Issuu

Phase #1

Workshop 3 weeks workshop (15.09 - 03.10 2014)

ANCHORING by

Nick Durig, Unit F. & Pelle J. Carlsen, Unit. F

content workshop # 2 workshop # 3 spatial anchoring - modelling - drawing

3th semester F14

unit f

Workshop # 2 tutor :

Kristian KjĂŚr

as a preparation for the first main assignment and a first encounter with the semester theme of anchoring, we construct a pinhole camera for capturing a subject over time, 1 week.

3th semester F14

unit f

Workshop # 3 tutor :

Kristian KjĂŚr

In this workshop, we worked to create a section through Aarhus City hall. Based on the idea of anchoring, it was important to pass through the hall from inside to outside.

Our route was from outside the windows by the large elevator and back outside at the back large window. Our route was based on feeling of space, rather than actual scale and size of elements. We used ideas of de-constructivism to rearrange spaces to model perceptions of space in the real hall.

THE CITY HALL T

his sectional model explores circulation throughout the Aarhus Town Hall from the perspective of the main level. When visiting the town hall we discovered many ways were being used to travel through the space both vertically and horizontally.

The volumes of the spaces contribute to the experience when traveling into new rooms and corridors. To emphasize this concept, the model, rather than showing an exact scale, was scaled to the expansion and contraction of spaces depending on the movement through the passages.

section model

Plan level

A

nalyzing circulation from the main floor, the perception of vertical circulation varied depending on the route. The elevator in perspective from the main floor gets smaller, but still very visible because of the clarity of the passage. Although the elevator is seen to travel vertically, the final destination of the ride is unknown from the main floor. Unlike the elevators the staircases quickly disappeared out of site, so circulation became more opaque. Variety of spaces has a direct dependence on the circulation throughout the Town Hall. This model surveys the dependence between experience of space and circulation.

morphosis In this project we were very influenced by the ideas of drawing brought to by Morphosis. Many of their projects also use the idea of de-constructivism to create spaces similar to the way we did. When discussing the sixth street house in L.A. Thomas Mayne says “ (…) there is no inside, there is no outside,there’s no way of perceiving it, it is growing, it is moving, it is changing, quicker than one can absorb it”. Rather than trying to design a specific volume or space, the placement of objects is based on the idea that space is changing.

the tower

Phase #1

spatial anchoring 3 weeks workshop (15.09 - 03.10 2014)

ringgadebroen by

Nick Durig, Unit F. & Pelle J. Carlsen, Unit. F

aarhus n risskov den permanente

hasle

trøjborg

aarhus v

universitetsparken

fiskerihavnen isbjerget

øgadekvarteret

latinerkvarteret vesterbrotorv

aarhus c

aabyhøj

aros

brabrandstien

godsbanen ridehuset

ringgadebroen

musikhuset rådhuset

banegården

northside

frederiksbjergkvarteret

havnen

langenæs

frederiksbjerg tivoli kongevang mindeparken

højberg

aarhus

3th semester F14

spatial Anchoring tutor :

Kristian KjĂŚr

Based on a specific analysis of the bridge, this segment of the workshop focused on the spatial qualities presented at the site.

After visiting the site and studying the bridge, we used our own techniques to communicate this through model and drawing. Using our key words, techtonics & light, we then can start to decide how to develop our architectural intentions.

g o d s b an e n This newly found municipal cultural center in central Aarhus was a former goods yard. Close to the site, and topographically very similar location, this area has a huge influence on the site. This formerly industrial area evolved into a new cultural center in Aarhus. The way that Godsbanen interacts with the city on the level of the train tracks is very similar to how the site, under the bridge also interacts with the city.

Aarhus C Aros marstrandsgade

1,5 km

56.149302 N, 10.184372 W

m

section site

site

ringgadebroen

t r a n s pa r e n c y

density

Differents in

light-conditions

Elements

sketchmodels

w

Part #1

Modeling Through model making, our spatial representation of the site can then create new special concepts for us to design from later. This model also lets us analyze the site with the spatial potential to reinforce our ideas. Through the notion of techtonics we can then explore the light conditions that are established in the bridge.

Light can then be altered depending the site.

techtonics This model is focused around the concept of both light and the tectonic structure of the Ringgrade Bridge. After analysis of the tectonic connections, the bridge was deconstructed to create varying light patterns that are present at the site. By changing the forms and shapes of the construction the light patterns are available to become more dynamic.

The model’s structure gains strength similar to how the bridge reacts in reality.

Because of the arches, the bridge spans between two points, with thin vertical members carrying the load from the bridge deck to the arch. Other truss-like members use pinned connections to anchor the building together. Similarly in this model, the arches are connected together by thin planes.

These create shear resistance within the model. The copper wire is another system that emphasizes the strength as a whole.

truss like members

vertical thin beams

spanning arch

foundation

bridge

abstracted

tilted

multipled & rearranged

Light - conditions The strict tectonic system can then be altered to allow for diverse light condtions. Based on the idea of a changing perspective, the light conditions within the bridge are never static.

Alternatively, this model represents the ideas of direct, filtered, and reflective light. Materiality and spacing of forms creates difference special representations. Ultimately by creating a new structural system, a special analysis of the light conditions is created within this model.

direct light vs. Filtered light

from the Back

“base�

Lebbeus Wood, philosophy The majority of his explorations deal with the design of systems in crisis: the order of the existing being confronted by the order of the new. His designs are politically charged and provocative visions of a possible reality; provisional, local, and charged with the investment of their creators.

3th semester F14

Part #2 drawing tutor :

Kristian KjĂŚr

Drawing, the importance of the drawing comes from reinforcing ideas from the model, but combining them with other images or line drawings to have a new understanding of the site. By unfolding the potential of the model, we can analyze the understanding on many levels. The model itself fully influences the drawing.

F

or this drawing we emphaisized on the ideas of techtonics and light from our model.This drawing investigates the ideas of perception within the model alongside the actual bridge.

Combined, these images show how depending on the perception of the bridge, the idea of the light changes.

From a direct perspective the brige appears to be transparent, but at various angles the bridge light is not as direct. Light is then filtered from the thin members.

Many images of the model travel from the back side, to the elevation, then to the front. The model shows light changing from opaque, to transparent, then back to opaque.

Perception is then emphasized by the many perspective drawing lines that apper to get more dense on the edges of the drawing.

3th semester F14 unit f

part #3 intention tutor :

Kristian KjĂŚr

Following the spatial model of the bridge, we discovered that the underside slope of the bridge is disconnected from the road above and bike paths below. This is where we have decided to site the folly. The tectonic structure of the bridge has many different light conditions from different perspectives.

The folly should continue to develop these light conditions so that more diverse light will enter the space. In addition the intention should create more developed spatial qualities that create a variety of spaces. In addition to bringing emphasis to the underside, there is possibility to investigate how light conditions can be reflected under the bridge.

3th semester F14 unit f

PHYSiCAL anchoring tutor :

Kristian Kjær

Second phase consist of comparative studies, in which subtractive and additive modeling serve as the primary tool of investigation. The phase focusses on the physical relation to the site and the embodiment of the investi- gations and architectural intention from phase 1, inves- tigated through multiple relations (e.g.: in; under; over; on).

Through an examination of the topography and super- imposition of spatial sequences and relations of phase 1, we were tasked to conduct further development of the intervention through multiple propositions based on the studies.

Intervention - The Folly through three phases in the fall, be establishing an intervention in response to the subject of anchoring through three aspects – spatial, physical and cultural anchoring. Every phase establishes an understanding of the context based on the theme and an intervention is subjected to continuous work as a response to the reg- istered context. The intervention is in this assignment rooted in the term “folly” found in French and English romantic gardens. The folly stems from the French word “folie” meaning “foolishness” or “madness” and is in this case an object without a specific function estab- lished and experienced with the site and its inherent qualities as foundation. The folly is through the entire semester regarded as the media/tool through which you will individualy experiment with your understanding of anchoring at a given site, covering the three themes. The intervention is worked on and maintained through all three phases.

flow

Speed

which excite many different tempos in our area. The most accessible and those we try capturing those with at least speed and best opportunity to obsevere follyen and area. pedestrians on the bridge and cyclists under the bridge following the path until it becomes brabrand path

the

structure

collage over the structure in our folly.

the perspectiv

view

This folly marks an internal focal perspective point of the bridge.

Because views like this from the interior were important to our creation of the folly, it was important emphasize the viewpoint. In addition from this point one could see the varying light conditions of both the bridge, and the attached folly.

the

proces

Our process for this phase began by re creating light conditions from our previous spatial model. At first the folly began with many pieces and many different strategies for dealing with light. In this iteration, there were many panels changing in size from the edge to the interior.

After a few different studies that changed the arrangement, the many pieces were reduced to less.

From here we continued to reduce the idea and strengthen our main concept. Though our idea was being strengthened, we created a physical structure. The structure allowed the design to be more free with where panels were placed or not placed. Rather then having to rely on the panels for strength, the frame allowed a free structure that could be filled or not filled.

sketches

model

//

proces

sketch model

sketch model

light // conditions

reflective light

Depending on the perspective that the folly is viewed from, we have used different techniques similar to our last model. After investigation of filtered, direct, and diffused light we have adapted these strategies into this model.

filtered light

techtonic // conditions

shear connection

Continuing with the idea of tectonics, we have developed a few different connections that are similar to the bridge in reality. A shear connection is used to connect the folly to the thin members, and many different pinned connections to make the folly seem like a large truss—modeled after the bridge itself.

pinned connection

section

// 1: 200

next

phase

From here the design will still be developed in terms of form, and materiality. As it stands, the folly is disconnected and needs to create a stronger connection between the side that is attached, and the interior. By thinking about how we need to connect our folly into the space, the idea of how it will stretch into the bridge can be achieved. Additionally we need to discover materials to use in the model. Though we have used paper in our model for the panels, paper would not be a realistic material in reality. From here we need to think what kind of materials will give us a translucency that paper achieves but still having a rigid strength of that can support itself.

elavation

//

1: 200

3th semester F14 unit f

PHYSiCAL anchoring tutor :

Kristian Kjær

Second phase consist of comparative studies, in which subtractive and additive modeling serve as the primary tool of investigation. The phase focusses on the physical relation to the site and the embodiment of the investi- gations and architectural intention from phase 1, inves- tigated through multiple relations (e.g.: in; under; over; on).

Through an examination of the topography and super- imposition of spatial sequences and relations of phase 1, we were tasked to conduct further development of the intervention through multiple propositions based on the studies.

Intervention - The Folly through three phases in the fall, be establishing an intervention in response to the subject of anchoring through three aspects – spatial, physical and cultural anchoring. Every phase establishes an understanding of the context based on the theme and an intervention is subjected to continuous work as a response to the reg- istered context.

The intervention is in this assignment rooted in the term “folly” found in French and English romantic gardens. The folly stems from the French word “folie” meaning “foolishness” or “madness” and is in this case an object without a specific function estab- lished and experienced with the site and its inherent qualities as foundation. The folly is through the entire semester regarded as the media/tool through which you will individualy experiment with your understanding of anchoring at a given site, covering the three themes. The intervention is worked on and maintained through all three phases.

0m

75

Site and section The site and section show how

the site is situated near, but contextually very separated from the city that surrounds.

The railway shows how the city developed around the necessity for trains. As more buildings are being constructed this area is being repurposed.

In section, the elevation of the road above and tracks below are completely separated by the barrier of the bridge.

g o d s b an e n This newly found municipal cultural center in central Aarhus was a former goods yard. Close to the site, and topographically very similar location, this area has a huge influence on the site. This formerly industrial area evolved into a new cultural center in Aarhus. The way that Godsbanen interacts with the city on the level of the train tracks is very similar to how the site, under the bridge also interacts with the city.

Aarhus C Aros marstrandsgade

1,5 km

56.149302 N, 10.184372 W

section site

collage over activities

homeless In

a small space between Godsbanen and Ringgade bridge in the center of Aarhus meet up to 30 homeless people every day - som sleep-over, others come just to get warm, hang out and socialize with other homeless

social events

erery year at summertime there is holded a raveparty under the brigde, “Doom under the brigede. its a 2-day long event for the undergroundsubculture.

anchored

attached

layering

The techtonics of the bridge can be simplified into 2 main structures. The first is a stereometric concrete structure that is the concrete arch. This structure deals with compression. Second to this, is the later added pedestrian bridge. Because this truss like system is attached to the primary structure, it can be seen as another layer with a separate system. Lastly there is a small other system that is simply just pinned to the first structure which is the staircase. Our folly—like the staircase—should follow the logic being pinned to the walkway so that it maintains the same structural logic of the bridge.

when Adding layer

structure // rythme The bridge was constructed

in cast in place board form concrete.

Because of concrete’s ability to take compression loads very well, the bridge is fairly thin and uses thin vertical members to carry the loads from above into the bridge’s arch

tectonics structure

#1

tectonics structure

The bridge //

Model // 1

Model // 2

#2

difference surfaces

materiale // atmosphere public use

individual use

the brigde’s history introducing new materiale

The bridge was built in 193637 to connect the elongated Aarhus area that otherwise was shared by the vast railway system. The bridge was opened June 1, 1938, and in 1970-71 it was extended with the bikecycle path.

Concret

Metal

Tree

2014

year 1936

1970

history public sektor

rebeltown

the meetings

ON THE BRIGDE, GET THE FEELING OF THE LIGHT CONSTRUCTION

the meeting under the bridge, to make the user explorer the perspectiv-view under the brigde.

mixed media

section mixed media

plan

elevation // southeast

elevation // northeast

detail

l

light // study Summer Solstice

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