more walkable and more pleasant for more people. Jan Gehl’s Cities for People (2010) talks of how good public space can enhance the daily life of the people who use it and he goes on to describe good examples of this and what is necessary to design this for the future.
a SHIFT TOWARDS PEDESTRIAN IDEA - HTC - Boundaries of Culture 20
2 2. Graphic showing variety of social distances
3
3. People watching at a sidewalk café
There are many advantages to having cities that focus more on the people that are walking the streets rather than those bundled away into their cars. Citizens that are on the streets have an opportunity to interact and communicate with each other on a level that is lost to the drivers secluded inside their cars, this can be seen again in figure 1 in the dichotomy between the medieval street and the Las Vegas strip. “this is because the (false) interaction takes place with each citizen enclosed inside their own vehicle and, in the cases in which a (private, not public) space for interaction emerges, it involves commercial or leisure complexes that tend to attract only certain social groups. “ So then what is the purpose of freeing our cities of the automobile? An Icelandic proverb says that “maður er manns gaman” – which means that “man is man’s greatest joy” and it is here argued that we must design cities for people to put man back in direct contact with man as was the way for millennia and creating interactions between people thus creating culture. But what then defines the culture that we are referring to? This paper argues that communication is the cornerstone of culture. In his paper Kenny Smith et al. (2008) claim that “Humans learn from other humans in a wide variety of domains. Consequently, systems of knowledge and behaviour are culturally transmitted in human populations.” Culture is transmitted through communication.
WHAT IS CULTURE
IDEA - HTC - Boundaries of Culture 21
In Life Between Buildings (1987) Jan Gehl talks of people and public space. He writes how the design of good public space allows for a range of necessary interactions of varying intensities, from low intensity people watching to the high intensity of an intimate conversation with a close friend or loved one. He says that we can find these interactions in public space and posits that Shopping is a pretext for contact and stimulation. These are two of three psychological needs that Gehl posits man has and are satisfied in public space. The third of these is knowledge, on this topic Henri Lefebrve (1974) writes that “the human being… by dint of struggle and labour, produces at once history, knowledge and self-consciousness” so the knowledge that man psychologically requires is seen to also be produced by man. Now Gehl has adapted to contemporary life and says in Cities for People (2010) that coffee is now the “ostensible reason for someone to be seated at a sidwalk cafe, but it is also an excuse to watch city life go by” modern coffee culture supports this claim with statistics claiming that 54% of Americans over the age of 18 drink coffee every day. Author Anne Morrow Lindbergh writes in Gift from the Sea that “Good communication is as stimulating as black coffee and just as hard to sleep after.” The contact and stimulation Gehl talks of is to be gained from other people in the form of communication with them. However communication does not need be direct and in a large number of instances it is not. Hall (1966) talks of various other types of communication in The Hidden Dimension through proxemics. Saying how we may interact through olfactory, thermal and visual communication also. He speaks of how these proxemic values vary in different cultures, for example he remarks that in Western culture if you are stationary in a public space you can create a small area that is semi private. But in Arab culture there is no right to space if one is stationary and that the Arab man would have no qualms about standing awkwardly close to the westerner. It is also interesting that he notes there is no word in Arabic for ‘privacy’. Though despite these differences he says that “the senses are the physiological base that is shared by all human beings and that it is culture that gives them “structure and meaning”. Hall also posits that it is through the senses that man understands space, that it is “a synthesis of many sensory inputs; visual, auditory, kinaesthetic, olfactory and thermal” through which we experience space.
CULTURAL INTERACTIONS IDEA - HTC - Boundaries of Culture 22
4
4. People sitting facing the street watching people pass by
5
5. Series of images from Cities For People showing people inhabiting public space
The focal point for this interaction and communication are our public spaces. They are our ‘City Rooms’ with space for many social groups to come together and communicate. Places for individuals to come and see what is going on in society and conversely to be seen. Furthermore in A Pattern Language (1977) Christopher Alexander writes that “each subculture needs a centre for its public life, a place where you can go to see people and be seen.” And that “A town needs public squares, they are the largest, most public rooms a town has” and as such have the greatest possibility at bringing people together. Public spaces in our city are a necessity, and so are green spaces, natural sites for people to get a break from the clamour of everyday life. It should be an obligation of any city to provide these green spaces for its citizenry. They are places associated with numerous benefits including economic benefits, benefits to individual’s health, and benefits to the health of societies also. The CSD report from 2011 on the matter states that: “They provide communities with a sense of place and belonging, opportunities for recreation, health and fitness, events that reinforce social cohesion and inclusive society and offer an escape from the stresses and strains of modern urban living which can feel compounded by the built environment.” To compliment this, the Faculty of Public Health report from 2010 states that: “Access to a park or green space can have wide-ranging benefits for our health and wellbeing. A safe, natural environment can be a break from our busy lives – a place to get some fresh air, to exercise or play – a place to go and relax” Green spaces should also be a haven from the hustle and bustle of modern city life. They should be a place to go to for peace and quiet if only for a while.
PUBLIC SPACE
IDEA - HTC - Boundaries of Culture 23
6
DUBLINS PUBLIC SPACES IDEA - HTC - Boundaries of Culture 24
6. Study of Dublin’s public spaces
“a boundary is not that at which something stops, but, as the greeks recognised, the boundary is that from which something begins its presencing” Heidegger, Building, Dwelling, Thinking
7
7. Temple of Edfu, Ancient Egypt - exploring boundary and passing through scaled spaces
To aid in this distinction between our green spaces and the rest of our city it is necessary to clearly define them and to delineate one area from another. As Colin Rowe states in Collage City, “How can man withdraw himself from the fields? Where will he go, since the earth is one huge unbound field? Quite Simple: he will mark off a portion of this field by means of walls, which set up an enclosed finite space over against this amorphous limitless space” In this, Rowe talks of early man in his movement into cities, now it is argued that we must retreat from our cities to another space. It will be a space within the city but marked off as distinct and it will be differentiated from the turmoil of the automobile and the resultant city. For this purpose it will be necessary to employ the use of the boundary. That element that marks one area from another to create distinction and seperation. However it is necessary for the purpose of this study to shed the current, perhaps negative, connotations the word boundary evokes as a restrictive element and endow it with a alternative definition. Frampton talks of Martin Heidegger’s essay Building, Dwelling Thinking (1954) in which he defines boundary in such a way, stating that: “Heidegger argues that the phenomenological essence of such a space/place depends upon the concrete, clearly defined nature of its boundary, for, as he puts it, “a boundary is not that at which something stops, but, as the Greeks recognised, the boundary is that from which something begins its presencing””
REDEFINING BOUNDARY
IDEA - HTC - Boundaries of Culture 25
By this definition we give our bounded parks the ability to be positive places within which people can start to ‘be’, and shed their city baggage and be ‘definitely’ in a green space. There will be no ambiguity. The effect of an ambiguous boundary with blurred lines can be found in houses by Scharoun and Mattern which are described thus: “The passage from smooth to rough marks the transition from culture to nature… one cannot decide where the house begins and garden begins.” By using these explanations of the effects of boundaries it is hoped that the ability of the boundary to blur the limits an area, an ‘intimate territory’ as Scharoun’s house is described, is made clear. A method he used to do this was “The ordered brick walls terminate on the garden side into crumbling serrated edges. This suggests the building going from order to chaos”, which is seen here as a negative. Hall writes that “to be disoriented in space is to be psychotic”. So conversely if we create a definite oriented space is it possible to create peace and harmony of body and mind? It is the aim of this paper to explore the relationship between a clearly defined boundary and its effect on creating culture in a place. Public space has been chosen for this as they are the largest spaces for people to gather in our cities. As Frampton writes in Towards a Critical Regionalism “the bounded place-form, in its public mode, is also essential to what Hannah Arendt has termed ‘the space of human appearance’”
AMBIGUOUS BOUNDARIES IDEA - HTC - Boundaries of Culture 26
8
8. Disolving edge at a house by Hans Scharoun and Mattern
9
10 9 & 10. Diagrams from ‘Defensible Space’ Showing the breakdown of well designed space
To aid in this distinction between our green spaces and the rest of our city it is necessary to erect boundaries to delineate one area from another. As Colin Rowe states in Collage City, “How can man withdraw himself from the fields? Where will he go, since the earth is one huge unbound field? Quite Simple: he will mark off a portion of this field by means of walls, which set up an enclosed finite space over against this amorphous limitless space” In this, Rowe talks of early man in his movement into cities, now it is argued that we must retreat from our cities to another space. It will be a space within the city but marked off as distinct and it will be differentiated from the turmoil of the automobile and the resultant city. However it is necessary for the purpose of this study to shed the current, perhaps negative, connotations the word boundary evokes as a restrictive element and endow it with a alternative definition. Frampton talks of Martin Heidegger’s essay Building, Dwelling Thinking (1954) in which he defines boundary in such a way, stating that: “Heidegger argues that the phenomenological essence of such a space/place depends upon the concrete, clearly defined nature of its boundary, for, as he puts it, “a boundary is not that at which something stops, but, as the Greeks recognised, the boundary is that from which something begins its presencing”” By the erection of a boundary and marking a clear delineation between one element and another, e.g. city and parkscape, just as the city marks itself from the countryside around, we are creating a territory within the city. A place where people can feel safe, welcome and identify with, which is something to be striven for. Oscar Newman describes the poor urban moves of the past in Defensible Space (1973) saying that “the physical environments we have been building in cities over the past twenty-five years actually prevent such amity and discourage the natural pursuit of collective action” It is necessary to work against this and bring people back in contact with each other in order to create communities and communication and culture. As Newman writes “we have become strangers sharing the largest collective habitats in human history”. Oscar Newman writes about defensible space as “an environment in which the latent territoriality and sense of community in the
TERRITORY
IDEA - HTC - Boundaries of Culture 27
It is important to note this report takes a constructivist viewpoint. This means that it is out of a dialogue between the viewer and his environment meaning is created. Crotty (1998) posits that “all reality, as meaningful reality, is socially created. There is no exception”. This supports the idea of culture as communication proposed in this thesis. As communication between people is a social activity, that in turn generates meaning and meaningful reality, which is thus culture. “Objectivity and subjectivity need to be brought together and held together insolubly.” Thus the subjectivity of each person is catered for in a constructivist view. This is crucial when we look back to Hall when he talks of proxemics of different cultures. Each different culture creates their own world view through their personal phenomenological experience of the world. Architectural elements can influence this experience; these elements include aspects such as entrance, edge, boundary, size and location within the city. Also, a further quantitative study similar to the work carried out by William H. Whyte in The Social Life of Small Urban Spaces (1980) would be effective in determining the use of these public spaces. The application of findings from the literature review and the study of Dublin’s public parks will form the basis of the thesis project which will be another key research method. The thesis project will be an active case study which will be continuously designed and critically reflected upon. It is hoped that through this constant reflection and critical analysis of the case study, the application of the ideas and information from the literature review and square survey can be synthesised to their maximum potential.
Epistemology
IDEA - HTC - Boundaries of Culture 28
12
14
The first tool in the arsenal is Jan Gehls Life Between Buildings (1987) which describes methods of creating public space that are beneficial to human communication and interaction. Spaces that allow for the contact and stimulation that he posits are basic desires of human psychology.
11
11. Images from LBB showing people occupying public space in various ways 12. LBB guide on how to increase contact between people 13. Diagram showing how peoples activites increase with good design 14. Eighteenth-century royal park in Drottingholm, Sweden and central axis in a Danish public housing development (1965)
13
Through the simple formal gestures of keeping spaces on one level, keeping distances short and encouraging face to face orientation to emphasising the axis and elaborating on how activity can enliven a space, this thesis benefited greatly from Gehls research into effective and successful public space in this
making public space - gehl - 1
IDEA - HTC - Boundaries of Culture 29
15
A second important text is Gehls 2010 book Cities for People where he expands on themes covered in Life Between Buildings. He modernizes his study and toolkit but the key ideas remain the same. He talks of the senses and scale and their importance in to society in public. “The significance of movement, distance and temperature are similarly reflected in language. We talk about coming over, going away, falling in love and backing out of situations. We speak of close friendships, near misses and distant relatives. People can have warm feelings, heated discussions, and hot dates. In contrast we can send cold glances and icy stares and snub unwanted attention by giving it the cold shoulder.”
16
17
The edge is emphasied, as well as activity drawing people to a square. The need for places to stand, sit, walk, talk and listen is conveyed through a series of informative photo sets. Gehl talks of how people operate in public space stating that where there are places to sit, people will sit and that the ‘rightangle’ that is common in planning is at odds with how people naturally move through space. Crucially as well Gehl talks of the ‘Shattered Scale” that is created by the introduction of the car into spaces that ought to be pedestrian focused. This is one of the crucial problems with many of today’s cities he argues.
18
HOW TO MAKE PUBLIC SPACE GEHL IDEA - HTC - Boundaries of Culture 30
15. CFP Diagrams showing how to increase the use of public space 16. Images showing people occupying space in varoius ways 17. Images showing that people will use space as they want regardless of design 18. Diagram showing the benefits of high quality design
19
21
WHYTE William H. Whyte’s ‘Social Life of Small Urban Spaces’ was another text that provided the basis with which to study Dublin’s public spaces and form a rigour in designing a new one. Whyte looked at components of spaces such as Light, Activity, Seating and even Undesirables, and examined how they affect the experience of space. He found that people seek Light and Activty and are more likely to stay in spaces that have adequate Seating but he found that Undesirables did not negatively affect a space as they were deterred by crowds as much as the inverse. 20
19. Image showing people relaxing by a water feature 20. By removing the ability to sit, the planners are reducing the quality of this public space 21. Having activities happening in a place will draw people too it, this can include food.
making PUBLIC SPACE - WHYTE
IDEA - HTC - Boundaries of Culture 31
Through this research it has become clear that culture must be created in our societies by means of communication and that fostering communication at all levels should be a prime concern for architects and all designers. This report has hopefully shown that public space at a variety of scales is the most effective way to bring various societal groups together and interacting with each other. it goes on top highlight that the edges of spaces are often the liveliest, which is something that led to an investigation of edge and boundary, the latter which was given a new positive definition as an architectural element which expresses its presencing positively on the urban fabric. With regards to place, Dublin’s green spaces were investigated and it was found that the North Inner City was lacking in Parks and public spaces compared to the south side where they are more abundant. Also, North Inner City Dublin has been found to have a more diverse cultural mix than any other part of the country. As the research shows we should be encouraging discourse and communication between these groups.
22
So the aim of the design project is to tie all of these factors together into a coherent project that addresses these issues sufficiently and collectively.
CONCLUSION
IDEA - HTC - Boundaries of Culture 32
22. Diagram showing how various social scales are experienced in seeing a person from various distances
Alexander, C. (1977) A Pattern Language: Towns, Buildings, Construction. Oxford University Press. Birksted, J. (1999) Relating Architecture to Landscape. Taylor & Francis. Chartered Society of Designers (2011) Understanding the Contribution Parks and Green Spaces can make to Improving People’s Lives., Available at: http://www.csd.org.uk/uploadedfiles/files/value_of_green_ space_report.pdf (Accessed: 19th October 2013). Closes, D. (2012) Territory: spaces of identification; public space?, Available at:http://davidcloses.wordpress.com/2012/01/05/territory‐spaces‐of‐identification‐publicspace/ (Accessed: 22th November 2013). Faculty of Public Health (2010) Great Outdoors: How Our Natural Health Service Uses Green Space To Improve Wellbeing, Available at: http://www.fph.org.uk/uploads/r_great_outdoors.pdf (Accessed: 19th October 2013). Gehl, J. (1987) Life between buildings: using public space, Washington, DC: Island Press. Gehl, J. (2010) Cities for People. Island Press. Harvey, D. (2012) Rebel Cities: From the Right to the City to the Urban Revolution, : Verso Books. Hall, E.T. (1969) The hidden dimension, Garden City, N.Y: Doubleday. Heidegger, M. (2001) Poetry, language, thought, New York: Perennial Classics. Lefebvre, H. (1991) The production of space, Oxford: Blackwell. Lynch, K. (1960) The Image of the City. The MIT Press. Melosi, M.V. (2010) The Automobile Shapes The City, Available at:http://www.autolife.umd.umich.edu/Environment/E_Casestudy/E_casestudy2.htm(Accessed: 15th December 2013). Rossi, A. (1984) The Architecture of the City (Oppositions Books) The MIT Press. Rowe, C. Koetter, F. (1983) Collage City, : MIT Press. Smith K., Kalish M. L., Griffiths T. L., Lewandowsky S. (2008) ‘Cultural transmission and the evolution of human behaviour.’, Phil. Trans. R Soc. , 363(3469–3476), pp. [Online]. Available at:http://rstb.royalsocietypublishing. org/content/363/1509/3469.full(Accessed: 10th December 2013). Speck, J. (2012) Walkable City: How Downtown Can Save America, One Step at a Time. Farrar, Straus and Giroux. The lying truth (2010) Mullet Architecture: FLLW and Hans Scharoun., Available at:http://thelyingtruthofarchitecture.wordpress.com/2010/02/03/mullet‐architecture‐fllw‐and‐hansscharoun/ (Accessed: 9th December 2013). Tschumi, B. (2004) Bernard Tschumi: Questions of Space (Architectural Association), : AA Publications. Venturi, R. (1977) Learning from Las Vegas: The Forgotten Symbolism of Architectural Form. Revised edition. The MIT Press. Whyte, W.H. (1980) The Social Life of Small Urban Spaces, : Project for Public Spaces Inc
Bibliography
IDEA - HTC - Boundaries of Culture 33
Past, Present & Future Analysis
PLACE
historic map 1836 PLACE 36
historic map 1797 PLACE 37
parnell sq - historic images PLACE - Past 38
abercrombies plans
Dublin City Councils plans for the future City Library. These involve turning the disused Cholasite Mhuire buildings on the northern end of Parnell Square into the new Library. This would lead also to a new civic plaza outside the library and hugh lane along parnell square north.
dcc library proposal
PLACE - Future 39
Site aerial PLACE -Present 40
site location
PLACE - Present 41
east elevation and section PLACE - Present 42
east elevation and section
PLACE - Present 43
This is the existing traffic plan. Where the buses have to use parnell square as one giant roundabout. (further increasing its black hole-liness)
TRAFFIC MOVEMENT ANAYSIS PLACE - Analysis 44
This is the proposed circulation route, with PSQ East taking the majority of the traffic up and down the square. Then the west side becomes a shared surface to allow the programme to extend further towards the georgian buildings to incorporate them into the design.
This diagram shows the density of use of each of the roads surrounding the parnell square site. in this instance the PSQ west side is a very busy route while dominick street does not have as heavy a flow.
This is the proposed densities after the circulation has been altered. With PSQ West becoming a shared surface it will now have a much lower use, or at least speed of use. Excess traffic can make use of dominick street which is not using its whole potential currently.
TRAFFIC VOLUME ANALYSIS
PLACE - Analysis 45
SHADOW ANALYSIS DECEMBER PLACE - Analysis 46
SHADOW ANALYSIS JUNE
PLACE - Analysis 47
SHADOW ANALYSIS September PLACE - Analysis 48
49
Semester 1 Project 1- PSQ A PLACE of Culture Urban Workshop I+II Arch. Workshop I - IDEA Arch. Workshop II - PLACE + BUILDING Project 2 - A Structured Place for Culture Semester 2 Design Development Progress Crits
PROCESS
Moore Street
Parnell Square North
Parnell Street East
Starting from Kevin Lynch’s ‘Image of the City’ we investigated the city with regards to exchange and culture. This began as a study of form according to the elements laid out in Image of the City. To analyse these, the buildings and streets of the city were first studied. The city street is the stage of our everyday life. According to Lynch It is made up of a combination of elements or components. In ‘Image of the city’ Kevin Lynch breaks these into 5 elements: Path, edge, district, node and landmark. He also states that his study is limited to the form of the city, and Aldo Rossi echos this statement in ‘Architecture of the City’ saying that the “Description of the city is concerned primarily with Form” (p.29) However in studying solely the city form, we miss out on a crucial element of the city, Occupation. Made up of the people, the signs, bike racks, lamp posts, cars, buses, and other forms of inhabitation and occupation these arguably make up a 6th element of the city. An element that does not limit itself to study solely of the form. But allows us to examine exchange and interactions within our ‘formal’ cities.
THE CITY STREET
PROCESS - Semester 1 - Urban Workshop I + II 52
Moore Street
Parnell Square North
These images attempt to show Lynch’s ‘formal’ city as defined by his 5 elements but without the ‘informal’ 6th element, Occupation.
Parnell Street East
This is the realm of the architect and their work is carried out on the city form. With the resulting occupation being planned for but perhaps not accommodated by the constructed works or else completely incidental. Here we can see the paths laid out clearly and the district is defined only by having an edge and by little other cultural influences. (Not to imply that the buildings in and of themselves are not a cultural influence) The edges are clearly visible and the district can be seen as a space. But without people to inhabit the city’s form, it is lifeless, useless.
The city Form
PROCESS - Semester 1 - Urban Workshop I + II 53
Moore Street
Parnell Street East
Parnell Square North
Here we can see the items that occupy the city shown by various colours. Each colour represents a facent of exchange to which these items apply. The yellow items represent various signs and text in our urban environment. These include the names of shops, posters for sales or deals in some of these shops, menus in others, signs to indicate parking times and when to not park. Cultural signs with historic information and art installations are grouped under the yellow banner. These represent a literary exchange, a communication that occurs, but not as a dialogue with others. Ideas and information is being conveyed nonetheless however. Red items are items that restrict or prohibit exchange. They are the cars parked on the side of the street blocking movement, the bike racks that fill up and create obstacles that must be then circled. Unusually large bollars or bins may also contribute to items that do not favour exchange. Green items are things that promote exchange between individuals. Here they are identified as the market stalls of Moore Street, public transport and the doorways to shops, bars and restaurants. Also included may be seating and public parks.
city exchange
PROCESS - Semester 1 - Urban Workshop I + II 54
Moore Street
Parnell Square North
Here we see the abstracted 6th element that comprises our cities. This element is the inhabitation and occupation of the city. While Kevin Lynch focused on the city form in Image of the City, this 6th element attempts to analyse what Lynch did not.
Parnell Street East
Both formal and informal this element is composed of official lamp posts and bike stands and the less than official shop stands spilling through doorways onto the city streets. Though Lynch groups signs into local landmarks, it seems more appropriate that landmarks are classified as the urban artefacts that Aldo Rossi speaks if in ‘Architecture of the City’. These images show ways in which the city is actually occupied. These are things that impact us on an everyday scale yet they are sometimes incidental as a result of the work carried out by architects and urban planners.
The OCCUPATION
PLACE - Semester 1 - Urban Workshop I + II 55
PRODUCED BY AN AUTODESK
IDEA Starting with Kevin Lynch’s ‘Image of the City’, the Parnell Square area was examined under the lens of exchange and city pattern and the five elements that Lynch purports are combined to form a city. The five elements are Path, Edge, District, Node and Landmark. However Lynch stated that his elements comprised a study of only the form of the city. This led to an investigation as to what other, perhaps informal, elements of the city could be. Through a reduction of certain areas of Dublin to the raw form of the five elements, a 6th element was deduced. This element included everything that was removed in the reduction of the areas to pure form. Thus the 6th element included people, cars, bikes, buses, bins, benches, lamp posts, signs, stalls and phone-boxes to name a few.
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
ANALYSIS As the original point of study was from exchange and city pattern these items were classified accordingly. Some items (red) were obstructive and restrictive to exchange such as fully loaded bike racks, bins and the cars lining the edges of our streets. Others (yellow) were forms of literary exchange and conveyed messages in a one directional way to those who interacted with them. These were signs, advertisements, logos and information points throughout the area. Lastly were the objects or areas (green) that were conducive to direct exchange. The stalls of Moore St, public transport and seating comprised some of the outdoor examples but the interiors of coffee shops, bars, libraries and museums were good examples of strong indoor points of exchange of culture and ideas. From this, the areas studied were compared according to the restrictive or enabling nature of the items there with regard to exchange. Areas of high exchange were studied as to why they were good and areas of low or poor exchange were analysed with a view to why they didn’t work and what could be done to improve them. EXECUTION From this it was found that Parnell Square North, the area outside of the Hugh Lane Gallery and the Garden of Remembrance was an area that did not promote exchange and that given its prominence in the city it was an area that may benefit from needed improvement. Cues for improvement were taken from the areas of high exchange, i.e. inside the museum itself and the areas along Moore Street that were paved and allowed interaction between people. Given that 80% of the Hugh Lanes collection is currently not on show, space to show more of the collection was seen as a cultural benefit and the design would attempt to incorporate this. To execute the idea, the gallery space was extended under the newly paved plaza and creates a horizontal link to the previously isolated Garden of Remembrance. To further create cultural links from the new extension, glazed panels were incorporated in the roof plane to create a vertical link between the new galleries and the public plaza. Inspiration was drawn from the book burning memorial in Berlin. The viewing of an exhibit from above keeps the ground plane free and promotes interactions vertically, but where the Book Burning Memorial is to symbolise what was lost, this is to exhibit what we still have.
56
EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Underground extension to hugh lane
PROCESS - Semester 1 - Architectural Workshop I 57
58
workshop section type 1
workshop section type 2
workshop section type 3
A place of culture
PLACE - Architectural Workshop 2 - Design 59
5
3
1
6
7
2
4 8
Project 2 REFERENCES
PROCESS - Project 2 - A Structured Space for Culture 60
1. Fort George, Scotland 2. House By Scahroun and Mattern 3. Park Gate, Darmstadt 4. Temple of Edfu, Ancient Egypt
5. Arcadia National Park, Gatehouse, Maine 6. Piazza del Campo, Sienna 7. Park de la Villete Image, OMA 8. Park de la Villete Drawings, OMA
Initial Park Gate Design - Based on wall nooks carved into rammed earth
Brick piers as expressed from the plaza Edge piers become enlarged and occupied
Examing the burying of programme into the ground under the plaza
Embedded cafe variations
Elevation of gatehouse, showing a possible spanning building which creates an entrance
SKETCH DESIGN
PROCESS - Project 2 - A Structured Space for Culture 61
Rammed earth detail section, Showing level difference between road and park.
FINAL DESIGN
PROCESS - Project 2 - A Structured Space for Culture 62
Plan showing clearly all the rammed earth construction
Aerial View of the Park from the South
View of the transition from park to plaza showing the brick piers that make this transition
View of Parnell Square West with the park entrace, this shows the park sitting into its context.
View down the central axis of the park from eye level. This shows the spatial experience of the park.
FINAL DESIGN
PROCESS - Project 2 - A Structured Space for Culture 63
oCCUPYING THE WALL
PROCESS - Project 2 - A Structured Space for Culture 64
sEMESTER 2 - DEVELOPMENT DESIGN
PROCESS - Semester 2 Development work 65
plan - development
PROCESS - Semester 2 working plans - Crit 260214 66
Rammed Earth Partical Size Average Requirements: Sand and Gravel 60mm Rammed Earth Partical Size Average Requirements: Clay 17mm1 Sand and Gravel 60mm Silt 23mm Clay 17mm1 Silt 23mm Dublin is situated on boulder clay. Once the topsoil has been cleared away and the earth removed of all organic material the soil can be used to construct rammed earth Dublin walls. is situated on boulder clay. Once the topsoil has been cleared away and the earth removed of all organic material the soil can be used to construct rammed earth walls. This site will require excavation to construct the park and as such there will be a significant amount of earth available to construct the walls. This site will require excavation to construct the park and as such there will be a significant earth available to construct the walls. Earth amount Requiredoffor walls: -c.4640m3 Earth Required for walls: -c.4640m3 Estimated Earth From site: c.4359m3 Estimated Earth From site: Organicc.4359m3 material removed from soil (15%): c653m3 Organic material removed from soil (15%): c653m3 Earth Suitable for walls from site c.3706m3 Earth Suitable for walls from site c.3706m3 This does not factor in removing soil below the finsihed surface line of paving and hard surfaces where they occur so the actual amount of soil may be larger. This does not factor in removing soil below the finsihed surface line of paving and hard surfaces where occur so the would actualhave amount of transported soil may be larger. If necessary anythey additional earth to be to site. But these figures indicate the majority can be locally sourced. If necessary any additional earth would have to be transported to site. But these figures indicate the majority can be locally sourced.
Sourcing Rammed Earth Sourcing Rammed Earth
Exploring the Aesthetic and Presencing of Drainage
exploring rammed earth + drainage
PROCESS - Semester 2 - Further Explorations 67
3 Season Flower Bed
1. Elderberry (Sambucus nigra ‘Black Lace’) 1 plant 2. Weigela (Weigela Wine & Roses) 2 plants 3. Bleeding heart (Dicentra ‘King of Hearts’) 4 plants 4. Heuchera (Heuchera ‘Obsidian’) 2 plants 5. Black-eyed Susan (Rudbeckia fulgida var. sullivantii) 2 plants 6. Ox eye (Heliopsis helianthoides var. scabra ‘Sommersonne’, aka ‘Summer Sun’) 2 plants 7. Sneezeweed (Helenium ‘Mardi Gras’) 2 plants 9. Cranesbill (Geranium ‘Gerwat’, aka Rozanne) 8 plants 10. Aster (Aster x frikartii ‘Mönch’) Monch aster 3 plants
Abstraction of Fully Grown Flower Bed
12. Monkshood (Aconitum carmichaelli ‘Arendsii’) 6 plants 13. Delphinium (Delphinium ‘Connecticut Yankee’ series) 6 plants
Piet Oudolf planting design at the Serpentine Pavilion. This was one of the planting design methods researched for this project.
Planting Design
PROCESS - Sem 2 - Further Design 68
Planting Design
Oak Tree (Quercus petraea) - Eventual Height: 30m Eventual Spread: 25m. It is a deciduous tree with a spreading habit. It requires little care, dead or damaged material should be removed at the end of winter. The architect may find Quercus petraea useful as a stately specimen tree where room allows.
Horse Chestnut (Aesculus hippocastanum) - Eventual Height: 25m
Eventual Spread: 20m. It is deciduous tree with a rounded columnar habit. In late spring and early summer it bears upright, tall, conical panicles composed of white flowers. With its impressive size and dense habit Aesculus hippocastanum is well suited as a parkland specimen. Aesculus hippocastanum requires little care, dead or damaged material should be removed at the end of winter.
London Plane (Platanus × acerifolia)- is a large deciduous tree with
a wide trunk 3m or more in circumference when fully mature. It’s bark exfoliates in plates revealing creamy yellow/olive green inner bark. They are maple like in appearance with a 3-10 cm petiole. The insignificant flowers are monoecious and bloom in April.
Hornbeam (Carpinus Betulus) - Eventual Height:
25m Eventual Spread: 20m. It is a deciduous tree with a pyramidal habit. Hedges of this species perform the function of an ‘evergreen’ barrier with green leaves in the growing period and brown leaves during the winter months. It can be pruned hard and as consequence is a valuable tree which can be managed for pollarding purposes.
Lime Tree (Tilia Cordata) - Eventual Height: 30m Eventual Spread: 12m. It
is a deciduous tree with a spreading habit. Its foliage is rounded, chordate, glossy and dark green . The flowers have quite a heavy scent which are very attractive to bees. In autumn, following the flowers a dry drupes are formed. This tree has traditionally been planted in regular lines and avenues and is very suited to this purpose
Mountjoy Square and St. Stephens Green.
The tree specimines chosen for this park were selected from the range of trees that are found in these two parks. These tree’s have been proven to flourish in an Irish context. This also links Parnell Square with these other Georgian squares through the use of trees forming a language for Dublins squares.
Tree selection and context
PROCESS - Sem 2 - Further Design 69
Ampitheater design + influence PROCESS - Sem 2 - Further Design 70
texture plan 1:1000 PROCESS - Exploring Presencing 71
Presentation 1 - 26.02.2014
Presentation 2 - 18.03.2014
Development presentations PROCESS - Representation 72
Presentation 3 - 08.04/2014
FINAL Presentation PROCESS - Representation 73
Final Design Detail Design Models Renders
BUILDING
Boundaries of Culture - Brief
Public Park and Urban Landscape Schedule of Areas DT101/5 28.01.2014 Paul Egan Outdoor Programme: Basketball Courts Tennis Courts Boules Courts Childrens Playground Outdoor Gym Skate Park Table Tennis Tables Chess Tables Benches Lawns
# 2 2 4
Dim 31x17m 13x26m 21x3.5m
4 4
2.5x4.7m 1.5x1.5m
Total Outdoor Area
3,660m2+
Indoor Programme:
Cafe Gatehouse Storage Shed Community Building Artists Studios Movie space for Hugh Lane Hugh Lane Extension City Library moves into Rotunda Bus/Metro Interchange -Circulation -Escalators -Bus waiting -Road infrastructure
Size 1054m2 676m2 274m2 800m2 400m2 400m2 47m2 9m2 tbc tbc
6
8x8m
80m2 180m2 180m2 200m2 384m2 100m2 n/a n/a tbc
Total Indoor Area
1,084m2+
Circulation
A Lot
Total Combined Area
4,700m2+
Parnell Square Area
c.39,000m2
bRIEF AND SITE BUILDING 76
Redefining Boundaries 21.05.14 Hi… and my thesis is entitled Redefining Boundaries. I’ll start off with a quick description of the final project and describe the process leading to it. This thesis explores boundary, territory and presencing through a public park on Parnell square. The park is conceived as a pair of boundary walls, constructed of rammed earth that are enlarged at points and occupied by the varied programme of the park. Any bound space that will become internal is then given a concrete roof structure which is placed on top of the rammed earth walls. The genesis for the project was when the theme of CULTURE was investigated at the beginning of the year. I defined it as communication between people, and while studying theorists such as Pierre Bourdieu, Jan Gehl, and Edward T. Hall I concluded that people go out in public to fulfil their need for contact and stimulation. Through further research it was revealed that people communicate best in spaces that are appropriately scaled to them and that the edges of spaces are the liveliest. So edge and boundary became significant elements in this project. And CRUCIALLY Martin Heideggers quote that “boundary was not that at which something stopped but that from which it begins its presencing” was influential as it allowed boundary to be redefined as a positive element. Following this the site chosen was Parnell square. This was due to the current nature of the boundaries on Parnell Square and the possibility of this thesis to redefine them. With regard to movement, the site currently operates as a veritable roundabout in the center of Dublin. The traffic cuts off the center of the square from easy pedestrian access and adds to the negative layer of boundary provided by the buildings and the railings of the Rotunda hospital. To tackle the restrictive nature of the site I proposed the all buses be re-routed to the east side and that the west side become a shared surface with the speed of cars severely reduced. The aspect is also good and the southerly sloped site provides an opportunity to cascade the varied programme along the key axis between the Rotunda and the Hugh Lane. As reinstating the historic axis between these two buildings was an integral part of operating on this site. Programmatically the Rotunda Hospital, looking to double in size will vacate the site. And all nonhistoric buildings are to be removed. The Hugh Lane which is currently displaying 20% of its collection will expand into the Cholasite Mhurie buildings and then the Dublin City Council library moves into the now vacant Rotunda building. These along with the proposed Metro North station on the east side of the square are stimuli from which the rest of the park began to evolve. So the area directly outside the Hugh Lane is a civic plaza which has a more formal language than the agrestic park below. This plaza reads as a solid element from which the programme is cut. These cuts accommodate artists’ studios, an extension of the Hugh Lane to the park and public bathrooms embedded in the plaza. It has a concrete structure to differentiate it from the earthen atmosphere of the park.
The rest of the programme is embedded in the boundary walls that sit between the road on the outside and the park on the inside. This references abstractly Peter Behrens idea that the envelope was the dividing line between interior and exterior design, so then THIS dividing line is emphasised to the point that the programme is embedded within it. This divides one experience from another and affects the presencing of the spaces. These boundaries are made of varying thicknesses of rammed earth walls. The thickness allows them to respond to the many variations of space within the park. For example where the geometry of the park’s elements clash the wall absorbs these differences. The ability of the wall to do this is carried through the project at a variety of scales. The walls rise to make barriers and fall to create seats. Some are thin and others thicker where elements are situated within them (Thicker on Roadside). For example the parks gates are embedded into the walls of the programme located at these entrances. Also, all the main entrances have roof elements that extend across the paths to buildings opposite that create portals through which one enters the park, this is found at all entry points and is a nod to traditional gatehouses. The roofs also start to break free of the line of the walls so that they extend the boundary beyond the limits of the physical mass. This is found in the skate shop, the community center and the café where the roof beams extend to cover an outdoor seating area and also extend the experience of the café beyond the walls. Furthermore, on the ground the stone pavers of the primary walkway begin outside the entrances near the café and community center. These extend beyond the walls of the park and intersect the public realm creating an early threshold. This use of ground texture to exhibit boundary and presencing is found throughout the park with surfaces stopping short and beginning early. Finally, The spaces then start to shift against the central axis to create space in and out of the park. This relates to the use of each particular space. So the main entrances all get larger plazas on the road side than the rest and the area outside the metro station is also larger to accommodate more people. The relationship between these elements was important as the flow through the park and passing through a variety of scales was integral to how the park would be experienced. The community center is situated at one main entrances, it links to an outdoor area containing table tennis tables, boules and chess. This space leads on to an outdoor gym from which you can pass through to the metro station or the playground, which has low walls for visibility and security. Then on the far side the Basketball and tennis courts share a language of higher walls and shifted programme to divide up the spaces into smaller components. This was employed to try and break up the larger spaces so that they didn’t dominate the park and add layers of scale. This stems from Jose Plecnik’s work at Prague castle which sensitively renewed the grounds and who said “I don’t want anything great, I want things small; these I will make great”
final thesis explanation
BUILDING 77
Canopy plan 1/2 BUILDING - Final Design 78
Canopy plan 2/2 BUILDING - Final Design 79
Plan 1:250 - Part 1/4 BUILDING - Final Design
Plan 1:250 - Part 2/4 BUILDING - Final Design
Plan 1:250 - part 3/4 BUILDING - Final Design
Plan 1:250 - part 4/4 BUILDING - Final Design
Metro Station 1:100
Metro station 1:100 BUILDING - Final Design 88
Artists Studios 1:100
artist’s studios 1:100 BUILDING - Final Design 89
cafe 1:100
BUILDING - Final Design 90
Café 1:100
Community Building 1:100
Community center 1:100 BUILDING - Final Design 91
Park Keeper’s Apartment 1:100
park keepers apartment 1:100 BUILDING - Final Design 92
Exploring Presencing through Texture
dining kitchen
balcony living
storage
master bedroom
bedroom 1 hot press
en-suite
bedroom 2
bathroom bedroom 3/study
store
gatehouse plan 1:100
section cuts and model locations
BUILDING - Final Design 93
Section 1
BUILDING - Final Design 94
section 1
BUILDING - Final Design 95
bRIEF AND SITE BUILDING 96
FINAL DESIGN
BUILDING 97
bRIEF AND SITE BUILDING 98
FINAL DESIGN
BUILDING 99
bRIEF AND SITE BUILDING 100
FINAL DESIGN
BUILDING 101
bRIEF AND SITE BUILDING 102
FINAL DESIGN
BUILDING 103
bRIEF AND SITE BUILDING 104
FINAL DESIGN
BUILDING 105
Plaza Glazing Detail -16/24/16mm structural glazing -6mm Steel angle to hold glass -bolted to concrete parapet -rubber stops under glass -20x50mm aluminium box -bolted to parapet -50mm vertical rigid insulation
Plaza Paving Detail -70x70mm galvainsed steel handrail -50mm Stone Pavers -props 4/3mm paralon roof membrane -100mm rigid insulation -50mm screed laid to falls (1:60) -50/175 precast/in-situ concrete slab -Schock Isokorb unit
Art Studio Wall Detail -200mm concrete ring beam -schock isokorb unit installed -300mm in-situ concrete walls -100mm rigid insulation -6/24/6mm Double Glazed Windows -18mm plywood window lining on 20mm timber battens -75mm screed -18mm underfloor heating@300mm cc -100mm rigid insualtion w/vapour barrier -300mm concrete slab and foundation -damp proof lining -150mm compacted aggregate -subgrade soil
detail section 1 BUILDING - Detail Design 106
1:20 Detail Section through Plaza, Artist’s Studios and Cafe
Detail Section 1 BUILDING - Detail Design 107
Rooflight Detail -11/18/11mm double glazing -laid to falls 1:60 -3mm steel angle stuck to edge of glass -5mm rubber rest for glass -3mm steel piece covering lower pane -use to bolt glass to aluminium box -20mm aluminium box -bolted to concrete parapet -4mm paralon roof membrane -50mm vertical rigid insulation
Roof Detail -100mm rubble roof covering -4/3mm paralon roof membrane -bolted to vertical slot in concrete -mastic joint at top to waterproof -100mm rigid insulation -50mm screed laid to falls 1:60 -50/175m precast/cast in-situ concrete roof slab -Schok Isokorb Structural insulation -400-200mm @ 1m overhang beam
Community Buidling Entrance Detail -36mm double glazing set 50mm inside ring beam -500mm deep beam spanning park entrance -18mm plywood cover on insulation -on 25x25mm timber battens -200mm concrete lintel ring beam -50mm insulation in lintel -schock structural insulation -36mm double glazing set on steel frame -Galvanised Steel Door -9mm Steel angle door saddle
Detail section 2 BUILDING - Detail Design 108
Apartment Wall Detail -100mm structural concrete facing -100mm rigid insulation -200mm concrete beam -200mm thick concrete lintel w/schok structural insulation -36mm Double Glazed Windows -18mm plywood window lining on 20mm timber battens -50mm concrete sil -650mm rammed earth wall -200mm concrete sill/ring beam
Utility Shed Wall -100mm Galvanised Steel Gate bolted to vertical concrete element in rammed earth wall -700mm Rammed Earth Wall Paving Detail -100mm stone pavers -60mm sand bed laid to falls 1:60 -150mm compacted aggregate -Gutters on Edges -Waterproof barrier
Utility Shed Floor 75mm screed 100mm rigid insulation 300mm concrete slab
Detail Section 2 BUILDING - Detail Design 109
1:20 Detail Section through Community Building, Park Keepers Apartment and Utility Shed
Typical Roof Light Detail 1:5
1:5 details
BUILDING - Detail Design 110
Apartment Lintel and Parapet Detail 1:5
Community Build Main Entrance Lintel 1:5
Main Walkway Water Channel Axo 1:50
main walkway water chanel axo 1:50 BUILDING - Detail Design 111
2 1
12
B
2 1
3 4
11
10
6 7 8
B
9 5
B-B Section BB Wall Seat Detail 1:20 1 500mm rammed earth seat 2 Granite seat finish with thermal finish to all sides 3 Grass 4 Grass bed 5 Steel edging and interface with planting beds 6 50mm stone paving 7 19mm sand bed
A
8 Compacted aggregate 9 Geotextile Layer 10 Two rows of 25x300mm stainless steel dowels expoxy set into rammed earth, set into grout filled footing 11 38mm weep hole 12 Drain (spec)
5
6
1 2
7
8
9 10 11
12
3
A
4
4 4
A-A
Landscape Design 1 BUILDING - Detail Design 112
Section AA Planting Seat Detail 1:20 1 50mm stone paving 2 19mm sand bed 3 Compacted aggregate 4 Geotextile Layer 5 Granite seat finish with thermal finish to all sides 6 500mm rammed earth seat 7 Two rows of 25x300mm stainless steel dowels expoxy set into rammed earth, set
into grout filled footing 8 38mm weep hole 9 Steel edging and interface with planting beds 10 50mm layer of mulch finished 6mm below top of paver 11 Min of 300mm of planting soil 12 200mm stone edging 13 Grass 14 Grass bed
13 14
7 1 2 3
5 4
7
6 5 6 8
1
11
2
12
9 3
10
11
13
8
9
4
10
D-D
E-E
Section EE Steps Detail 1:20 1 50mm concrete paving 2 19mm sand bed 3 Concrete substrate 4 Trench drain 5 100mm Stone stair treads 6 30mm Stone face to stair risers 7 60x60mm galvanised post fixed through stone onto concrete structure 8 Stainless steel handrails 9 50mm stone paving 10 subgrade soil 11 Person
C
C
D E
E D
Section DD Pool Weir Detail 1:20 1 Finished Surface to concrete pool bottom 2 Expansion joint material 3 Waterstop 4 Sub-grade soil 5 Concrete pool wall 6 Steel reinforcing bar 7 Finished concrete weir surface 8 Concrete channel surface 9 Stone edging 10 Waterproof material joint 11 Drain 12 100mm stone pavers 13 Compacted aggregate
Section CC Pool Seat Detail 1:20 1 Finished Surface to concrete pool bottom 2 Expansion joint material 3 Waterstop 4 Sub-grade soil 5 Concrete pool wall 6 Steel reinforcing bar 7 Waterproof material joint 8 200mm stone edging 9 Granite seat finish with thermal finish to all sides 10 500mm rammed earth seat 11 Four rows of 25x300mm stainless steel dowels expoxy set into rammed earth, set into grout filled footing 13 Compacted aggregate 14 Drain 15 50mm concrete pavers 16 19mm sand bed 17 Geotextile Layer 18 38mm weep hole
9 10
18 11
8 7
15 16 14 12
5 6
1
4
2
13
3
Landscape Design 2
BUILDING - Detail Design 113
C-C
114
1:100 & 1:500 models BUILDING - Models 115
116
Scheme 1:250 model
BUILDING - Final Model 117
Central axis - View from rotunda BUILDING - Renders 118
HUGH LANE plAZA - st. patrick’s day BUILDING - Renders 120
main entrance by community center
BUILDING - Renders 121
artists studios at night BUILDING - Renders 122
View From Hugh Lane undercroft
BUILDING - Renders 123
community center interior BUILDING - Renders 124
metro station at night
BUILDING - Renders 125
Aerial View
BUILDING - Renders 126
Cafe outdoor seating BUILDING - Renders 127
PArnell Square West BUILDING - Renders 128
Central Axis at eye level
BUILDING - Renders 129
FIN