Ma.Arch Academic Portfolio by Rachel Leatherbarrow

ACADEMIC PORTFOLIO II RACHEL LEATHERBARROW S0927212

2015-2017

NAV I G AT I N G T H E P O R T F O L I O E x p l a n a t o r y Te x t & D i a g r a m s

CURRENT COURSE

MArch I

DESIGN STUDIO C

DESIGN STUDIO D

ATR

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

Confluence Field Proposition

YEAR 1 COURSES

COURSE COMPONENTS

YEAR 2 COURSES

COURSE TITLE COURSE SUMMARY

LEARNING OUTCOMES

ARB GENERAL CRITERIA [PART II]

ARB GRADUATE ATTRIBUTES [PART II]

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

General criteria defined by the ARB Criteria

Criteria defined by the ARB Criteria

booklet. These are mapped by course, and

booklet. The appropriate criteria will

are highlighted when work presented

be highlighted when work on the page

corresponds to these requirements.

matches its specific requirements.

2.1

2.2

2.3

PAGE NUMBER

2.4

2.5

2.6

2.7 page X

MODULAR PATHWAY : CHOSEN STUDIOS

ARB PRESCRIPTION OF QUALIFICATIONS GENERAL CRITERIA AT PART 2

GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. The graduate will have the ability to:

GC7 Understanding of the methods of investigation and preparation of the brief for a design project. The graduate will have an understanding of:

.1 prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; .2 understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; .3 develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

.1 the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; .2 the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; .3 the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. The graduate will have knowledge of: .1 the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; .2 the influence of history and theory on the spatial, social, and technological aspects of architecture; .3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach. GC3 Knowledge of the fine arts as an influence on the quality of architectural design. The graduate will have knowledge of: .1 how the theories, practices and technologies of the arts influence architectural design; .2 the creative application of the fine arts and their relevance and impact on architecture; .3 the creative application of such work to studio design projects, in terms of their conceptualisation and representation. GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process. The graduate will have knowledge of: .1 theories of urban design and the planning of communities; .2 the influence of the design and development of cities, past and present on the contemporary built environment; .3 current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development. GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. The graduate will have an understanding of: .1 the needs and aspirations of building users; .2 the impact of buildings on the environment, and the precepts of sustainable design; .3 the way in which buildings fit into their local context. GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. The graduate will have an understanding of: .1 the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; .2 the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; .3 the potential impact of building projects on existing and proposed communities.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design. The graduate will have an understanding of: .1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; .2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; .3 the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices. GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. The graduate will have knowledge of: .1 principles associated with designing optimum visual, thermal and acoustic environments; .2 systems for environmental comfort realised within relevant precepts of sustainable design; .3 strategies for building services, and ability to integrate these in a design project. GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. The graduate will have the skills to: .1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; .2 understand the cost control mechanisms which operate during the development of a project; .3 prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. The graduate will have knowledge of: .1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; .2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; .3 the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

[ MArch I ] NORTH STUDIO IV: EARTH & OCEAN

[ MArch 2 ] THE BIG ROOF

GRADUATE ATTRIBUTES [ FOR PART 2 ] 1. Ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations; 2. Ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals; 3. Ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals; 4. Critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design; 5. Understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation; 6. Problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances 7. Ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

TABLE OF CONTENTS

A c a d e m i c P o r t f o l i o I I i s o r g a n i s e d c h r o n o l o g i c a l l y, s p l i t i n t o t h e four respective semesters completed as part of the M.Arch Course.

Bodø Nord Axonometric

Biomorphic Facades: Future or Farce?

Architectural Technology - Generic Study

Biomorphic Facades Future or farce?

Marija Ambrasaite - Ben Wylie - Rachel Leatherbarrow 1

districts. This extends Bodø’s urban core whilst replacing the inefficient sprawl of industrial warehouses and isolated industries. The planned development structure operates across 3 scales; Macro, Meso and Micro, resulting in the detailing of four individual building proposals. The masterplan is responsive and flexible; considering and supporting incremental development over time as well as future expansion and adaption in response to socio-economic developments such as increasing population and a shifting of focus towards technological and research based employment within the city. Bodø’s waterfront masterplan will be integral to developing a sustainable, smart city with the required infrastructure to maintain Bodø’s esteemed reputation as the ‘Gateway to the North’.

[ Contextual Study ] Kinetic Roof Systems; An Exploration in Reflection and Refraction of Light

Architectural Technology Research - M.Arch 1 2015/16 -

Ben Wylie, Rachel Leatherbarrow & Marija Ambrasaite.

Studies in Contemporary Architectural Theory: Seminar diaries Reading [... Koolhaas] Rachel Leatherbarrow S0927212 MArch1_2016

[ Essay ]

SCAT

[ Articulation ]

M(Arch) 1 - 2015

[ Contextual Study ]

[ Generic Study ]

[ Proposition ]

[ Field ]

Dette utvider Bodø urbane kjerne mens erstatte ineffektive bre av industrielle lagerbygninger og isolerte bransjer. Den planlagte utbyggingen struktur opererer over 3 vekter; Makro, Meso og Micro, som resulterer i detaljering av fire individuelle byggeforslag. Masterplanen er lydhør og fleksibel; vurderer og støtter inkrementell utvikling over tid, samt fremtidig utvidelse og tilpasning som svar på samfunnsøkonomiske utviklingen som økende befolkning og en forskyvning av fokus mot teknologisk og forskningsbasert arbeid i byen. Bodø havne masterplan vil være en integrert del av å utvikle en bærekraftig, smart by med nødvendig infrastruktur for å opprettholde Bodøs aktet rykte som “Porten til Nord”.

[ Building Proposition ]

[ Masterplanning ]

SEMESTER 2 DESIGN STUDIO D

ATR

- 67° North -

[ Diary ]

SEMESTER 1 DESIGN STUDIO C [ Confluence ]

YEAR 1 [ MArch I ]

C onst r uc t ion

D esig n

and

Management

C as e Study : The E d en Proj e c t 2 0 0 1 Architects: Nicholas Grimshaw & Partners

Fire And Rescue Service Access (Supplementary Annexe 14.1) states that because the building footprint is larger than 900m2, vehicle access would be required from more than one elevation for ladders and hydraulic platforms to be used, and to enable pumping appliances to supply water and equipment for fire-fighting and rescue activities. However due to the Eden project’s unusual setting in a former quarry, access from all elevations was not possible and instead pedestrian access for Fire and Rescue Service personnel was required, consisting of paved footpaths at least 900mm wide to all principal entrances of the building (Figure 1). This provides safe access for Fire and Rescue Service Personnel at low level without the need for access tunnels.

Figure 2: Cast Steel Nodes on Exterior Facade (Above)

Where maintenance at height cannot be avoided, this steel node at the points where the cladding hexagons connect allows secure fixing for access scaffolding and abseiling equipment for maintenance.

Figure 3: Low Level Ventilation System (Right)

Giant vents are used to draw in cool air for ETFE cushions located externally at ground level for easy access, reducing the need to work at height.

Figure 1 : 1:2000 Site Plan Indicating Fire and Rescue Service Access into the Humid Tropics Biome

All fire and emergency systems and devices are located at low level throughout the biome, allowing easy access for maintenance and cleaning. The regulations state that fire escape signs should be mounted above doors and at a height of between 2m and 2.5m from floor level. Signs on doors and walls should be between 1.7 and 2m from floor level (Section 13.11). However at the Eden Project, most fire exit signage is situated at just 1.2m from floor level and mounted on large tyres to enable staff to easily position them around the routes of the biome as there are no walls or floors for signage to be practically fixed to. According to the regulations, escape lighting should be installed in all protected zones and in unprotected zones in all parts of the building with a storey height of more than 18m and in accordance with BS5266 and BS EN 1838. As it is not reasonably practical to have emergency lighting attached to the ceiling of the biomes due to difficulty of testing and maintaining all the fixtures as well as the inability to provide the adequate lux level at a pedestrian level beneath the canopy of the vegetation, low level emergency lighting is provided along all routes throughout the biomes, thus enabling ease and safety for maintenance workers.

YEAR 2 [ MArch II ]

SEMESTER 1 DESIGN STUDIO G

AMPL

Figure 5: 1:20 Section showing manual break glass point and low level, portable fire escape signage

Figure 4 : 1:50 Section of Shamba Hut indicating the various forms of fire and safety systems currently in place

Figure 6: 1:5 Section of low level emergency lighting located around all meandering routes of the biomes

Smoke Detectors offset from ceiling at a maximum of 600mm Heat Detectors offset from ceiling at a maximum of 600mm

Co- ordinator: Rachel

Suspended emergency lighting at high level, insufficient of providing light at pedestrian level across whole area of biome due to vegetation obstruction Steel nodes required for when external maintenance at height cannot be avoided to allow fixing for access scaffolding and abseilers

Figure 7 : 1:1000 Plan indicating the frequency of smoke detectors that would be required under standard regulations for fire alarm systems according to BS 5839-1

Cherry pickers and abseiling equipment required to maintain all fire suppression and detection systems as well as emergency lighting

Each heat detector has a 5.3m radius coverage but to avoid blind spots a 7.6m grid is required.

Response Team: Oliver & Richard

Day 2

[ Drawing ]

Contract Navigators : Nikoletta & Zoe

[ Exam ]

[ Essays ]

[ Contract Game ]

[ Re-calibrating ]

[ Assembling ]

[ Studiolo]

Each smoke detector has a 7.5m radius coverage but to avoid blind spots a 10.6m grid is required.

Cherry pickers require clear and level ground to operate on which is impractical within areas of dense vegetation and on steeply sloping surfaces - scaffold platforms would be an additional requirement

Figure 8 : 1:1000 Plan indicating the frequency of heat detectors that would be required under standard regulations for fire alarm systems according to BS 5839-1 Smoke Detectors offset from ceiling at a maximum of 600mm Heat Detectors offset from ceiling at a maximum of 600mm Automatic fire suppression system - sprinkler system Suspended Emergency Lighting at high level, insufficient of providing light at pedestrian level across whole area of biome due to vegetation obstruction

Figure 9 : 1:1000 Section of Humid Tropics Biome indicating the frequency and fixing of heat and smoke detectors that would be required under standard regulations for fire alarm systems according to BS 5839-1

According to these regulations, smoke and heat detectors are to sit at a maximum of 600mm from ceiling height, thus making them impossible and dangerous to maintain and unable to perform adequately due to the vast distance between them and the potential source of fire

Figure 10 : 1:100 Section of Humid Tropics Biome indicating the frequency and fixing of fire safety systems that would be required under standard regulations for fire alarm systems according to BS 5839-1 and its implications on the maintenance workers and internal conditions at the biome Faith Wood & Rachel Leatherbarrow MArch 2 : 2016/17

[ Thesis ]

DESIGN REPORT [ Re-Contextualization]

[ Developing elements ]

[ Deconstruction ]

SEMESTER 2 DESIGN STUDIO B

GENERAL CRITERIA

ATTRIBUTES

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

CONFLUENCE FIELD PROPOSITION

North Studio IV: Earth & Ocean 76 ° North Bodo - Norway

A study into making and placing architecture at the edge of the northern temperate zone. North, vast horizons, untouched wilderness, dramatic landscapes and seasonal change are the backdrop to this architectural journey. These are remote areas where civilization continues to encroach upon this beautiful yet fragile environment with contrast and contradiction. This programme will consider the complexities and challenges of this extreme environment. Through a series of Macro to micro investigations; reading the context of where you are in the world down to the plants at your feet. What is it like exist in these areas and what are the physical and poetic assets of the region? It suggests the blurred man, a metaphor for life’s tenuous existence, insignificant yet changing the land. [BREIF EXTRACT]

LO1 – The ability to develop and act on a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

LO2 – The ability to develop an architectural, spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns.

LO3 – A critical understanding of, and the development of skills in using, differing forms of representation (eg. verbal, drawing,

modelling,

photography,

film,

computer

and

workshop techniques), especially in relation to individual and group work.

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7 5

DESIGN STUDIO C

MArch I

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

CONFLUENCE

Shifting Land Patterns

[JOHN MUIR WAY - EXPLORING THE EDGE] COLLABORATORS - KALLIOPO BOUZOUNIERAKI & NIKOLETTA MICHAEL

This initial short collaborative assignment investigated the newly created John Muir Way, a 134 mile path that stretches from the west to the east coast of Scotland, in particular ‘Section 8’, the section where the path arrives at the east coast, here on Edinburgh’s coastline.

Shifting Land Patterns

elbrugh

This investigation of the relationship between people and the environment

Shifting Land Patterns Shifting Land Patterns

called for an informed, emotive, sensitive and spirited architectural responses

Tracing Waves

that resonate, amplify and build on nature.

Tracing Waves silent upon the crash noisy on retreat cold feet following the shore Rowing feathers, warm stones painting the water elements crash silent on retreat Men on the shore waiting for the miracle to feed the sand to Trace Waves

This coastal territory was mapped, modeled and the intricacies of the place illustrated, environmentally and culturally informing an architectural proposition that broke the line between land & sea and land & sky.

Shifting Land Patterns

Tracing Waves

Studies of water movement around Musselbrugh

Breaking the Horizon

Shifting Land

Reflections Sky scapeTracing Waves Tracingof Waves

Tracing Waves Tracing Waves silent upon the crash silent upon the crash noisy on retreatnoisy on retreat cold feet following coldthe feet shore following the shore Rowing feathers,Rowing warm feathers, stones warm stones painting the water painting the water elements crash elements crash Tracing silent on retreatsilent on Waves retreat Men on the shore Men on the shore Tracing Waves waiting for the miracle waiting for the miracle silent upon the crash to feed the sandto noisy feed on theretreat sand feetWaves following the shore to Trace Waves to cold Trace

Applying Mondrian’s ‘veiw experience’ to the tidal installation

Rowingoffeathers, warm stones Reflections Sky scape painting the water elements crash silent on retreat Men on the shore waiting for the miracle to feed the sand to Trace Waves

Breaking the Horizon

Piet Mondrian, PierOcean’, and Ocean,1915 1915 Piet Mondrian, ‘Pier and

2. Tracing Waves

John Muir Way Thermal Baths

Reflections of SkyReflections scape of Sky scape

John Muir Way Thermal Baths

Reflections of Sky scape

ABOVE: T idal

Tracing Waves silent upon the crash noisy on retreat cold feet following the shore Rowing feathers, warm stones painting the water elements crash silent on retreat Piet Mondrian, PierOcean’, and Ocean,1915 1915 Piet Mondrian, ‘Pier and Men on the shore waiting for the miracle to feed the sand Studies and sculpture installation tracing to Trace Waves

Studies of water movement aroundApplying Musselbrugh Mondrian’s ‘veiw experience’ to the tidal installation Studies of water movement around Musselbrugh

the profile of the landscape within tidal pools.

John Muir Way confluence Thermal Baths

Applying Mondrian’s ‘veiw experience’ to the tidal installation Applying

Breaking the Horizon

GENERAL CRITERIA

Studies of water movement around Musselbrugh

Mondrian’s Applying ‘veiwMondrian’s experience’‘veiw to theexperience’ tidal installation to the tidal installation

Piet Mondrian, PierOcean’, and Ocean, 1915 Piet Mondrian, ‘PierPiet and Mondrian,1915 Pier and PietOcean, Mondrian, 1915Pier and Ocean, 1915

Piet Mondrian, ‘Pier Piet Mondrian, and Ocean’, ‘Pier 1915 and Ocean’, 1915 Reflections of Sky scape

ATTRIBUTES

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

Tracing the profile of Athurs Seat

Panorama looking towards Edinburgh

Low Tide

Applying Mondrian’s ‘veiw experience’ to the tidal installation,

2.1

2.2

2.3

2.4

2.5

2.6

2.7

11.

page 6 The viewer places his feet on the pier standing in front of the drawing and experiences the ‘view’ rather than a scene, giving the perspectival representation drawing movement qualities. Perhaps the human figure on the pier moves towards the ocean and is being absorbed by oblivion.

Applying Mondrian’s ‘veiw experience’ to the tidal installation,

noisy on retreat cold feet following the shore John Muir Way Thermal Baths Rowing feathers, warm stones painting the water elements crashTracing Waves silent on retreat Men on the shore Tracing Waves Tracing Waves silent upon the crash miracle MArchwaiting I for theDESIGN STUDIO C noisy on retreat to feed the sand cold feetWaves following the shore to Trace WavesTracing

Panorama looking towards Edinburgh

ATR

DESIGN STUDIO D

Panorama looking towards Edinburgh

Low Tide

Studies of water movement around Musselbrugh

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

Low Tide

DESIGN STUDIO B

DESIGN REPORT

silent upon the crash Rowing feathers, warm stones

noisy on the retreat painting water CONFLUENCE

cold feet following the shore elements crash Rowing silent onfeathers, retreat warm stones painting theshore water Men on the elements crash waiting for the miracle silent to feedontheretreat sand Men on the shore to Trace Waves waiting for the miracle to feed the sand to Trace Waves

High Tide Breaking the Horizon Relief of the Estuary Panorama looking towards Edinburgh

Low Tide

High Tide

Tracing Waves

[JOHN MUIR WAY - EXPLORING THE EDGE]

Breaking the Horizon

Panorama looking towards Edinburgh

Low Tide

We studied a particular section of the estuary, mapping through photographs, drawings, timelapse and written documentation the changes in atmospheres

High Tide

and conditions. The proposal developed from these studies as series of thermal baths carved into the landscape which filled to varying depths and

Reflectio Tracing Waves silent upon the crash noisy on retreat cold feet following the Rowing feathers, war painting the water elements crash silent on retreat Men on the shore waiting for the miracl to feed the sand to Trace Waves

Relief of the Estuary

Breaking the Horizon

Relief of the Estuary

Reflections of Sky scape

temperatures through out the day in response to the tide movement. The

water movement around Musselbrugh

baths allow users to experience the ocean from different levels, gaining a

Shifting Land Patterns

High Tide

deeper understanding and awareness of the tide.

Breaking the Horizon Relief of the Estuary

Reflections of Sky scape

2. Applying Mondrian’s ‘veiw experience’ to the tidal installation Piet Mondrian, PierOcean’, and Ocean,1915 1915 Piet Mondrian, ‘Pier and

Applying Mondrian’s ‘veiw experience’ to the tidal installation

Piet

Piet Mondrian, PierOcean’, and Ocean,1915 1915 Mondrian, ‘Pier and

Piet Mondrian, PierOcean’, and Ocean,1915 1915 Piet Mondrian, ‘Pier and

Applying Mondrian’s ‘veiw experience’ to the tidal installation

Tracing the profile of Athur

Tracing Waves Tracing Waves silent upon the crash noisy on retreat cold feet following the shore Rowing feathers, warm stones painting the water elements crash silent on retreat Men on the shore waiting for the miracle to feed the sand to Trace Waves

Tracing the profile of Athurs Seat

Breaking the Horizon

The viewer places his feet on the pier standing in front of the drawing and experiences the ‘view’ ratherof than scene, giving the perspectival representation drawing Reflections Skyascape The viewer places his feet on the pier standing front of thefigure drawing ‘view’ rather than and a scene, givingabsorbed the perspectival representation drawing movement qualities. Perhapsinthe human onand the experiences pier movesthe towards the ocean is being by oblivion. movement qualities. Perhaps the human figure on the pier moves towards the ocean and is being absorbed by oblivion.

Concept collage - Inverting the horizon

The viewer placesplaces his feet pierpier standing ininfront andexperiences experiences ‘view’ rather a scene, The viewer his on feetthe on the standing frontofofthe the drawing drawing and thethe ‘view’ rather than than a scene, giving giving the perspectival representation drawing qualities. Perhapsthethe human figure on pier the moves pier moves the perspectival representation drawingmovement movement qualities. Perhaps human figure on the 10. 10. The viewer places his feet on the pier standing in front of the drawing and experiences the ‘view’ rather than a scene, giving the perspectival representation drawing towards the ocean absorbed oblivion. towards the ocean isbeing being absorbed byby oblivion. movement qualities. Perhaps the human figureand onand theis pier moves towards the ocean and is being absorbed by oblivion.

Applying Mondrian’s to the tidal installation, Applying Mondrian’s ‘veiw experience’‘veiw to theexperience’ tidal installation,

Diagrammatic section and plan of column installation

Applying Mondrian’s ‘veiw experience’ to the tidal installation,

Bluring of sea and sk

11.

Rubbings - A journey from highway to the waters edge

Rubbings - Along the journey from highway to the waters edge

Bluring of landsca GROUND LEVEL

1:100

11.

Applying Mondrian’s ‘veiw experience’ to the tidal insta

12.

Piet Mondrian, PierOcean’, and Ocean,1915 1915 Piet Mondrian, ‘Pier and

2. Bluring of sea and sky - intervention and nature GROUND LEVEL

Rubbings - A journey from highway to the waters edge

1:100

Rubbings - Along the journey from highway to the waters edge

Bluring of landscape and skyscape 13.

12.

Bluring of sea and sky - intervention and nature

Rubbings - A journey from highway to the waters edge

Rubbings - Along the journey from highway to the waters edge

Bluring of landscape and skyscape

GROUND LEVEL

1:100

13.

12.

Bluring of sea and sky - intervention and nature

GENERAL CRITERIA

Rubbings - A journey from highway to the waters edge

Rubbings - Along the journey from highway to the waters edge

ATTRIBUTES

Bluring of landscape and skyscape 13.

BELOW GROUND

1.1

2.1

3.1

4.1

5.1

6.1

1.2

2.2

3.2

4.2

5.2

6.2

1.3

2.3

3.3

4.3

5.3

6.3

7.1

8.1

9.1

10.1

11.1

7.2

8.2

9.2

10.2

11.2

7.3

8.3

9.3

10.3

11.3

12.

GROUND LEVEL

2.1 GROUND LEVEL

1:100

2.2

2.3

2.4

2.5

2.6

2.7

1:100

BELOW GROUND

1:100

page 7

Applying Mondrian’s ‘veiw experience’ to the tidal install

Applying Mondrian’s ‘veiw experience’ to the tidal installation Piet Mondrian, PierOcean’, and Ocean,1915 1915 Piet Mondrian, ‘Pier and

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

CONFLUENCE Low Tide

Panorama looking towards Edinburgh

Low Tide

High Tide

Relief of the Estuary

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

Tracing Waves

Tracing Waves silent upon the crash noisy on retreat cold feet following the shore Rowing feathers, warm stones painting the water Low Tide elements crash silent on retreat Men on the shore waiting for the miracle to feed the sand to Trace Waves

Panorama looking towards Edinburgh

Low Tide

DESIGN REPORT

The viewer places his feet on the pier standing in front of the dra movement qualities. Perhaps the human fi

The viewer places his feet on the pier standing giving the perspectival representation draw towards the oc

High Tide Breaking the Horizon

Reflections of Sky scape

Relief of the Estuary Tracing the profile of Athurs Seat

Relief of the Estuary

Applying Mondrian’s ‘veiw experience’ to the tidal installation,

The viewer places his feet on the pier standing in front of the drawing and experiences the ‘view’ rather than a scene, giving the perspectival representation drawing movement qualities. Perhaps the human figure on the pier moves Reflections of Sky scape 10. towards the ocean and is being absorbed by oblivion. The viewer places his feet on the pier standing in front of the drawing and experiences the ‘view’ rather than a scene, giving the perspectival representation drawing

Breaking the Horizon

Reflections of Sky scape

movement qualities. Perhaps the human figure on the pier moves towards the ocean and is being absorbed by oblivion.

Applying Mondrian’s ‘veiw experience’ to the tidal installation,

2. 11.

Tracing the profile of Athurs Seat 11. Applying Mondrian’s ‘veiw experience’ to the tidal installation

Tracing the profile of Athurs Seat

Piet

Piet Mondrian, PierOcean’, and Ocean,1915 1915 Piet Mondrian, ‘Pier and

Applying Mondrian’s ‘veiw experience’ to the tidal installation

Reflections of Sky scape

Applying Mondrian’s ‘veiw experience’ to the tidal installation

Piet Mondrian, PierOcean’, and Ocean,1915 1915 Piet Mondrian, ‘Pier and

Piet Mondrian, PierOcean’, and Ocean,1915 1915 Mondrian, ‘Pier and

2. 2.

Applying Mondrian’s ‘veiw experience’ to the tidal installation Piet Mondrian, PierOcean’, and Ocean,1915 1915 Piet Mondrian, ‘Pier and

Applying Mondrian’s ‘veiw experience’ to the tidal installation,

GROUND LEVEL GROUND LEVEL 1:100 GROUND LEVEL

Applying Mondrian’s ‘veiw experience’ to the tidal installation,

1:100

11.

1:100

Tracing the profile of Athurs Seat

11.

Tracing the profile of Athurs Seat

wer places his feet on the pier standing in front of the drawing and experiences the ‘view’ rather than a scene, giving the perspectival representation drawing movement qualities. Perhaps the human figure on the pier moves towards the ocean and is being absorbed by oblivion.

Applying Mondrian’s ‘veiw experience’ to the tidal installation,

wer places his feet on the pier standing in front of the drawing and experiences the ‘view’ rather than a scene, g the perspectival representation drawing movement qualities. Perhaps the human figure on the pier moves 10. towards the ocean and is being absorbed by oblivion.

11.

Rubbings - A journey Rubbings from highway - A journey to the from waters highway edge to the waters edge

Rubbings - Along the Rubbings journey-from Along highway the journey to thefrom waters highway edge to the waters edge

Bluring of sea and sky - intervention and nature

ABOVE: T idal mapping and studies Rubbings - A journey from highway Texture to the waters edge

Bluring of sea and sky - intervention and nature

Rubbings - Along the journey from highway to the waters edge

14. Bluring of sea and sky - intervention and nature

Bluring of landscape and skyscape

Rubbings - A journey from highway to the waters edge

Rubbings - A journey from highwayBluring to theofwaters edge landscape 13.and skyscape

Rubbings - Along the journey from highway to the waters edge

8. 8. Applying Mondrian’s ‘veiw experience’ to the tidal installation,

The viewer places his feet on the pier standing in front of the drawing and experiences the ‘view’ rather than a scene, Rubbings - Along the journey from highway to the waters edge giving the perspectival representation drawing movement qualities. PerhapsGROUND the human figure on the pier moves 10. LEVEL 1:100 towards the ocean and is being absorbed13. by oblivion.

12.

14.

12.

14.

Bluring of landscape and skyscape GROUND LEVEL

1:100

GROUND LEVEL

1:100

13.

12.

11.

Athurs Seat

BELOW GROUND

1:100

Bluring of sea and sky - intervention and nature

Rubbings - A journey from highway to the waters edge

Rubbings - Along the journey from highway to the waters edge

Bluring of sea and sky - intervention and nature

Rubbings - A journey from highway to the waters edge

Rubbings - Along the journey from highway to the waters edge

Bluring of landscape and skyscape

BELOW GROUND 14.

1:100

13.

12.

GROUND LEVEL

13.

12.

1:100

Bluring of sea and sky - intervention and nature

Rubbings - A journey from highway to the waters edge

14. journey from highway to the waters edge Rubbings - Along the

Bluring of landscape and skyscape

BELOW GROUND

1:100

Rubbings - A journey from highway to the waters edge

Rubbings - Along the journey from highway to the waters edge

Bluring of landscape and skyscape

3. 12.

Bluring of sea and sky - intervention GROUND LEVEL

GROUND 1:100 LEVEL 1:100 Bluring of landscape and skyscape

13.

12.

3. GROUND LEVEL

1:100

BELOW GROUND

1:100

BELOW GROUND

GROUND LEVEL

1:100

BELOW GROUND

1:100

3. GROUND LEVEL

GROUND LEVEL

1:100

GROUND LEVEL

1:100

3. GROUND LEVEL

1:100

GROUND LEVEL

1:100

ABOVE: Reflections studies and maquette tests carried out on site BELOW GROUND

BELOW GROUND

nd sky - intervention and nature

BELOW GROUND

BELOW 1:100 GROUND

1:100

BELOW GROUND

1:100

BELOW GROUND

1:100

BELOW GROUND

1:100

14.

ndscape and skyscape BELOW GROUND

13.

1:100

BELOW GROUND

GENERAL CRITERIA

BELOW GROUND

1:100

ATTRIBUTES 1:100

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7 page 8

1:100

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

CONFLUENCE

TIDAL BATHS PERSPECTIVE [ AT HIGH TIDE ] The lightweight aluminium canopy and reflective mullions are the only visible elements of the building at high tide, angled to reflect both sea and sky to the viewer simultaneous

SECTIONAL MAQUETTES 1: 200

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7 page 9

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

CONFLUENCE

PROPOSITION - Tidal Thermal Baths [ ABOVE Section BELOW Plan ]

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 10

DESIGN STUDIO C

MArch I

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

Land Upli in the West of Norway following the collision of tectonic plates during the Tertiary and Quartenery Period. Ice Flows during the Ice Age (approx 65 thousand years ago) carved Norway’s distinctive coastline.

01 / Marina

02 / Litle Hjartøya View

03 / Bodø View

04 02 03

06 Navaren, Landegode - 16.50

04 / Far Islands View

05 / Jernbanestasjon

06 / Storgata

rva ise Ke

Horizon at 10.75m above sea level {First floor height}

n at 7.75m

above

- 5.38

- 9.93 km

sea level

- 9.93 km

Horizo

{Marina, Bodø}

{Litle Hjartøya View, Burøya}

67.2818906, 14.3694359

{Bodø View, Burøya}

67.2881194, 14.3680655

67.287668, 14.3722471

{Far Islands View, Burøya} 67.2909848, 14.3784267

{Jernbanestasjon, Bodø} 67.2863962, 14.38921

{Storgata, Bodø}

67.2861461, 14.3988437

{Storgata, Bodø}

Caledonian Mountain Chain Formation

Formation of Norway’s Mineral Resources

FROM RURAL TO URBAN STUDIO COLLABORATION

Extracts from North Studio’s collaborative book documenting impressions of Bodo and the cultural, geographical and environmental impacts of the rapidly growing city. From research into the transportation to green spaces in the city, the studies indicate the significance of landscape and climate to urban life in Norway.

Cultural Heritage Sites 1:12,500

City Centre Changing Coastline 1816-2015 (not to scale)

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 11

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

[ FIELD - BODØ 67o - NORWAY ] COLLABORATORS - BEN WYLIE THOMAS WADDINGTON & FAITHWOOD Bodø is a town and a municipality in Nordland county, Norway. It is part of the traditional region of Salten and it is the capital of Nordland county. The administrative centre of the municipality is the town of Bodø. Other villages in Bodø include Misvær, Skjerstad, Saltstraumen, Løding, Løpsmarka, Kjerringøy, Sørvær, and Fenes. Bodø, located just north of the Arctic Circle, is the largest urban area and city in Nordland county, and the second-largest In North Norway.

- 67° North -

At 67 degrees North, within the Arctic Circle, Bodø is a resilient and naturally beautiful industrial city founded by its strategic location as a trade centre. Bodø is Northern Norway’s second largest and fastest growing city with a population of 50,000 that is expected to increase to 70,000 by 2030. Located on an unsheltered peninsula in the Norwegian Sea, Bodø is one of Norway’s windiest cities. However, despite its location just north of the Arctic Circle, Bodø features a relatively mild oceanic climate due to the Gulf Stream. With its latitude of 67 degrees, between 2 June and 10 July the midnight sun watches over the city and from early December to early January, the sun does not rise over the tops of the mountains to the South of Bodø.

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

Bodø

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 12

- 67° North -

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

INDUSTRY IN BODO Since it was founded in 1816 as a trade centre, the city 27turned its hand to fishing in 1860 during an especially lucrative herring boom. Since then commercial fishing has dominated industry in Bodø. Smallscale fisheries have been superseded by large international companies and resulted in a change in Bodø’s relationship with the water’s edge, transforming from an organic relationship of piers and inlets to vast concrete docks scaled to suit the purse seiners, pelagic trawlers and titanic cargo ships.

Unable to compete with the competitive prices of unprocessed stock that the eastern European markets can offer, Norway is increasingly looking for means of diversification for its fishing industry

ABOVE: A study of industry typologies surrounding the waterfront

Bodø is at the forfront of this diversification, utilising a large majority of its catch for the production of herring oil and fish meal, which can be processed as bio-fuel, animal feed, supplements and plasticizers, to name but a few. In addition to establishing an extensive logistics and power network, the fishing industry has also attracted associated expertise such

Exports from Bodø of Atlantic herring, salmon and shellfish are thriving, with global demand increasing and annual fishing quotas regularly exceeded before the fishing season is over. However, the market is becoming increasingly flooded by the Russian fishing industry as a result of global warming opening up new fishing grounds, further north in Russian territories.

asadvanced fish finding technologies; GPS satellite, navigation and sonar companies. As well as the many fish related companies within Bodø, numerous manufacture and construction companies have populated the waters edge, reclaiming land at a vast rate, resulting in a reduction of the size of the bay and cutting the waterfront off from public access

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 13

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

- 67Â° North -

FIELD

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

29 11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 14

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

[ BOAT TYPOLOGIES & LOCATIONS ] Study of Bodoâ&#x20AC;&#x2122;s land edge

Boat Typologies & Locations

Boat Typologi

1:500

Boat Typologi

Boat Typologies & Locations

1:500

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 15

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

- 67° North -

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

Analysis of industry processes and shipping routes.

- Bodø, Norway -

- 67° North -

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 16 30

DESIGN STUDIO C

MArch I

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

1.Proposed transport network

2. Proposed Green Zones and canal network

3. Proposed Zoning

AGENDA The

The strategic vision of Bodø as a compact smart city is

expansion. Separation of industry and commerce lines allows

allow for the introduction of new mixed-use, residential

a shifting of focus towards technological and research based

addresses the city’s sprawling industrial development and

proposed

masterplanning

Bodø’s

waterfront

realised through the rationalisation of a disparate range

freight traffic to bypass the newly extended urban core which

and office districts. This extends Bodø’s urban core whilst

employment within the city.

disconnected transport infrastructure, re-envisioning

of existing commercial and industrial activities around the bay

is served exclusively by a citywide public Light Rail Transport

replacing the inefficient sprawl of industrial warehouses and

future Bodø as a cohesive ‘Smart City’ with a focus on

which have been categorised into fives groups; commercial

(LRT) network.

isolated industries. The planned development structure

Bodø’s waterfront masterplan will be integral to developing

research innovation and technological development.

fisheries, food processing, manufacture and construction,

operates across 3 scales; Macro, Meso and Micro, resulting

a sustainable, smart city with the required infrastructure to

in the detailing of four individual building proposals.

maintain Bodø’s esteemed reputation as the ‘Gateway to the

consultancy services and ICT. Relocating the Norland University Campus from the

The waterfront becomes an intrinsic part of the public realm with heavy industry relocated to the north-west side of Bodø’s

North’.

suburbs into the center of Bodø will enable collaboration

New rail routes, informed by historical routes, extend

peninsula, utilising the natural bays that the land edge offers

The masterplan is responsive and flexible; considering and

and knowledge sharing alongside both existing and newly

around the peninsula facilitating the efficient circulation of

as designated harbours for fishing industries and exports.

supporting incremental development over time as well

developing industries, facilitating the city’s evolution into an

freight and passenger locomotives around the harbour to

Lighter manufacturing and construction industries will be

as future expansion and adaption in response to socio-

international center for research.

newly created landmark centers which will form the basis for

grouped, densified and set back from the waters edge to

economic developments such as increasing population and

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 17

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

WATERFRONT VILLAGE DEVELOPMENT: The waterfront becomes an intrinsic part of the public realm with heavy industry relocated to the north-west side of Bodø’s peninsula. Lighter manufacturing and

- Bodø, Norway -

- 67° North -

construction industries will be grouped, densified and set back from the waters edge to allow for the introduction of new mixed-use, residential and office districts to cluster along the waterfront. A series of canals/ piers and shingle soften the edge encouraging engagement with the landscape.

Waterfront Village Development

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.1

10.1

11.1

9.2

10.2

11.2

9.3

10.3

11.3

Waterfront Village Development

2.1

Waterfront Village Development

2.2

2.3

2.4

2.5

2.6

2.7

page 18

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

[ CULTURAL QUARTER SITE ANALYSIS ]

Emerging as an intermediate phase of the masterplan, we have identified the north of the harbour as a critical area for detailed development it provides the interface between industry, research and leisure. Being introduced before the surrounding residential blocks have been formalised, it will provide the catalyst for development of the extended urban areas between the university campus and the industrial peninsula. The site is located on the north-west corner of the bay, at the pinch point between the cliff face, transport infrastructure and the waters edge. To address these conditions, the proposal cuts into the reclaimed land and extends the land edge parallel to the cliff face. Creating a south facing sheltered harbour orientated to addresses and to be addressed by the existing city. Served by the existing road network and the proposed LRT terminal, it is envisaged that the new harbour will act as a mixed use accessible waterfront. providing a venue for cultural and recreational activities that celebrate Bodø’s industry and histo§ry. A series of small-scale in-lets introduce water to a sequence of public squares that activate a variety of recreational, civic and industrial typologies. i. Guild Market

ii.Aquaculture Research Centre

iii.Maritime museum

iv. Public Innovation Centre

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 19

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

MASTPERPLAN - PROPOSED EDGE TREATMENT AND RE-;LOCATION OF INDUSTRY

- 67Â° North -

[ 1: 5000 MASTPERPLAN MODEL ]

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 20

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

[ INITIAL BUILDING PROPOSALS ]

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 21

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 22

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

- 67° North -

- Bodø, Norway -

[ 1 :500 MASSING MODEL OF CULTURAL QUARTER ] 63

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 23

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

FIELD

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 24

MArch I

ATR

DESIGN STUDIO C

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

GENERAL STUDY CONTEXTUAL STUDY

ARCHITECTURAL TECHNOLOGY RESEARCH COMPLETED IN COLLABORATION WITH MARIJA AMBRASAITE - BEN WYLIE

COURSE OVERVIEW The ambition and scale of most projects at the level of MArch is such that the technical issues are complex and not usually appropriate to standard or routine technique. The growing complexity of the construction process and changing technology suggest that the architect becomes a practitionerâ&#x20AC;&#x201C;researcher. There is growing need for a deeper relationship between practice and academia, particularly regarding research and its application in practice. The complexity of projects demands that research becomes an important aspect of the design process.

CONTEXTUAL STUDY

GENERAL STUDY Biomorphic Facades: Future or Farce?

Architectural Technology - Generic Study

Methods of building are continually changing. New materials; new processes; and new design tools create an environment where traditional paradigms may have less validity. Architectural programmes take place in a particular location, creating a new context. This sets up complex relationships situated in the links between methods of building, both contemporary and vernacular; materials; topography; climate; transportation; and industry.

[ Contextual Study ]

Biomorphic Facades Future or farce?

Kinetic Roof Systems; An Exploration in Reflection and Refraction of Light

This course is intended to accumulate various sets of information that are both contextual and responsive to contemporary technological issues. The module required research, collation, presentation and dissemination of technical and environmental topics that are appropriate to the scale of complex design projects.

Architectural Technology Research - M.Arch 1 2015/16 -

[Module Handbook]

Marija Ambrasaite - Ben Wylie - Rachel Leatherbarrow 1

LEARNING OUTCOMES LO1 - An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, eg sustainable design. LO2 An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment).

Ben Wylie, Rachel Leatherbarrow & Marija Ambrasaite.

M(Arch) 1 - 2015

General Study: Biomorphic Facades Future or farce? Contextual Study: Kinetic Roof Systems; An Exploration in Reflection and Refraction of Light

LO3 An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups. LO4 An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 25

MArch I

ATR

DESIGN STUDIO C

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

[ INTRODUCTION ] Humans have always looked to the forms of nature for architectural inspiration, however the concept of biomimicry as a potentially holistic design tool for efficiency and sustainability has only been around from the around middle of the 20th century 1. The ever popularising practice of applying naturally occurring design principles to our own built environment either in form, function, or a combination of both, is an ongoing and constantly developing field of research. The challenge we face is that the application of ‘biomimetic’ or ‘biomorphic’ design principals will not automatically produce good architecture. The following six case studies explore a range of buildings which inhabit a number of climates and are influenced by an array of natural phenomena. The use of biomorphism has been employed in each case as the primary design driver for the façade on each building in an effort to tackle a range of architectural objectives. Each project has been evaluated on its natural inspiration, design interpretation and resulting environmental performance in order to assess whether the biomorphic facades have attained their initial design objectives, and at what cost if any this has been achieved. [ EXTRACT ] [ Chapter 6 - One Ocean Pavilion ] Location: Yeosu-si, Jeollanam-do, South Korea Architect: SOMA Completion: 2012 Function: EXPO 2012 Pavilion/Exhibition Hall Climate Zone: Humid continental/subtropical climate Materials: Glass fibre-reinforced polymer (GFRP) Approach: Mechanical - Inspiration The pavilion facade is inspired by the biological mechanics and the way nature responds to the changing environmental conditions1. The kinetic outer skin responds to the direct sun light and prevailing wind directions by interpreting the natural movement principles found within the fish gill tissue which work

GENERAL STUDY as a biological filter that transfer ions and water. While stretching individual lamellas, which form a gill, it also separates carbon dioxide, acids and oxygen from the water. Fish exchange gases by pulling oxygen-rich water through their mouths and pumping it over their gills.2. - Interpretation The extensive climatic conditions analysis was carried out by using parametric design software Transsolar in order to optimise façade performance and reduce energy consumption.3 The kinetic façade was positioned to face prevailing wind directions and created opportunity for the passive ventilation which is achieved by opening lamellas.The giant architectural gill also filters the natural day light before it enters exhibition spaces. The biometic concept of a fish gill has been re-interpreted to facilitate the transfer of air and light within the building4.

The glass fibre reinforced polymer façade fins are e-coated resulting in the reduction in the effect of solar radiation and allow longer life span. Engineers claim that it is design to last 25 years and the radial bearing mechanism is maintenance free8.

DESIGN REPORT

[ SAMPLE CHAPTERS 1,2,3 ]

ATR : Generic Study ATR : Generic Study

Biomorphic Facades: Future or Farce?

[ Chapter 1 - Aqua Tower ]

- Interpretation -

[ Chapter 1 - Aqua Tower ]

“An orgy of glass and concrete. It is a thermodynamic obscenity while it takes your breath away. An 82-story heat exchanger in the heart of Chicago”

Location: Chicago, USA Architect: Studio Gang Architects, Chicago Completion: 2010 Function: 82 Storey High rise - Mixed use, hotel, residential. Climate Zone: Humid Continental Materials: Reinforced Concrete, Steel, Glass Approach: Passive

(Lstiburek, 2012)

This ‘natural’ form was chosen for both aesthetic and practical qualities such as maximisation of solar shading and wind deflection. It also allowed for the inflection of balconies based on internal spaces, attaining sight lines within the dense viewing corridors between existing buildings (fig.5) 3. The interpretation of the inspiring biomorphic form is effectively a designed irregularity which claims to provide optimum function within each undulation (fig.6).

fig 5. Facade Concept

ATR : Generic Study

fig 6. Facade Development

fig 1. Aqua Tower, East Facade

ATR : Generic Study

Biomorphic Facades: Future or Farce?

[ Chapter 2 - M.G Gonzales Hospital ]

- Interpretation The biomimetic influence is ultimately on an interpretive operational and aesthetic level, rather than a direct attempt to copy. In order to apply the concept of small scale natural forms over such a large area, the concept required rationalising. The architects utilised a mathematical five fold quasicrystalline grid structure in order to achieve a comparable visual complexity of apparent randomness 2, as well as improving the catchment of light, pollution and winds from all directions 3.

- Performance The facade moves by elastically stretching individual fins that span up to 13 meters. Opening and closing lamellas reduce solar gain inside the building as well as controlling natural ventilation with lightly increased air flow. The ventilation efficiency is achieved by the space between two façades that form jet nozzles and increase wind speed5. The desired levels of fresh air and daylight can be controlled by adjusting the gap between louvres. Rather than adapting passively to the weather conditions, the façade is controlled by the computer bus-systems which allows the synchronisation of the individual louvres6. The four-computer operation consumes a maximum of 80 kilowatts which is equivalent to a incandescent bulb used continuously for 4.2 days7. The energy consumption is reduced by supplying power from the solar panels and recovering about one-third of the mechanical energy when louvres relax into the closed position.

DESIGN STUDIO B

RE-CALIBRATING

GENERAL STUDY

BIOMORPHIC FACADES FUTURE OR FARCE?

AMPL

This ‘designed’ complexity is typically achieved through bespoke design and expense in the built environment 4 yet occurs naturally in organic growth. Here it was achieved in a modular manner by maximising efficiency of construction in economies of scale as in nature (fig.4). The façade is composed of only two modules, one X shaped and one I shaped (fig.5). The panels are lightweight thermoformed plastic shells covered in a superfine nano particle Titanium Dioxide powder coating (fig.6).

[ Chapter 2 - Manuel Gea Gonzales Hospital ] Location: Mexico City, Mexico Architect: Elegant Establishments Completion: 2013 Function: Ornamental Pollution Absorbing Hospital Facade Climate Zone: Subtropical Highland Materials: Prosolve 370e Thermoformed Panels, Nano Particle Titanium Dioxide Powder Coating Approach: Passive

fig 4. Innovative Tiling 16

fig 5. 1200 Series Double-Sided Modules

fig 1. Prosolve 370e Facade

fig 6. Prosolve 370e Modular Panel

MATERIALITY & FABRICATION ATR: Generic Study ATR: Generic Study

Biomorphic Façades: Future or Farce?

[ Chapter 3 -SAHMRI Research Institute ]

- Interpretation -

DESIGN TOOLS

[ Chapter 3 - SAHMRI Research Institute ]

MATERIALITY & scales in the form of aluminium hoods Woods & Bagot used Interpreting these MATERIALITY & FABRICATION parametric software to visually script and respond to local environmental conditions. FABRICATION MATERIALITY & This simulation enabled the exact size of sunshade required for each window to be FABRICATION

accurately calculated. However, limitations in Revit’s geometry required the thousands of customized hoods generated be rationalized to 25 shapes.4 The design was further divorced from its original driver by the application of a grasshopper blend solution; a gradient control mechanism used to create an even transition from deep to shallow hoods across the facade to create a more even aesthetic.5

Location: North Terrace, Adelaide SA, Australia Architect: Woods & Bagot Completion: 2013 Function: Health and medical research institute Climate zone: Mediterranean climate Materials: Glass, Steel, Aluminum Approach: Passive

North elevation

fig.5: Illustrating Revit rationalisation

North-west elevation

fig.6: Illustrating on-site welding

fig.8 Sketch geometry developed through Rhino setting out zoning principles

DESIGN TOOLS

ARCHITECTURAL TECHNOLOGY RESEARCH - GENERIC STUDY

North elevation North east

Fig. 1. SAHMRI elevation

fig.4: Illustrating grasshopper simulation

fig.7 Illustrating pre-fabricated panels

elevation

North-west North elevation west elevation

fig.9 Illustrating the parametric design process, to calculate shading parameters for each elevation

BIOMORPHIC FACADES

future of farce?

BIOMORPHIC FACADES future of farce?

MARIJA AMBRASAITE - BEN WYLIE - RACHEL LEATHERBARROW M(Arch) 1 - 2015

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 26

MArch I

ATR

DESIGN STUDIO C

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

GENERAL STUDY

[SAMPLE CHAPTERS 4,5,6]

[ CONCLUSION ]

ENVIROMENTAL PERFORMANCE

These case studies have shown that using biomorphism as a design approach has its limitations and does not automatically produce a good design. The fundamental approach of using architecture as a problem solving tool is often overwhelmed by the ambition to introduce an innovative nature-inspired design driver which is either heavily technology led or simply seeking to produce an organic aesthetic. Rather than initially designing a sustainable building the biomorphic facades of the case studies tend to work as a secondary outer skin. The attempt to replicate a biological feature in an architectural language through parametric design and in some cases mechanical systems turns against the passive approaches found in nature contradicting the functions in their original inspiration. As illustrated in the case studies, the biomorphic facades usually formed using synthetic and man-made materials which often require additional energy to produce and do not usually present as sustainable solution. Although most of these buildings have a strong ambition to interpret natural forms and processes, literal form mimicking too often lacks the translation of a form and function relationship. Despite the fact that modelling and simulation software are used during the design development for detailed form optimisation, it normally results in over-simplified solutions to facilitate efficient fabrication. This shows that construction methods and technologies are not yet developed to the level required of the design tools that restricts architects’ design ambitions. Nevertheless, this gives hope that further research into advanced construction methods and digital fabrication may be achieved in the future as our needs develop. When considered with technological development, this will allow a more accurate and efficient biomorphic architectural realisation. Through these case studies it becomes clear that inspiration from nature often goes hand in hand with an ambition to create an iconic façade. This can be prioritised over the creation of high quality interior spaces. As a result, we should not become purely scientific about design. There is surely no doubt that a biomimetic approach to architectural design may provide solutions for current and future architectural problems but the fact remains that we are merely

mimicking nature in our attempts, not creating a perfect copy.1

MEDIA - ICT BUILDING

ATR: Generic Study

[ SELECTED BIBLIOGRAPHY ] Chapter 6 - One Ocean Pavilion 1. One Ocean – Thematic pavilion for EXPO 2012, 2012, Detail, [online] Available at: http://www.detailonline.com/article/one-ocean-thematic-pavilion-forexpo-2012-16339/ [Accessed on 30.10.15]

ATR: Generic Study

Biomorphic Façades: Future or Farce?

Location: Architect: Completion: Function: Climate:

Barcelona Spain Enric Ruiz Geli + Cloud 9 Architects 2011 Information and Communication technology hub Sub-tropical Mediterranean climate

Materials: Inspiration:

Glass + steel + ETFE Lungs + Cloud formations

- Performance -

ENVIROMENTAL

[ Chapter 4 - Media ICT Building ] Location: Barcelona, Spain Architect: Enrci Ruiz Geli + Cloud 9 Architects Completion: 2011 Function: Information and Communication Technology Hub Climate zone: Sub-tropical Mediterranean climate Materials: Glass, Steel, ETFE Approach: Mechanical

3. Yeosu Expo Pavilion, 2012, E-Architect, [online] Available at: http://www.e-architect.co.uk/korea/expoyeosu-pavilion [Accessed on 30.10.15] 4. One Ocean – Thematic pavilion for EXPO 2012, 2012, Detail, [online] Available at: http://www.detailonline.com/article/one-ocean-thematic-pavilion-forexpo-2012-16339/ [Accessed on 30.10.15] 5. Soma: one ocean thematic pavilion for yeosu expo 2012 complete, 2012, Design Boom, [online] Available at: http://www.designboom.com/architecture/somaone-oceanthematic-pavilion-for-yeosu-expo-2012complete/ [Accessed on 30.10.15]

Incorporating ETFE as a solar filter has facilitated savings of 20% on cooling costs.7 Efficiency is ensured through each cushion containing its own sensor and control circuit allowing solar and light transmission to be optimized locally.8 The light meter sensors which activate the ETFE skin depending PERFORMANCE on how much solar energy is available, automatically and autonomously activate inflation and deflation devices in the air chambers. The inherent qualities of ETFE as an impermeable membrane with no fixed form allow it to effectively mimic breathing processes and its translucent properties have been utilized to great effect though the application of fritting. However, a criticism of this project lies in the triangular form of the cushions, which arbitrarily follow the diagonal bracing on the façade (seemingly pattern of function).9 The perimeter/area ratio of the triangles and their relatively small size ARCHITECTURAL TECHNOLOGY RESEARCH results in a relatively high embodied energy of the façade. Opportunity lies in further explorations into form and a move away from a reliance on mechanical air inflation systems.

fig.14. Diagram illustrating sensor location within the ETFE cushions

fig.1: South West Elevation of Media ICT

fig 15: Interior veiw

BIOMORPHIC FACADES

future of farce?

MARIJA AMBRASAITE - BEN WYLIE - RACHEL LEATHERBARROW

M(Arch) 1 - 2015

ATR : Generic Study

fig.13. Diagram illustrating the computer distribution network

- GENERIC STUDY

ARCHITECTURAL TECHNOLOGY RESEARCH - GENERIC STUDY

2. Gill Tissue, 2010, Wikipedia, [online] Available at: https://en.wikipedia.org/wiki/Gill [Accessed on 30.10.15]

fig.14 : Image of Opacity achieved using nitrogen gass

Biomorphic Façades: Future or Farce?

[ Chapter 4 - Media ICT Building ]

ATR : Generic Study

Biomorphic Facades: Façades: Future or Farce?

Façades: Future or Farce? Biomorphic Facades:

[ Chapter 5 - Al Bahar Towers ]

- Performance The façade consists of 2, 098 mashrabiyas driven by a linear actuator that will open and close the units during the day reducing the glare and solar gain inside the office spaces. The series of dynamic screens avoid the need for heavily treated glass, mechanical air conditioning and artificial lighting5. Although the biomorphic façade aimed to improve the views from the building, the massive structure supporting secondary skin creates obstructions. Designers claim that the amount of solar exposure is reduced by 20% and carbon dioxide by 40% a year6. Compared to the reflective glass, which reduces glare and solar gain by 30%, this kinetic secondary skin is not an efficient solution.

[ Chapter 5 - Al Bahar Towers ] Location: Abu Dhabi Architect: Aedas Completion: 2012 Function: Offices Climate Zone: Sub-tropical, arid Materials: PTFE Approach: Mechanical

The translucent umbrella-like units are made from PTFE which was chosen due to its durability, flexibility, resistance to heat and corrosion7. Each panel has its own sensors that allow them to function as an individual organisms in case the other units go out of order. The entire façade is protected by a variety of sensors which open the units in high speed winds and protect form damage. In order to reduce the running cost, the façade is powered by photovoltaic panels located on the roof of the towers8.

fig 8. Between Two Skins

fig 7. Biometic Facade Filters direct sunlight

fig 1. Al Bahar Tower

fig 9. Structure Supporting Facade

[ SELECT IMAGE REFERENCES ] Chapter 5 - Al Bahar Towers ATR : Generic Study

fig. 1: Al Bahar Tower Façade , 2012. World Architecture Festival. [online] Available at: http://www. outdoordesign.com.au/news-info/Dynamic-shadingdevice-for-Al-Bahr-Towers/1861.html [Accessed on: 18.10.13] fig. 3: Kinetic Solar Analysis, 2012. Aedas. [online] Available at: http://www.ctbuh.org/TallBuildings/ FeaturedTallBuildings/ AlBaharTowersAbuDhabi/ tabid/3845/language/en-US/Default.aspx [Accessed on: 18.10.13] fig. 4: Diagram by Author

ATR : Generic Study

Biomorphic Facades: Façades: Future or Farce?

Façades: Future or Farce? Biomorphic Facades:

[ Chapter 6 - One Ocean Pavilion ]

- Inspiration -

[ Chapter 6 - One Ocean Pavilion ] Location: Yeosu-si, Jeollanam-do, South Korea Architect: SOMA Completion: 2012 Function: EXPO 2012 Pavilion/Exhibition Hall Climate Zone: Humid continental/subtropical climate Materials: Glass fibre-reinforced polymer (GFRP) Approach: Mechanical

fig 1. Open facade during day

The pavilion facade is inspired by the biological mechanics and the way nature responds to the changing environmental conditions1. The kinetic outer skin responds to the direct sun light and prevailing wind directions by interpreting the natural movement principles found within the fish gill tissue which work as a biological filter that transfer ions and water. While stretching individual lamellas, which form a gill, it also separates carbon dioxide, acids and oxygen from the water. Fish exchange gases by pulling oxygen-rich water through their mouths and pumping it over their gills2.

fig 3. Gill Tissue

fig 2. Closed facade during night

fig 4. Individual Lamellas

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 27

MArch I

DESIGN STUDIO ATR C : Generic Study ATR

DESIGN STUDIO D

GENERAL STUDY

ATR : Generic Study

REPORT EXTRACT:

[ Chapter 6 - One Ocean Pavilion ]

SC[R] AT

AMPL

DESIGN STUDIO B

ATR : Generic Study

DESIGN REPORT

Biomorphic Facades: Façades: Future or Farce?

Façades: Future or Farce? Biomorphic Facades:

- Interpretation -

- Performance -

STUDIO G

Biomorphic Facades: Façades: Future or Farce?

[ Chapter 6 - One Ocean Pavilion ]

ATR : Generic Study

MArch II Farce?DESIGN Façades: Biomorphic Facades: Future or

extensive The facade moves by elastically stretchingThe individual finsclimatic that spanconditions up to 13 meters. analysis was carried by using Opening and closing lamellas reduce solar gain inside the buildingout as well as controlling design software Transsolar natural ventilation with lightly increased airparametric flow.] The ventilation efficiency is achieved byin [ Chapter 6 - One Ocean Pavilion 5 . The desired the space between two façades that form jet order nozzlestoand increase wind speed optimise façade performance and Interpretation 3 levels of fresh air and daylight can be controlled by energy adjustingconsumption the gap between louvres. . The kinetic reduce

[ Chapter 6 - One Ocean Pavilion ]

fig 6. Biomechani

- Performance -

façade was positioned to face prevailing

The extensive climatic Rather than adapting passively to theconditions weather conditions, the façade is controlled by the wind directions and created analysis was carried outthe by using computer bus-systems which allows synchronisation of the individual louvres6. The opportunity for the passive ventilation design software Transsolar in kilowatts four-computer parametric operation consumes a maximum of 80 which is equivalent to a order to optimise façade performance which and is achieved by opening lamellas. incandescent bulb used continuously for 34.2 days7. The energy consumption is reduced The kinetic reduce energy consumption . The giant architectural gill also by supplying power from the solar panels and recovering about one-third of thefilters the façade was positioned to face prevailing ATR : Generic Study natural day light before it enters mechanical energy when louvres relax into the closed position. wind directions and created exhibition spaces. The biometic concept opportunity for the passive ventilation ATR : Generic Study The glass fibre which reinforced polymerbyfaçade fins are e-coated in the reduction of alamellas. fish gill hasresulting been re-interpreted to in is achieved opening the effect of solar radiation and allow longer life span. Engineers claim that it is design to facilitate The giant architectural gill also filters thethe transfer of air and light with[ Chapter 6 - One Ocean Pavilion ] 8 . last 25 years and the radial bearing mechanism is maintenance free 4 natural day light before it enters in the building . exhibition spaces. The biometic concept [ Chapterto 6 - One Ocean Pavilion ] of a fish gill has been re-interpreted facilitate the transfer of air and light with- Interpretation in the building4.

The facade moves by elastically stretching individual fins that span up to 13 meters. Opening and closing lamellas reduce solar gain inside the building as well as controlling natural ventilation with lightly increased air flow. The ventilation efficiency is achieved by Biomorphic Facades: Façades: Future or Farce? the space between two façades that form jet nozzles and increase wind speed5. The desired levels Façades: Future Biomorphic Facades: or Farce?of fresh air and daylight can be controlled by adjusting the gap between louvres.

fig 6. Biomechanics interpretation

Rather than adapting passively to the weather conditions, the façade is controlled by the computer bus-systems which allows the synchronisation of the individual louvres6. The four-computer operation consumes a maximum of 80 kilowatts which is equivalent to a - Performance incandescent bulb used continuously for 4.2 days7. The energy consumption is reduced fig 5. Facade Prototype The extensive climatic conditions The facade moves by elastically stretching individual fins that span up to 13 meters. by supplying power from the solar panels and recovering about one-third of the analysis was carried out by using Opening andsoftware closing lamellas parametric design Transsolar in reduce solar gain inside the building as well as controlling fig 6. Biomechanics interpretation mechanical energy when louvres relax into the closed position. order to optimise façade performance and fig 5. Facade Prototype

natural ventilation with lightly increased air flow. The ventilation efficiency is achieved by reduce energy consumption . The kinetic 5 fig. 8 increase & 9 Facade filters sunlight . The desired the space between façades that form jet nozzles and winddirect speed façade was positioned to two face prevailing and creates natural ventilation The glass fibre reinforced polymer façade fins are e-coated resulting in the reduction in wind directions and created levels of fresh air and daylight can be controlled by adjusting the gap between louvres. 3

opportunity for the passive ventilation which is achieved by opening lamellas. 54 The giant architectural gill also filters the Rather than adapting passively to the weather conditions, the façade is controlled by the natural day light before it enters 6 computer bus-systems exhibition spaces. The biometic which concept allows the synchronisation of the individual louvres . The of a fish gill has been re-interpreted to four-computer operation consumes a maximum of 80 kilowatts which is equivalent to 52 a facilitate the transfer of air and light with7 incandescent in the building4. bulb used continuously for 4.2 days . The energy consumption is reduced

the effect of solar radiation and allow longer life span. Engineers claim that it is design to 55 last 25 years and the radial bearing mechanism is maintenance free8. 52

fig. 10 Changing facade

fig 7. Different La fig 7. Different Lamellas’ positions

fig 5. Facade Prototype

by supplying power from the solar panels and recovering about one-third of the mechanical energy when louvres relax into the closed position. The glass fibre reinforced polymer façade fins are e-coated resulting in the reduction in the effect of solar radiation and allow longer life span. Engineers claim that it is design to last 25 years and the radial bearing mechanism is maintenance free8. 52

fig 7. Different Lamellas’ positions

fig. 8 & 9 Facade filters direct sunlight and creates natural ventilation

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1 fig. 8 & 9 Facade filters direct sunlight and creates natural ventilation

2.2

2.3

2.4

2.5

ATTRIBUTES

2.6

2.7

page 28

MArch I

ATR

DESIGN STUDIO C

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

CONTEXTUAL STUDY

KINETIC ROOF SYSTEMS; AN EXPLORATION IN REFLECTION AND REFRACTION OF LIGHT CONTEXTUAL STUDY

[ ABSTRACT ]

A secondary line of investigation was into how these twisting structures could provide a visually stimulating adaptable solution to shading different zones within multi-functional spaces. The reports conclusions find that specific form and finish combinations, arising from the range of materials tested, provide optimal characteristic qualities in response to the specific demands of buildings at different latitudes. Through exploration of observed trends in material qualities associated with specific geographic locations, we are able to analyse the possible beneficial opportunities associated with scaling the examined principles into a real world application of such a roofing system.

[ INTRODUCTION ] The preceding generic study report; ‘‘Biomorphic Architecture; Future or Farce?’’, examined a range of completed buildings across a range of climates and typologies in which biomimicry and biomorphism had been employed as the primary design driver for the facade in form, function or a combination of the two. This design attitude was employed in an effort to tackle a range of architectural objectives. The six case studies were evaluated on their natural inspiration, design interpretation and resulting environmental performance in order to assess whether the biomorphic facades have attained their initial design objectives, and at what negative consequence if any this has been achieved. It was concluded that while there are

certainly gains to be had from biomorphic design principals, it is often the case that the integral form and function relationship which appears in the natural world is diluted or lost all together in the architect’s effort to re-interpret and rationalize a naturally occurring biological concept into an appropriate architectural language. Select case studies provided responsive, passive solar shading through a range of kinetic façade designs. Though successful to a degree, there was a general trend in which the complex support structures or shading mechanisms themselves created unavoidably harsh shadows within the interior environment. The effect of rationalizing natural forms into fabricated architecture often produced harsh geometries lacking the fluid form and material qualities of its inspiration. Light is perhaps one of the most decisive attributes of a building and while general lux comfort levels can be attributed to certain activities and settings, the psychology of light and shadows are inherently subjective to each individual user. The light quality of interior spaces within the biomorphic case study buildings seemed to be somewhat neglected despite the control of solar gain being the prime function of the facades design, for example in the SHAMRI Research Institute and the Al-Bahar Towers.

[ Introduction ]

[ Abstract ]

[ Hypothesis ] created unavoidably harsh shadows within the interior environment. The effect of rationalizing natural forms into fabricated architecture often produced harsh geometries lacking the fluid form and material qualities of its inspiration. Light is perhaps one of the most decisive attributes of a building and while general lux comfort levels can be attributed to certain activities and settings, the psychology of light and shadows are inherently subjective to each individual user. The light quality of interior spaces within the biomorphic case study buildings seemed to be somewhat neglected despite the control of solar gain being the prime function of the facades design, for example in the SHAMRI Research Institute and the Al-Bahar Towers.

Generic Study Recap

THIS STUDY INVESTIGATES the application of adaptable kinetic roof systems in order to control the distribution of light and shadow within interior spaces through reflection and refraction of ambient sunlight. The principal is applied and analysed in relation to solar paths across a range of latitudes. Through scale model representation, a range of materials providing a series of light reflecting, refracting and diffusing properties were tested within controlled conditions in an effort to replicate real life lighting situations.

THE PRECEDING GENERIC STUDY report; ‘‘Biomorphic Architecture; Future or Farce?’’, examined a range of completed buildings across a range of climates and typologies in which biomimicry and biomorphism had been employed as the primary design driver for the facade in form, function or a combination of the two. This design attitude was employed in an effort to tackle a range of architectural objectives. The six case studies were evaluated on their natural inspiration, design interpretation and resulting environmental performance in order to assess whether the biomorphic facades have attained their initial design objectives, and at what negative consequence if any this has been achieved. It was concluded that while there are certainly gains to be had from biomorphic design principals, it is often the case that the integral form and function relationship which appears in the natural world is diluted or lost all together in the architect’s effort to re-interpret and rationalize a naturally occurring biological concept into an appropriate architectural language.

The primary objective is to examine the potential application of flexible tensile roof structures in order to provide passive solar lighting to large scale interior spaces such as atriums and galleries. A secondary line of investigation was into how these twisting structures could provide a visually stimulating adaptable solution to shading different zones within multi-functional spaces. The reports conclusions find that specific form and finish combinations, arising from the range of materials tested, provide optimal characteristic qualities in response to the specific demands of buildings at different latitudes. Through exploration of observed trends in material qualities associated with specific geographic locations, we are able to analyse the possible beneficial opportunities associated with scaling the examined principles into a real world application of such a roofing system.

fig.1.1

THE HYPOTHESIS IS that a pliable shading system, based on the concept of the natural technology found in fish scales will provide opportunity for passive multidirectional light reflectance and shading control. fig.2.1

In twisting the fins nodes independently, thus exposing multiple fin surfaces to direct light, the combination of different luminous factors and increasing complexity of relationship between curved faces may allow for diffusion of reflected and refracted light throughout the space.

Taking the One Ocean Pavilions (fig1.1+2) dynamic facade operating method and biomorphic precedent of fish gills as a starting point, this study seeks to build upon the fundamental concepts applied within this building by combining material and function specific criteria factors. The exploration aims to provide insight into an adaptive architectural language in roof design which can be applied and fine tuned to work across a range of geographic locations.

It is hypothesized that the prototypes ability to twist will create a dynamic range of otherwise unattainable light and shadow effects compared to a static shading system.

fig.2.2

fig.4.1

60 0

100 lux

[ Methodology ]

Data Analysis

Latitudinal Geo-locations IN ORDER TO appropriate real life architectural application from the experiments results three geographic locations have been chosen to provide contrasting solar conditions. Location 1 is Bodø; situated within the Arctic circle, it recieves minimal solar gain due to the low angle of the sun throughout the year. Buildings at this latitude would likely benefit most from the re-

direction of sunlight rather than shading. Location 2 is Edinburgh; whilst not only being the city in which we are based, it provides a middle ground for testing in recieveing a higher summer solstice angle. Location 3 is the city of Havana which lies on the Tropic of Cancer, meaning that during the

fig.5.1

[ Methodology ]

summer solstice the sun sits directly overhead at 90° elevation. In this situation shading would be of the highest priority. The three locations provide a sufficient range of latitudinal situations from which to draw conclusions from the gathered information about where each material qualities would best be suited for use in a kinetic roof system.

fig.5.2

- POSTERIZE ; verb Print or display (a photograph or other image) using only a small number of different tones.

Data Gathering

fig.5.3

Location 1 Bodø, Norway Latitude : 67 ° Summer Solstice Solar Elevation: 45 °

Location 2 Edinburgh, Scotland Latitude : 55 ° Summer Solstice Solar Elevation: 67.5 °

For this experiment digital images were posterised to create a visual representation of Light Gradiation within the scene through brightness separation. These greyscale images (fig.5.6) can be used as a tool for quantative analysis and interpretation of the light in a space when compared against a percentage scale which relates to the maximum and minimum Lux levels observed (0-100). All photos were taken using the same exposure settings (ISO, White Balance, Shutter Speed etc.) and treated with an identical digital posterization effect in Adobe Photoshop in order to create a uniform data set for comparison and analysis.

Havana

Edinburgh

A 650 Lumen, 6500 Kelvin Daylight bulb provided light in the experiment. The light source was angled according to the desired solar elevation, and distanced from the test scene to achieve ground level illumination of 100 Lux for 23.5°, 90 Lux for 55°, and 80 Lux for 67° (fig.5.4) in order to reflect the reducing strength sunlight falling at ground

Location 3 Havana, Cuba Latitude : 23.5 ° Summer Solstice Solar Elevation: 90 °

THE USE OF measured light (lux) readings and greyscale posterization of digital images allowed the analysis of both quantitative and qualitative information regarding the behavior of passive sunlight within each test. The digital image allows for the comparison and analysis of several lighting conditions in a systematic manner. It provides a medium to represent relationships between patterns of light and composition of space.

level toward northern latitudes. Lux readings were taken in the same position within the space in order to calculate, compare and analyse the levels (lux) of light entering the test scene through different materials and fin positions.

THE PHOTOGRAPHIC LIGHT test scene was comprised of a 1:50 scale atrium space with interchangeable rotating shading fins. Each set of fins offered varying degrees of reflectance, opacity, colour and texture. The fins are able to rotate 360° at each node allowing the two ends of fin material to twist independently, facilitating the capturing and redirecting of light from multiple angles. The material characteristics which most affected shadows and highlights and therefore the lux level measurements were: material colour, texture, opacity level – how much light can pass through and is refracted by the surface, and the materials surface luminance - how much light is reflected off its surface. The illuminance level - lux falling on the room 2 - remained consistent within each set of test scenes and was adjusted accordingly in order to represent the type of light conditions expected to be found on the summer solstice at the three selected Northern latitudes – 67°, 55° and 23.5°.

Bodo

fig.5.6 0

90 100 110 120 130

Ground Level Illuminance (lux)

fig.5.4

9 10

The question to be investigated in this report is the way in which a kinetic system could feasibly provide both active shading and adaptable passive sunlight manipulation through sunlight reflection and refraction within interior spaces.

fig.5.5

[ Materials ]

For the purposes of this study the ‘Luminous factor’ may be defined as “the amount of light reflected from the surface divided by the ‘amount of light’ received by the surface”. 3

APPLYING THE PRINCIPLES of ‘build-ability’ scalable modules were adopted in designing the detail of the fins; applying techniques of pleating, repetition and standardization.

fig. 6.1 (a) Perfect diffusers

(b) Typical white paper

The darker and rougher a material the less incident light is reflected. It was therefore hypothesized that the light and glossy prototypes would have the greatest impacts when the suns angle of incidents is low as the amount of light reflected into the atrium will be maximized.

A range of colours and varying textures were employed in order to vary the ‘luminous factor’ of each prototype.

(d) Retro-reflective surface

This issue was exacerbated by the twisting mechanism of the kinetic fins, as the materials needed to perform well in tension and also cope with the shear force exerted during their rotation. The materials thus required a degree of elasticity. Through testing, fabrics and plastics were identified as the most suitable materials for this function and were easily malleable at this scale.

Material

Dark

Control Leather

2. Leather

3. PVC Fabric

4. Rubber

5. Metallic Mesh

✓ ✓ ✓

Rubber

✓

Metallic Mesh

Plastic Cylinders

7. Gold Leaf

8. Acetate Frit

Perforated

✓ ✓✓

✓

Transparent

✓

✓✓

✓✓ ✓

✓

Rigid

✓

✓ ✓

✓

100 lux

0 + 90 O

90 + 90

67.5

Edinburgh, UK ✓✓ ✓

✓

✓ ✓

90 Havana, Cuba

✓✓

fig.8.73-84

fig 6.12

✓

✓ ✓

45 Bodo, Norway

✓ ✓

0 +0

Bright PVC material covered in irregular gold leaf pattern brightened the interior space in Bodo. Once the fins were opened the material reflected light towards the dark end of the room. The gold leaf was the least effective in Edinburgh. In all cases it created dramatic shadows, but did not direct light within the atrium. The biggest contrast again could be noticed in Havana where the material worked well as a shading device whilst closed, allowing most of the light through while opened. Generally, the material did not perform particularly well and the gold leaf pattern did not have a significant influence on the reflection of light.

Flexible

✓

✓ ✓

Semi-Translucent

✓✓

✓

Opaque

9. Plastic Cylinder

fig. 6.2 - 6.10

Reflective

✓

Gold Leaf Acetate Frit

Matt Glossy

✓

PVC Fabric

Crimped Foil

6. Crimped Foil

Light

Qualitative Analysis - Gold Leaf

fig 6.11

A NUMBER OF PROTOTYPES were fabricated and analyzed as potential materials for the fins. Materials were chosen on the basis of their contrasting attributes in order to produce the broadest possible range of light qualities within the test model. Working at a scale of 1:50 meant that typical building materials used for shading such as steel fins or polycarbonate panels were an inappropriate choice, owing to their rigidity at such small modules.

[ Analysis ]

The twisting nature of the fins was utilized through the implementation of double sided materials (fig. 6.11) This allows the ratio of matt to polished surface of each fin to vary in response to the degree of rotation, thus altering the Luminous factor of each fin.

1. Control

The expected results of increasing the rotation angle of the fins in relation to the specific solar elevation are that reflective surfaces will allow more incident light re-direction into otherwise shaded areas, whereas rough surfaces will be better suited for shading purposes.

Select case studies provided responsive, passive solar shading through a range of kinetic façade designs. Though successful to a degree, there was a general trend in which the complex support structures or shading mechanisms themselves

Solar Elevation °

This study investigates the application of adaptable kinetic roof systems in order to control the distribution of light and shadow within interior spaces through reflection and refraction of ambient sunlight. The principal is applied and analysed in relation to solar paths across a range of latitudes. Through scale model representation, a range of materials providing a series of light reflecting, refracting and diffusing properties were tested within controlled conditions in an effort to replicate real life lighting situations. The primary objective is to examine the potential application of flexible tensile roof structures in order to provide passive solar lighting to large scale interior spaces such as atriums and galleries.

SAMPLE PAGES [ Pages 2-8,15 ]

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 29

8020

10040lux

MArch I

ATR

DESIGN STUDIO C

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

CONTEXTUAL STUDY

[ Results ]

[ HYPOTHESIS ] The hypothesis is that a pliable shading system, based on the concept of the natural technology found in fish scales will provide opportunity for passive multidirectional light reflectance and shading control. The expected results of increasing the rotation angle of the fins in relation to the specific solar elevation are that reflective surfaces will allow more incident light redirection into otherwise shaded areas, whereas rough surfaces will be better suited for shading purposes. In twisting the fins nodes independently, thus exposing multiple fin surfaces to direct light, the combination of different luminous factors and increasing complexity of relationship between curved faces may allow for diffusion of reflected and refracted light throughout the space. It is hypothesized that the prototypes ability to twist will create a dynamic range of otherwise unattainable light and shadow effects compared to a static shading system.

[ METHODOLOGY EXTRACT ] P9 In order to appropriate real life architectural application from the experiments results three geographic locations have been chosen to provide contrasting solar conditions. Location 1 - is Bodø; situated within the Arctic circle, it recieves minimal solar gain due to the low angle of the sun throughout the year. Buildings at this latitude would likely benefit most from the re-direction of sunlight rather than shading. Location 2 - is Edinburgh; whilst not only being the city in which we are based, it provides a middle ground for testing in recieveing a higher summer solstice angle. Location 3 - is the city of Havana which lies on the Tropic of Cancer, meaning that during the summer solstice the sun sits directly overhead at 90° elevation. In this situation shading would be of the highest priority. The three locations provide a sufficient range of latitudinal situations from which to draw conclusions from the gathered information about where each material qualities would best be suited for use in a kinetic roof system.

[ DATA GATHERING ] 0 +0 O

The photographic light test scene was comprised of a 1:50 scale atrium space with interchangeable rotating shading fins. Each set of fins offered varying degrees of reflectance, opacity, colour and texture. The fins are able to rotate 360° at each node allowing the two ends of fin material to twist independently, facilitating the capturing and redirecting of light from multiple angles.

0 + 45 O

0 + 90 O

0 + 180 O

90 + 90

Control

The material characteristics which most affected shadows and highlights and therefore the lux level measurements were: material colour, texture, opacity level – how much light can pass through and is refracted by the surface, and the materials surface luminance - how much light is reflected off its surface. The illuminance level - lux falling on the room 2 - remained consistent within each set of test scenes and was adjusted accordingly in order to represent the type of light conditions expected to be found on the summer solstice at the three selected Northern latitudes – 67°, 55° and 23.5°. A 650 Lumen, 6500 Kelvin Daylight bulb provided light in the experiment. The light source was angled according to the desired solar elevation, and distanced from the test scene to achieve ground level illumination of 100 Lux for 23.5°, 90 Lux for 55°, and 80 Lux for 67° (fig.5.4) in order to reflect the reducing strength sunlight falling at ground level toward northern latitudes. Lux readings were taken in the same position within the space in order to calculate, compare and analyse the levels (lux) of light entering the test scene through different materials and fin positions.

Leather

PVC fig.7.1-15

[ Analysis ] Quantitative Analysis Edinburgh - Summer Solstice 67.5°

LUX

Edinburgh receives more intense sunlight than Bodo thus the control lux level was increased to 90 lux. As a result of this increase and the less extreme angle of sunlight, less dense/ more transparent fins previously inefficient in Bodo began to produce more promising results and evidence of reflection of light could be seen in prototypes 3 and 5.

The Metallic mesh (no.5) was particularly effective at reflecting light into the atrium however this prototype performed poorly when closed, doing little to reduce light intensity. Broader ranges of lux levels were achieved across all the prototypes with the most effective being the PVC fabric (no.3) proving to be both an effective reflector and shading device. Key Fins closed Fins open 90° No fins (control) Range

[ DATA ANALYSIS ]

Control

- POSTERIZE ; verb Print or display (a photograph or other image) using only a small number of different tones. The use of measured light (lux) readings and greyscale posterization of digital images allowed the analysis of both quantitative and qualitative information regarding the behavior of passive sunlight within each test. The digital image allows for the comparison and analysis of several lighting conditions in a systematic manner. It provides a medium to represent relationships between patterns of light and composition of space.

fig 9.7. PVC Fabric- identified as the most successful fin system in the Edinburgh climate.

MATERIALS

fig 9.8. Scatter graph of lux readings taken for each of the prototypes with fins respectively at 90° & 180°

fig.10.8 - Kinetic Roof Installation 2 ; Tate Modern Turbine Room

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 30

MArch I

ATR

DESIGN STUDIO C

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

CONTEXTUAL STUDY

REPORT EXTRACT:

[ Concept ] [ Concept ]

Design Interpretation THE KINETIC FIN DESIGN is a result of simplifying the Photonic Crystal concept found in fish and re-interpreting it. Not must THEscales KINETIC FIN DESIGN is aonly result of this be donetheinPhotonic a realistic architectural manner, simplifying Crystal concept found in but oneand which is feasibly manufactured fish also scales re-interpreting it. Not only when must employed within relative constraintsmanner, of the [ Hypothesis ] in athe this be done realistic architectural studio but alsoenvironment. one which is feasibly manufactured when employed within the relative constraints of the [ Hypothesis ] Where-as it would not be feasible to attempt studio environment. replicating the way it which different wavelengths of light areit disrupted the multi layer Where-as would not within be feasible to attempt replicating the way it which different wavelengths Key within the multi layer of light are disrupted

[ Analysis ]

structure of Photonic Crystals, the principal idea will alter the overall Luminance of the test scene of reflecting light through movement has formed as will a contrast or change in surface textures. the basis of experiment. Thesealter combinations can be utilised order to structure ofthe Photonic Crystals, the principal idea the overall Luminance of theintest scene To analyse the impact will of light addition to increasing light manage behaviour to suit climatic of reflecting light through movement has formed as will aIn contrast or change in different surface textures. Rotating twisting the kinetic facilitates the shaded and programmatic settings. twisting thefins fins in the the basis and of the experiment. These combinations can be utilised order to levels threefold, it also in achieved utilisation of both faces the material multimanage lighteven behaviour to suit different climatic area ofofthe atriumfor additional lux an distribution of light. A directional reflection. The sided Rotating andlight twisting the kinetic finsdouble facilitates the and programmatic settings. readings were taken in Bodo. visually interesting by-product structure allowsoftwo utilisationtherefore of both faces the contrasting material forfinishes multito be appliedlight either side of the The fin. directional reflection. double sidedsupport of extreme rotation was the The results shown below structure therefore allowsconclusions two contrasting finishes the from the shadow patterns occurring on A and low reflectance to high be applied either side of thesurface fin. combination

Quantitative Analysis Twisting Phenomenon

fig 9.3. Test model subject to Bodo lighting condition

[ Methodology ]

posterization study identifying the walls and floor (fig.9.5). Data Gathering

A high and lowthe reflectance foil as surface highlycombination effective.

Fins twisted Control (no fins)

level toward northern latitudes. Lux readings THE PHOTOGRAPHIC LIGHT test scene was were taken in the same position within the space comprised of a 1:50 scale atrium space with in order to calculate, compare and analyse the interchangeable rotating shading fins. Each set of fig.3.3 fig 9.4. levels Even(lux) lightof light entering the test scene through fins offered varying degrees of reflectance, opacity, distribution created with and fin positions. different materials colour and texture. The fins are able to rotate 360° fig.3.3 at each node allowing the two ends of fin material foil fins. to twist independently, facilitating the capturing and redirecting of light from multiple angles.

0O + 0O

0O + 45O

0O + 90O

0O + 0O

0O + 45O

0O + 90O

7 7

Havana Edinburgh

Solar Elevation °

Design Interpretation

Bodo

90 100 110 120 130

Ground Level Illuminance (lux)

fig.5.4

fig 9.6 Scatter graph of lux readings at the rear of the atrium for each of the prototype.

fig.5.5

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 31

MArch I

ATR

DESIGN STUDIO C

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

CONTEXTUAL STUDY

[ CONCLUSION ]

[ ARCHITECTURAL APPLICATION ]

Although some prototypes proved more effective than others, the kinetic roofing system as a whole produced marked benefits toward interior daylight quality across all three latitudes.

Scaling the concept of the kinetic roof system in order provide adaptable lighting and shading to interior spaces would rely on a number of different criteria. Firstly, the application of such a system would be best exploited in a large scale architectural setting as was assumed in the 1:50 test scene over smaller ones. The materiality of any such structures would be of key importance. This experiment has identified specific material qualities and finishes which best lend themselves to light reflection, refraction and shading functions in different geographic locations.

In Havana, the adoption of leather fins achieved a blackout effect even under the most intense daylight simulation. This provides valuable protection from overheating, a common problem at equatorial latitudes. The combination of two different luminous factors (contrasting matt and gloss finishes) on each side of the leather added a further dimension to the system, as a diverse range of lux levels could be achieved depending on the direction in which the fins were twisted. In Edinburgh, the opaque and reflective qualities of the PVC fins simultaneously reduced glare and optimized lux levels within the space. The perforated and semitranslucent prototypes were also relatively successful in this environment. When not subjected to extremes of sunlight these prototypes produced a diffuse ambient lighting. The variation when these fins were twisted or closed however was negligible. The application of the kinetic roof system produced by far the most dramatic results in Bodo. The highly reflective crimped foil prototype was able to capture and redirect what little sunlight there was, creating an even light distribution within the space.

It is presumed that the nine prototypes analysed would operate in the same manner if applied at a 1:1 scale. However, it would be impractical to scale up these materials to such an extreme. Rather, their inherent qualities should be closely matched with viable construction materials such as glass reinforced polymers, plastics or polycarbonates. Secondly, the purpose of application is open for debate. In its current form, based on both sets of data analysis, it is proposed the twisting roof structure would be best suited to exploit the qualitative nature of its light and shadow control. If used in an installation setting (fig 10.7), not only would it provide a visually stimulating architectural gesture in itself. It would also utilize the structures ability to manipulate the quality of light within an interior space.

fig.10.7 - Kinetic Roof Installation 1 ; Tate Modern Turbine Room

[ BIBLIOGRAPHY EXTRACT ]

Rindorf. Hans Jorgen. (1978) “Luminance Reflectances Explanation and calculation of contrast” Bruel & Kjaer [online] Available at: http://www.bksv.co.uk/doc/18-231.pdf [Accessed on 06.01.16]

The systems reliance on a such a large number of site specific criteria in order to operate at full capacity in both shading and lighting functions would restrict it from being implemented as a be-all and end-all solution for passive light control in a any large scale space. Effective operation relies on geographic bearing, direct light exposure, light intensity and changes in annual sun path cycles.

Architizer. (2012). One Ocean. Retrieved January 6, 2016, from Architizer: http://architizer. com/projects/one-ocean/

The bi-product of shadow patterns observed on In order for the system to be a comprehensive the walls and floor of the space produced strong architectural solution for controled passive light fig.10.7 - Kinetic Roof Installation 1 ; Tate Modern Turbine Room atmospheric qualities which suggested a practical and shadow manipulation, further exploration and application of this prototype as some form of sculptural refinement would be required to achieve the required installation. degree of control and variability.

Demers C., January 2006, Assessing light in architecture: A numerical procedure for a qualitative and quantitative analysis. Research Gate, p. 1-9 Gill, V. (2008, January 11). Fish scales hold dazzling secret. Retrieved November 23, 2015, from Royal Society of Chemistry: http://onlinelibrary.wiley.com/doi/10.1002/ anie.201205336/full

[ IMAGE REFERENCES EXTRACT ]

[ REFERENCES EXTRACT ]

Ogwezi B., Bonser R., Cook G., Sakula J., 2011, Multifunctional, Adaptable Facades. University of Reading

fig.2.1 : Architizer. (2012). One Ocean. Retrieved January 6, 2016, from Architizer: http:// architizer.com/projects/one-ocean/

Additionally, the pleated structure gave it excellent elasticity, allowing the fins to twist up to 270°. This extensive range of movement produced a wide variety of surface angles, allowing sunlight to be manipulated and redirected with great accuracy. This result reflected the original design inspiration of omnidirectional light reflection within the scales of fish.

Autodesk. (n.d.). Measuring Light Levels. Retrieved Jan 06, 2016, from Autodesk Sustainability Workshop: http://sustainabilityworkshop.autodesk.com/buildings/measuring-light-levels Bakkera L.G., Hoes E.C.M., Loonenb R.C.G.M., Hensenb J.L.M., n.a,User satisfaction and interaction with automated dynamic facades: a pilot study. The Netherlands Organization for Applied Scientific Research

Rodriguez A., 2009, Controlling Daylight to Optimize Light Quality. Centre of Sustainable Development, p. 5-13 WASTIELS, Lisa and WOUTERS, Ine. (2009) “Material Considerations in Architectural Design: A Study of the Aspects Identified by Architects for Selecting Materials”, Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/511/ [Accessed on 06.01.16]

fig.1.1 : Authors Own

1. Gill, V. (2008, January 11). Fish scales hold dazzling secret. Retrieved November 23, 2015, from Royal Society of Chemistry: http://onlinelibrary. wiley.com/doi/10.1002/anie.201205336/full 2. Agoston. George A. (1978), Color Theory and Its Application in Art and Design, Springer, p.55.

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 32

MArch I

DESIGN STUDIO C

DESIGN STUDIO D

ATR

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

MASTERPLANNING BUILDING PROPOSITION ARTICULATION

SEMESTER 2 COLLABORATORS: BEN WYLIE, THOMAS WADDINGTON, FAITH WOOD

North Studio IV: Earth & Ocean 76 ° North Bodo - Norway

COURSE OVERVIEW: This studio brings a conclusion to our ideas into making and placing architecture at the edge of the northern temperate zone. Having researched, analysed and documented Bodo in order to get an understanding of the traditional Norwegian culture. Discovering the importance of the close relationship between people and nature within this community and man’s tenuous existence. Having made architectural proposals across this huge granite land mass in this unforgiving climate and politically rich environment, to communicate and test findings and to form a rigorous base to a particular line of enquiry “…in our veins the exact same percentage of salt in our blood that exists in the ocean, and, therefore, we have salt in our blood, in our sweat, in our tears. We are tied to the ocean. And when we go back to the sea – whether it is to sail or to watch it – we are going back from whence we came.” - John F. Kennedy

LO1 - The ability to develop and act upon a productive conceptual framework both individually

and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

LO2 - The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns.

LO3 - The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project.

LO4 - A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 33

MArch I

DESIGN STUDIO C

DESIGN STUDIO D

ATR

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

MASTERPLANNING

MASTERPLAN - TIMELINE fish market will be built to celebrate the processes

The master plan will be implemented over a

of the fisheries and algaculture in Nordland whilst

sequence of 6 key phases, envisaged over a period

acting as a platform for smaller fisheries to trade

of 30 years:

their catch.

PHASE 1. Central Transport Hub This will link

PHASE 4. University Campus and Waters Edge

Bodø’s historic city centre and ‘Bodø Nord’ by

Development. As the University grows and student

building upon

numbers increase, development will begin at the

the existing infrastructure of the train station, ferry

waters edge at the transport hub ignited by the

terminal and road networks. This area will be the

transport hub and the University in turn. A series

terminus for the proposed LRT which connects the

of inlets cut through the existing reclaimed land to

city’s key civic amenities and new masterplan, as

create new sheltered waterfronts that facilitate a

well as extending to residential areas to encourage

connection to the ocean, whilst offering protection

the use of public transport in Bodø.

from the harsh weather experienced at the exposed

PHASE 2. Heavy Industry Relocation Heavy industry

is heightened, the introduction of a Maritime

coastal edge. As the interest in Bodø and its history Museum will bring tourists to the newly developing

is grouped and densified to enable its relocation

‘Bodø Nord’ in the north of the harbour. As new tech

away from the urban core to the north-west side of

based industries emerge and population increases

the peninsula with connected companies operating

in the area, the need for a public space to facilitate

around two specialized ports. As part of the

cross collaboration between the public and these

relocation process, visual buffers are created on the

industries will develop. A Public Innovation Centre

South side of the peninsula to soften views around the bay and a coastal walk introduced.

will encourage small start-ups in the area and

PHASE 3. Manufacturing and Construction Industry

development of Bodø as

Relocation

Manufacturing

and

provide the community with an insight into the a SmartCity.

construction

industries are relocated to the north of the city,

PHASE 5. Technical and Cultural Expansion As

positioning them near the site of the newly relocated

the university expands in the field of research,

Nordland University in order for the industries to

it will inform the diversification of the industries

inform and be informed by the research conducted

in Bodø. As a result, more technology-based

at the University. As the university’s presence

industries are expected to develop around the new

continues to grow in Bodø, the university campus

Nord University campus, leaching into the current

will gradually shift from its current location on

manufacturing and construction areas of the city. As

the outskirts of Bodø to the centre, becoming a

part of this phase the Urban Lab Scheme will be put

research centre for the north of Norway, pioneering

into place. Urban Lab is a tool to facilitate the use

in research, knowledge and innovation. To facilitate

of public spaces in the city to carry out tests and

the university’s research in aquaculture and marine

pilot programs on products and services that have

biology, a university outpost on the water’s edge

an urban impact and are in the pre-market stage.

will be instated. This Aquaculture Research Centre

The first of these tests will be the use of a site north

will bridge the gap between industry and the

of Bodø Nord at the edge of the cultural quarter as

new university campus whilst informing the future

a e-car park. As the scheme develops, further sites

diversification needed in the existing fishing

around the city will be utilised to continue the idea

industry in Bodø and offering teaching facilities for

of the city as an urban laboratory.

the university and community. In the same area a

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 34

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

MASTERPLANNING

- BodÃ¸, Norway -

VEIWS & AXIS STUDY

ROUTES AND CONNECTIVITY

EDGE CONDITIONING

1: 5000 MASTPERPLAN MODEL

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 35

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

MASTERPLANNING

List of figures from top left: Diagrammatic Axonometric - detailing the new proposed ‘Cultural Quarter’ comprised of four interrelating schemes: community centre/ guild market/ nautical museum & open research laboratory. 3. Photographs of the 10 000 Masterplan within the context of the whole city of Bodo. / 1:10 000 Infrastructure Masterplan ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

Bodø Nord Axonometric

10.1

11.1

9.2

10.2

11.2

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 36

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

BUILDING PROPOSITION

FROM LEFT TO RIGHT: 1: 500 Ground floor plans and landscaping strategy showing the interrelationship of the 4 schemes within the new harbour. Photographs of 1:500 massing model of the Cultural Quarter

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 37

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

BUILDING PROPOSITION

ELEVATION STUDIES:

UNFOLDED ELEVATION OF THE CULTURAL QUARTER WATER FRONTAGE

AQUACULTURE RESEARCH CENTRE

MARITIME MUSEUM

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 38

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

BUILDING PROPOSITION

ELEVATION STUDIES:

CIVIC INNOVATION COMMUNITY CENTRE

STEPPED PLAZA

Hard Landscaping

111 SHINGLE WATERFRONT

GUILD MARKET

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 39

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

BUILDING PROPOSITION

FROM TOP LEFT TO BOTTOM RIGHT: GUILD MARKET SITE PLAN / 1: 100 MODEL KEY

1. Pontoon 2. Gangway 3. Loading dock 4. Jetty 5. Bike racks 6. Heavy vehicle loading 7. Saw mill 8. Workshop 9. Logging vehicle lots 10. Delivery ramp 11. Meeting room 12. Reception 13. Hunting store 14, Common room 15. Butchers hall 16. Cured meat market 17. Fresh meat market 18. Lobby 19. Craftworks exhibition 20. Colonnade 21. Ice store

22. Cold store 23. Lobby 24. Fish market 25. Lobby 26. Cloakroom 27. Reception 28. Servery 29. Teaching kitchen 30. Shower and changing facilities 31. Locker Room 32, Staff Entrance 33. Smoker 34. Civic innovation centre 35. Shingle beach 36. Summer market 37. Winter market 38. Supermarket 39. LRT/ Tourism pavillion 40. Sunken courtyard 41. Boat building workshop

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 40

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

ARTICULATION

1:500 MAQUETTE

high tide

low tide

Section B-B EAST Meat Hall and tannery craft rooms

low tide

Section D-D EAST Outdoor and indoor market (overlooked by administration and conference rooms)

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 41

MArch I

DESIGN STUDIO C

DESIGN STUDIO D

ATR

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

ARTICULATION

Mezzanine floor 1:500

fig 1.

114

115

First floor 1:500

fig 2.

Second floor 1:500

fig 3.

List of Figures: fig1. 1:100 model Roof detail. fig 2. Facade detail of fish market 1:50 model. fig. 3 Structural model showing Roof lights and Colonade detail of the covered market. fig. 4. 1:100 Sectional Model of Smokery & Cookery School.

Roof plan 1:500

fig 4.

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 42

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

ARTICULATION

Section C-C SOUTH Fisk røyker og restaurant / Fish smokery and restaurant

Fiskerestaurant / Smoke house Restaurant

Section A-A SOUTH

Kjøtt teater / Butchers Hall & Meat Market

Kjøtt Hall og garveri håndverk rom / Meat Hall and tannery craft rooms

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 43

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

- 67Â° North - ARTICULATION

MOVEMENT STUDIES:

Market South Elevation & Waters Edge Plan

Guild Market South Elevation & Waters Edge Plan ATTRIBUTES

GENERAL CRITERIA 89 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 44

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

ARTICULATION

BUILDING ENVELOPE ARTICULATION:

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 45

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

ARTICULATION

FROM TOP LEFT TO BOTTOM RIGHT: SEASONAL RENDERS - SUMMER/ AUTUMN / SUMMER / WINTER

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 46

MArch I

DESIGN STUDIO D

ATR

DESIGN STUDIO C

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

ARTICULATION

CULTURAL QUARTER : APPROACH BY BOAT

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 47

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

COURSE DIARY ESSAY

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY Studies in Contemporary Architectural Theory: Seminar diaries

Reading [ ... Koolhaas ]

Reading [... Koolhaas] Rachel Leatherbarrow

[ COURSE SUMMARY ]

S0927212 MArch1_2016

“Contemporary architectural theory scrutinises the interaction between design and the economic, political, social and cultural contexts in which it emerges. It takes various modes, ranging from reflection on the consequences of architectural practice, to enabling, guiding and facilitating – as well as critiquing – design processes. Crucially, it interacts in dynamic and complex ways with broader areas of cultural interpretation, criticism, and speculation (anthropology, cultural studies, philosophy, political theory, science and technology studies, semiotics, visual theory, etc.), and this is reflected in the organisation of the S[R]CAT course. The course is comprised of an array of options, of which students take one. While the choice available shifts from year to year, the overall constellation of options maintains a productive relation to the urban directed concerns of the ESALA MArch and MScAUD programmes. Thus options will address topics such as, for example, the semiotics of architectural and urban surfaces; urban development and contest over the city in an era of neo-liberalism; and the history of representations of the architecture of the city – projective and/or descriptive – examined via a series of symptomatic case-studies. Throughout, great value is placed on the active participation of students, who will have the opportunity to discuss and debate in detail the ideas raised in the seminar sessions and supporting readings. Taken as a whole, the S[R]CAT course deepens and diversifies the study of theory in ESALA, equipping students with a close knowledge of areas of particular interest and concern to them.”

COURSE DIARY

[Module Handbook]

LO1 - A capacity to research a given theme, comprehend the key texts that constitute the significant positions and debates within it, and contextualise it within a wider historical, cultural, social, urban, intellectual and/or theoretical frame. LO2 - An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilised through different textual, visual and other media, and to explore their consequences for architecture. LO3 - An ability to coherently and creatively communicate the research, comprehension and contextualisation of a given theoretical theme in relation to architecture using textual and visual media. ESSAY

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 48

MArch

DES GN STUD O C

ATR

DES GN STUD O D

SC R AT

MArch

DES GN STUD O G

AMPL

DES GN STUD O B

DES GN REPORT

COURSE D ARY

Paranoia as Method

Reading Rem Koolhaas

SEMINAR DIARIES

“Maybe architecture doesn’t have to be stupid after all. Liberated from the obligation to construct, it can become a way of thinking

[W.Shakespeare, Hamlet Act 2 Scene 2]

Core Readings:

- Verschaffel.B, “Reading Rem Koolhaas”, Architectural Histories 1(1):12 (2013), DOI:http://dx.doi.org/10.5334/ah.al

The two introductory readings offer a key insight into the underlying

Vershaffel discusses Koolhaas’ writings in depth observing his use of the

motives of both AMO (Koolhaas’ research, branding and publication

metaphor, control of time, and the architectural repercussions of this. It

studio) and his architectural practice OMA (The Office for Metropolitan

is worth noting Koolhaas’ background as a journalist and film maker

Architecture). The contrasting nature of the readings, one an interview

here, as it could be inferred from Vershaffel’s analysis that his journalistic

transcript with Koolhaas and Reiner de Graaf, and the other a third party

methods are utilised to press the validity of his opinion; in the following

overview of Koolhaas’ written publications by Bart Verschaffel, provide a

quote Verschaffel proposes that Koolhaas’ writings hinge on the principle

architectural discourse towards a more political leaning, architecturing a ‘reality’ which substantiates his subsequent manifestos. Certainly the use

interview transcript by Cunningham and Goodbun) identify an ‘urgency’

of metaphor and ironic scepticism are prominent features in his writing. Further merit can be added to Vershaffel’s observation about Koolhaas’

“There exists a kind of knowledge, of thinking, that is different, motivated by

frequently employs in his essays, displaying bias through carefully selected

a sense of possibility, urgency and necessity, and takes the perspective of

evidence and shrewd characterizations which read more like a stream of consciousness than an academic paper. In the interview transcript Koolhaas himself highlights the similarity between the persuasive nature

Perhaps the immediacy of building construction equips architectural

of journalism and the architectural profession when speaking of his involvement with the Hermitage project:

social, economic and infrastructural problems that have arisen as a byproduct of modernity. The value of Vershaffel’s piece lies in its ability to set

‘if you step back from your own vested interests in always persuading

Koolhaas’ fieldwork within a broader academic context, drawing parallels

people to build – because that is your business- objectively an expensive

between Koolhaas’ writing approach with prominent works by Le Corbusier

building was the last thing they need. There are some cases where adding

and Loos in respect to their style of ‘cultural criticism’.

more actually becomes counter productive’ [Koolhaas, 2013] 4

order to structure his own manifesto, which he articulates at the end of the passage with idea of the ‘Captive Globe’ (refer to figure 2.3). The readings raise an interesting argument that this method of paranoia is

Architecture as fantasy. Integral to this conjecture is the application of

as the conquerors of New York. In contrast to other contemporary architectural theorists such as Kipnis’ or Liberskins’ essay styles, Koolhaas’

1930s which he entitled the ‘Paranoid Critical Method’ (hereafter refereed

journalistic background is prevalent throughout the passage, using a

to as PCM). This method may be defined as a delirium of interpretation,

variety of metaphors and personifications to dramatize the two characters.

or to paraphrase Dali the ability to conceive connections between objects

Although he does not directly attack either figure, the descriptive language

is imposed on reality. This notion is seemingly reinforced by Koolhaas’

which one would not naturally link.

suggests he has a stronger affinity with Dali. Corbusier on the other hand

metaphor for concrete (refer to figure 2.1) and again with his statement that: “Architecture is inevitably a form of PC activity” 5 If this is indeed the case, then when does fantasy become reality? Is it the moment when a building is materialized? Or its occupation? Furthermore,

is portrayed in a more satirical fashion, a magician who out of his “Paranoid

stylistic tendencies through analyzing the narrative tone that Koolhaas

thinkers such as Koolhaas with a unique intuitive attribute to tackle the

facts and events are bent towards Koolhaas’ interpretation of history in

Koolhaas’ text reads akin to a parable, with Dali and Le Corbusier depicted

a physiological technique identified and developed by Dali in the early

‘The Rotting Donkey’, an extract from Dali’s extensive writings on PCM,

and necessity for action, suggesting a need to break from this traditional academic model of research.

create a new model. Debatably the whole text is an exercise in fantasy, as

for PCM.

an inherent characteristic of all architecture whereby the realm of fantasy

This suggests that through the use of language Koolhaas is able to re-direct

raises an interesting discussion when considering Koolhaas’ fieldwork

– mediating between the two characters of Dali and Corbusier in order to Fig 2.1 - Dali’s diagram of the Paranoid critical method: The diagram shows ‘a mousegrey liquid….held up by the steel reinforcements….infinitely malleable at first, then

This week’s texts by Koolhaas and Dali explore the hypothesis of

to be taken.” 3

and associated manifestos. Both Vershaffel and Koolhaas himself (in the

action.” 2 [Verschaffel, 2013 referring to Koolhaas’ research methodology]

Accordingly, it could be interpreted that through juxtaposing such strikingly opposite thinkers Koolhaas himself is applying an ambiguous form of PCM

- Dali.S, “The rotting donkey”,(extract) The Paranoid critical revolution writings (19271933)

Key themes:

Theory) Vershaffel’s observation that academics tend to “limit their research to ‘analysis’ and do so for a reason: synthesis always comes too early”1

the traditional city. His motivation for writing this passage was perhaps

Paranoid Critical Method, Surrealism, The Metropolis, Modernism,

on the other, they point to where exactly [Koolhaas believes] action needs Writing from an academic standpoint (as a Professor of Architectural

driven by his desire to establish a new model for this ‘Contemporary City’.

time Koolhaas was attempting to analyse the rapidly growing metropolis of Manhattan, which, certainly in Koolhaas’ opinion, had mutated away from

suddenly hard as rock’, 1 with this image Koolhaas proposes architecture is a metaphor

of Navigation;“On the one hand, his texts aim at the general picture, and

broad spectrum of perspectives on Koolhaas’ theoretical position.

this is motivated by the context within which the piece was written. At this

3.Koolhaas, (1978) ‘Europeans: Biuer! Dali and Le Corbusier Conquer New York’, p253

New York: A Retroactive Manifesto for Manhattan (1978), p235–281.

Radical Philosophy 154, March/April (2009): 35–47.

Reading [ ... Koolhaas ]

embraced, and an underlying reading of urgency within the text. Arguably

2. Constantinidou, (2011) ‘The Paranoid Simulacrum in Surrealism: From Embracing Madness to the Mechanism of a Mental Illness as the Purveyor of Individual Meaning’, p119

4. Ibid. p259

-Koolhaas.R, “Europeans: Biuer! Dali and Le Corbusier Conquer New York” - Delirious

- Cunningham.D & Goodbun.J, “Interview: Rem Koolhaas and Reinier de Graaf ”,

There is a sense from Koolhaas that the method of PCM should be

1.Koolhaas, (1978) ‘Europeans: Biuer! Dali and Le Corbusier Conquer New York’, p248

“Though this be madness, yet there is method in’t,”

about anything” [Koolhaas, 2013]

Core Readings:

fig. 1.1 - cover image for Koolhaas’ Delirious New York: A Retroactive Manifesto for Manhattan (1978)

at what point does a copy, or rather the architectural simulacra, evolve into

Critical top hat….pulls out the Horizontal Skyscraper, Le Corbusier’s

provides an insight into the original author’s interpretation. Dali stresses

Cartesian rabbit”.3 This disparaging analogy recurs

that this critical method actively seeks to re-shuffle pre-existing orders;

chapter when Koolhaas compares Corbusier to a “furious prince dragging

unlike automatic drawing (a sub-branch of the Surrealist movement) it is

a colossal glass slipper on an Odyssey from Metropolis to Metropolis……

something original in its own right?

throughout the

a conscious effort made by an individual to falsify and re-interpret reality.

Nobody wants to even try the slipper on”.4 This imagery makes for a very

Through understanding this theorem, it is easy to see how the surrealist

engaging read, and inevitable imparts on the reader distinct impressions

movement (of which Dali was an integral member) began to evolve.

of Corbusier and Dali that Koolhaas has carefully crafted.

In the extract taken from ‘Delirious New York’ Koolhaas explores the

Koolhaas advocates that both characters employ PCM as a means of

relationship between architecture and the fantastical through both the

claiming Manhattan. However, their respective approaches differ drastically;

content and style of writing. His extensive use of imagery is particularly

Dali seeks to participate in the city, whereas Corbusier seemingly seeks to

pertinent to Dali’s explorations of the Simulacrum, whereby the paranoiac’s

destroy it in order to impose his fantasy - of a rationalized purist architecture.

mechanism of interpretation is utilised through the creation of images

It is interesting to consider why Koolhaas references these two figures in

which have multiple figurations. 2

particular, as they are so fundamentally opposite in their approach.

5..Koolhaas, (1978) ‘Europeans: Biuer! Dali and Le Corbusier Conquer New York’, p246

Fig 2.2- The painting by Dali entitled: ‘Atavistic Vestiges after the Rain’ : it articulates this irrational juxtaposition of imagery, which facilities a mediation between fantasy and reality. Fig 2.3 The ‘Captive Globe’

In contrast to Verschaffel, the interview transcript gives Koolhaas’ personal

[ FORWARD ]

understanding of his theoretical works and perhaps more importantly how he feels he has managed to translate the research carried out by AMO into

‘the largest imaginable scale of design where one sought to design at the scale of society’ 5 [Koolhaas, 2013]

his architectural practise of OMA. analysis of New York and his architectural proposals such as the Hermitage project which employ the idea of a social condenser through programmatic

allowing him to ‘go beyond the traditional boundaries’ of architecture into

composition. Additionally his involvement with the European Union (fig.

areas of politics and anthropology. For Koolhaas AMO is a way of countering

1.2) is driven by a philosophical question, and Illustrates his ambitious

the bias that the Architect profession innately possesses. However it could

desire to design with political, symbolic and social intent.

Coney Island: The Apotheosis of Hyper-reality?

Re-branding the Generic

‘They have inverted and established an urbanism based on the new Technology of the fantastic’,

“Typical plan provides the multiple platforms of 20th-century democracy”

[Koolhaas, “Coney Island: The Technology of the Fantastic”, in Delirious New York: A Retroactive Manifesto for Manhattan `

With this influence in mind, direct links can be drawn between Koolhaas’ Koolhaas seemingly views each institution as mutually beneficially to the other, with AMO underpinning and informing his architectural proposals

[Koolhaas, “Typical Plan”, 1993, p.337]

Core Readings:

Key Themes:

Rem Koolhaas, “Europeans: Biuer! Dali and Le Corbusier Conquer New York”, in

Nature & The Synthetic, Pleasure, Crowds, Congestion, ‘Hyper-reality’, Regeneratation

Core Readings: -Rem Koolhaas, “Typical Plan” (1993), in OMA, Rem Koolhaas and Bruce Mau,S,M,L,XL (Rotterdam: 010 Publishers, 1995): 334–351.

‘Delirious New York: A Retroactive Manifesto for Manhattan ‘, (1978), (New York: The

-Colin Rowe, “Chicago Frame” (1956), in The Mathematics of the Ideal Villa and Other Essays (Cambridge, Mass. and London: MIT,

Monacelli Press, 1994): 235–281.

be argued that the intrinsic connection between the two bodies inevitably

1976): 89–118.

‘what are the symbolic implications of the city not as a capital of a country,

introduces a degree of bias.

Key themes:

but rather as a trans-political system.’6 A number of key themes arise from critiquing the interview and collating Koolhaas’ published works, most markedly the notion of the ‘New

Two principle themes can be identified through analyzing ‘Coney Island:

[Koolhaas, 2013]

‘To renew the architectural profession and to maintain a critical spirit, it is important to be aware, to observe these emergent conditions and to theorize them.’

economy has instead awarded status to the ‘Developer’. Thus throughout his written work Koolhaas continually questions what the role of the architect

living in the age of information, something which AMO seeks to capitalise

should be. Inspiringly for me, as a prospective architect, he perceives this

on through obsessively gathering demographics and empirical data.

crisis of identity as a positive, viewing it as an opportunity to re-invent the

In other words it is a ‘real’ without ‘origin or reality’, a reality to which we cannot connect.2 Koolhaas in ‘the technology of the fantastic’ seemingly proposes Coney Island as the apotheosis of such a hyper-reality - his rational for its development is derived from his perception of an unsustainable demand for nature by Manhattan, which forced the island

‘the architect’.

to mutate to the opposite binary. (ref. fig 3.1) Koolhaus anecdotally refers

analysis, is further enforced through Koolhaas’ reference to Soviet

‘The need to ‘align [with] and find an articulation’ for architecture within the

Constructivism as a means by which architecture can reshape society.

confines of the ‘forces of modernization’ is critical.’ 8

synthetic realities offer a replacement.”

to this phenomenon as a ‘Reality shortage’ for which Coney’s “multiple 3

A parallel may be drawn here between the concept of hyper-reality in Coney Island and the Paranoid Critical Method discussed previously. In a similar style to Dali’s paintings in which objects are irrational juxtaposed in order to mediate between fantasy and reality, Coney Island achieves this effect through the architectural composition of its theme parks; hundreds 1. Verschaffel, 2013, “Reading Rem Koolhaas”, p1 2. ibid. p3 3. ibid p.2 4. Koolhaas, 2009, Interview: Rem Koolhaas and Reinier de Graaf, p38 5. ibid. p45 6. ibid. p45 7. ibid. p36 8. ibid. p37

of spires and minarets are set side by side to read as a homogenous fantastical landscape. (ref. to fig’s -3.2 & 3.3)

Fig 3.1 Postcard illustration of Coney Island showing its relationship to Manhattan

A further correlation can be noted between Dali’s Paranoid Critical Method

The structure of the text is highly accessible through his use of sub-headings

with the introduction of electricity to the island, which similarly to Dali’s

and anecdotes. However, the neutrality of Koolhaas’ observations are

technique of the ‘double image’ creates another layer of interpretation, a

questionable. His characteristic writing style of rhetorical persuasiveness

second the reading of the park by night through its elaborate illuminated

takes the reader on a journey through Coney Island which cunningly

roofscape.

sidesteps any potential criticism.

The context within which Koolhaas wrote ‘The technology of the fantastic’

This is facilitated by a highly selective use of imagery and vagueness. For

provides us with a possible insight into his underlying intentions in studying

although Koolhaas does not candidly articulate his patronage of Coney, his blunt dismissal of Gorky’s criticism (referring to his conclusions as

Koolhaas moved to Manhattan, thus it could be suggested that his analysis

‘mediocre’ and ‘fraudulent’) is indicative of his leaning.

of Coney was an attempt by Koolhaas to orientate himself within this new It is equally significant that this analysis also forms the first chapter of ‘Delirious New York’, as Koolhaus sets up Coney Island as a precursor to

1.Baudrillard, 2012, An A to Z of Theory | Jean Baudrillard: Hyperreality and

grimness of the city’ 4, or rather the perceived ‘reality’- that is Manhattan.

Manhattan itself, referring to it as:

Implosion, Ceasefire magazine

“the incubator for Manhattan’s incipient themes and infant mythology. The

3.Koolhaas, 1978, ‘Coney Island: The technology of the fantastic’, p62

strategies and mechanisms that later shape Manhattan are tested in the

4 ibid, p41

laboratory of Coney Island before they finally leap toward the larger island.”

5. ibid,p60

6. ibid,p79

‘It presumes the presence of many others, but at the same time suggests

states that ‘business makes no demands.’

that their exact number is of no importance. Typical Plan x n = a building

In this respect it is a formless

architectural program. It could be interpreted that for Koolhaas the ‘typical plan’ is thus the ideal accommodation for business.

to complement one another. Rowe, through his analysis of the relationship between the Chicago frame and the development of an international style, Plan’.

(hardly a reason to study architecture!)” 8 It is undoubtedly relevant that during this period of writing the ‘Typical

‘Business asks nothing of architecture but similarly provides nothing’ 7

Plan’ Koolhaas was in the midst of designing highrise towers in Asia. This

sets up a historic contextualization for Koolhaas’ proposition - the ‘Typical

re-branding of the generic could thus be interpreted as propaganda for his Koolhaas proposes that the typical plan of Manhattan’s skyscrapers is

architectural moves at the time. Regardless of this possible bias the essay

anything but static. Rather, their configurations are continually in flux,

raises a thought provoking question: how do we as architects design when

responding directly to programmatic changes. Through this observation

programmatic function is not always clear or even tangible?

acclaimed manifestos of the ‘Generic City.’ ‘Bigness,’ and ‘Junkspace’ is

Koolhaas is able to undermine the idea of ‘the typical’ as ‘standard’, and

quintessential to understanding Koolhaas’ concept of urban architecture.

re-define it as inherently ‘non-standard’. This allows him to develop the

Fig 4.1- Aerial perspective of Manhattan’s skyscrapers - the inspiration for Koolhaas’ ‘Typical Plan’

In order to achieve sustainability, spaces require diversity and are often

Throughout the text he seemingly seeks to re-brand the reductionist

argument that the ‘Typical Plan’ can not be classified as architectural

contradictory. In designing for a multitude of programs are we in danger

framed structures which form America’s skyscrapers, in an attempt to

typology as its atypical nature negates any form of classification - it is simply

of in fact designing nothing at all?

dispel their mass perception as ‘infernal machines for stripping identities.’

a component of the urban.

and alien city.

In his essay ‘Generic Cities’, also published in ‘S,M, L, XL,’ Koolhaas

the ‘Generic City’, the market economy, globalization and most noticeably the concept of ‘Business’ as an architectural program. The readings serve

Published in ‘S,M,L,XL’ the ‘Typical Plan,’ situated alongside his critically

Coney Island. As one of his earliest works the piece was written shortly after

Fig 4.2- Archizoom Associan,”No-one City.” 1970, featured in Koolhaas’ ‘Typical Plan’ (p349)

In lieu of this Koolhaas advocates the typical plans of these skyscrapers

as one of the purest American architectural archetypes: ‘A plan stripped

The essay’s structure is very different when compared to his earlier writings

of all its qualities and reduced to a calculated relation between discreet

in ‘Delirious New York’; concise sub-headings are replaced by monotonous

standardized elements.’

monologues. This variation in style could be interpreted as an attempt by

Koolhaas to mimic the nature of the ‘typical plan’, emulating the notion This endorsement is reinforced by his proclamation that the ‘Typical Plan’ is

of the ‘non-event’ through the text’s repetition and formlessness. He is

an ‘unacknowledged utopia, the promise of a post-architectural future.’ 3 For

undoubtedly fascinated by this idea of the typical, or rather the atypical,

1. Koolhaas, 1995, p.346

Koolhaas this is the discovery of a new architecture, signifying a new world.

plan; there is an impression throughout that Koolhaas is trying to find the

5. Shamiyeh, 2000, p115

2.ibid.

6. Koolhaas, 1995, p342

It creates ‘new territories for the smooth unfolding of new processes,’ 4 what

potential in it, weighing its pros and cons in his typically journalistic style, as

3. ibid.

is more its solitary function is to ‘let its occupants exist’. 5

seen in the following extract:

4. ibid.

7. ibid. p115 8. ibid. p342

Towards the end of the passage he is noticeably scathing of the

‘Bigness’: A Re-invention of Architectural Monumentality

gentrification processes, or to use Koolhaas’ terminology ‘a Modernist revenge’ which later takes place in Coney, describing the island as: ‘a modern Manhattan of Grass’ .6

“Beyond a certain critical mass each structure becomes a

He views this regeneration as a sanitisation from the popular culture of

morally traumatic break with the conventions of symbolism ..(The)

occurs. Koolhaas constructs a convincing argument that this gentrified park

monument.... This category of monument presents a radical,

The Pearl River Delta: An Archetype for the ‘Generic City’ and Commodification of Architecture? ‘Architectural production is becoming something strictly mechanical, reproducible without thinking’

is a weak substitute for the spontaneous urbanism of the masses, a thought process which arguably informed his architectural proposal for OMA’s Parc Villette in 1982, ( see fig 3.4) which aims to intensify urbanisation rather

Core Readings:

than relinquishing the park to nature.

Core Readings:

Key themes:

- Koolhaas, “Pearl River Delta”, in Rem Koolhaas et al., Mutations (Barcelona:

Tabula Rasa, Shenzhen speed, market economy, mutation, infrastructure,

- Rem Koolhaas, “Bigness, or the problem of Large” (1994), in OMA, Rem

Actar and Bordeaux: arc en rêve, 2001): 309–335.

commoditization, generic city, iconography.

the midst of happening, even though we may not be able to extract a theory

Pearl River Delta (PRD) during the late 90’s. At this time the PRD was one

from it.”

market economy. These conditions had triggered a fundamental shift in

In spite of this, the use of invented vocabulary throughout his ‘Mutations’

Chinese domestic policy from an isolated communist model towards

essay; PHOTOSHOP©, MARKET REALISM © or SCAPE© suggest that

a more capitalist consumerist model. Koolhaas, in his publications the

Koolhaas is unable to resist the temptation to conceptualize the conditions

‘Great Leap Forward’ and ‘Mutations’ (the respective sources of this week’s

in the PRD, attempting to theorise the role of architecture and the role of

readings), proposes that this shift has manifested in the commoditisation of

the architect in this emerging metropolis. Koolhaas argues that while the Pearl River Delta has an identity crisis, at the

495–516. - Peter Sloterdijk, “The Crystal Palace” (2005), Public – Art/Culture/Ideas

same time it faces an opportunity for a new kind of identity. In a similar style

empirical data, thus providing a more analytical insight into Chinese

to ‘Delirious New York’, (published almost three decades earlier) in which

architecture of this period than the ‘Mutations’ text. Koolhaas is relatively

he analyses Coney Island in attempt to orientate himself within the city of

cautious in his opinions in comparison to his essays in ‘S, M, L, XL’ . This is

Manhattan, Koolhaas seemingly applies this same strategy with the PRD, as

seemingly in a conscious effort to read this unfamiliar context of Asia, rather

an entry point to the Asian metropolis.

than critique it.

Fig 6.1 Aerial perspective of the Pearl River Delta

viewFile/30252/27786

descriptive narrative in an attempt to examine the urban condition of the

The ‘Architecture Shenzhen’ extract relies heavily on statistics and other

ST Leong, eds., Great Leap Forward (Köln: Taschen, 2001): 161–193.

37 (2008): 11–16. http://pi.library.yorku.ca/ojs/index.php/public/article/

“These emergent cities [in the Pearl River Delta] teach us about what is in

Chinese architecture and infrastructure.

- Koolhaas, “Architecture Shenzhen”, in CJ Chung, J Inaba, R Koolhaas and

Koolhaas and Bruce Mau, S,M,L,XL (Rotterdam: 010 Publishers, 1995):

Both Koolhaas’ ‘Pearl River Delta’ and ‘Architecture Shenzhen’ adopt a

of the fastest emerging urban conditions in the world with a flourishing [Koolhaas, 2001, Mutations, p320]

pleasure; in an attempt to impose high culture an awkward rationalisation

landmarks in a post-architectural landscape.” [Koolhaas, 1995, ‘S,M,L,XL,’]

They collectively draw on several projects by his respective architectural institutions OMA and AMO. Alongside a comparison with relevant cultural and architectural theorists, these entries will attempt to analyse the legitimacy of Koolhaas’ extensive body of work, identifying key theorems and the implications that his publications have had on both architectural discourse and the profession.

Fig 3.3 Luna Park’s fantastical landscape by night

2. ibid.

Koolhaas is quick to root this hyper effect back to the metropolis through his metaphor of the ‘architectural plantation’ serving as an ‘antidote to the fig. 1.2 AMO / Rem Koolhaas barcode flag of Europe tattoo

The following chapters comprise a series of nine critical reflections relating to the work of the Architect and contemporary Architectural Theorist Rem Koolhaas.

Fig 3.2 Coney Island’s Luna Park - by day

models… a reality generated from ideas.’ 1

The political dimension to Koolhaas’ work, alluded to in Verschaffel’s

[Rem Koolhaus, 2001, ‘Mutations’, p309]

published some four decades apart, share several common themes; that of

as ‘a new social reality… in which a reality is created or simulated from

the dominant role in the construction industry, capitalism and the market

of population density and globalisation. Other pivotal themes also emerge from this interview, such as infrastructure as a vehicle for modernisation and

Both Rowe’s ‘Chicago Frame’ and Koolhaas’ ‘Typical Plan,’ despite being

The philosopher and cultural analyst Jean Baudrillard defines hyper-reality

In conjunction with all of the above is the theme of displacement of ‘the has undergone a ‘flattening and loss of memory and identity’. 7 No longer

China’s rapid urbanisation is also referenced and situated within the context

Fig 4.1

masses and, in conjunction with this, the propagation of a ‘hyper-reality’.

Architect’ in contemporary society. Koolhaas states that the profession

between European ideals and the modern city.

The ‘Generic City’, Modernity, Globalisation, Sustainability, Market Economy, Metropolis, Business

The technology of the fantastic’ - that of the growing need to entertain the

Metropolis’ which emerges at the core of his architectural theory. The American city and its relative modernity in relation to its European counterparts seemingly dominates his earlier work, and alludes to a tension

Key themes: Monument, Globalisation, Modernity & Mega-Strcutures

Koolhaas’ theory of ‘Bigness’, read alongside ‘The Crystal Palace’ from The Interior of World Capitalism by Peter Sloterdijk, explores the condition of ‘mega-scale’ and its impact on the urban fabric of the city and society. Unlike the manifesto tone of ‘Delirious New York’ this essay, which follows on from the ‘Typical Plan’ in ‘S,M,L,XL’, may be interpreted as part of Koolhaas’ Urban Thesis, using architectural discourse as a tool to find the

Fig 3.4 - Diagram of OMA’s Parc Villette scheme

potential of the mega-scale:

The five steps laid forward by OMA were 1) to organize the major programmatic

‘We don’t know what to do with it, we don’t know where to put it…. when to

elements in horizontal bands across the site, 2) to place kiosks, playgrounds,

use it…. how to plan it? 1

barbeque pits, and other facilities mathematically on grid points, 3) the addition of a round forest as an architectural element, 4) to provide connections between the

For Koolhaas bigness has the potential to ‘reconstruct the Whole….

points, and finally 5) to introduce superimpositions. -creating a schizophrenic like

reinvent the collective.’ 2 Conversely he also states that ‘Bigness destroys….

density similar to that of Coney.

its subtext is fuck context.’ 3

Fig 3.5 - Drawing of Coney Island

Throughout the text Koolhaas can be seen to change his opinions multiple times, never fully clarifying his position. His multiple definitions of bigness create a paradox and the reader is left perplexed as to Koolhaas’ leaning – is he advocating bigness or condemning it?

[ CONTENTS ]

Fig 5.1 - Model of OMA’s ‘Jussieu – Two Libraries’

Koolhaas proposes that the PRD is not indicative of a market economy but

Fig 6.2 Satellite image illustrating the rapid urbanisation of the Pearl River Delta

rather a hyper communist ideology: “A seeming apotheosis of the market

between 1973-2003

economy can also be read as an apotheosis of the communist system.”

It is worth commenting at this point that many of OMA’s architectural

street into a vertical interior boulevard. This architectural gesture could

with its phantom highways and the clearing of enormous sections of ground, ‘an orgy of tabula rasa’ in which ‘the act of clearing the ground

P05 Paranoia as method.........................................................................................................................................................

The Pearl River Delta is portrayed as an ‘experimental zone’

‘The ultimate dysfunctional city – but actually, in terms of all the initiatives and ingenuity, it mobilised an incredibly beautiful, almost

This statement raises an intriguing

utopian landscape of independence and agency.’ [Koolhaas, 2016, The Guardian]

Palace observes that there is an ‘immeasurable, symbolic and programmatic dimension’ to this huge hybrid construction’,9

the totalizing nature of its

in the traditional sense as a monument if it epitomizes our contemporary

“it represents the city; it pre-empts the city; or, better still, it is the city.” 5

- an

There is arguably a political dimension in this Mega-Scale typology in both

embryonic prototype for the rest of the state. It could be suggested that Koolhaas also views the PRD as a prototype for his ‘Generic City’ outlined in ‘S, M , L, XL’. Certainly from reading both texts a number of parallels may be drawn between the two: both utilise the ‘frame’ and the ‘Typical Plan’. The fundamental to the ‘Generic City’, can also be seen in the PRD’s application of ‘Tabula Rasa’. Koolhaas asserts that the PRD is home to the ‘City of

balance, an equilibrium of complementary extremes.’

In this respect the

final architectural objective.

definition though their distinctions’

- Tim Hecker, “The Slum Pastoral: Helicopter Visuality and Koolhaas’s Lagos”,

as a form of method writing, mimicking the subject matter. In this way the

conditions for ‘Bigness’ a process of ‘interiorisation’ occurs - the distance

Space and Culture 13(3) (2010): 256–269.

text reinforces Koolhaas’ definition of ‘Bigness’, as something so large it

between core and envelope increases to the point where the facade can no

becomes hard to comprehend as the viewer (or in this instance the reader)

longer reveal what happens inside the ‘interior and exterior architectures

is unable to view the entire composition in one frame.

become separate projects’.

Similarly to this, Sloterdijk proposes that

a ‘critical threshold’, and in doing so a ‘new aesthetic of immersion’

level of symbolic meaning. The reader is introduced to the body of the

created. The outer world is completely absorbed into a ‘calculated inner

text with a photo of a human figure (fig. 5.2), Koolhaas juxtaposes this by

space.’ Sloterdijk views this regulated interior as a metaphor for the ‘Great

ending the essay with a close up detail of an abstract painting (fig.5.3). The

Interior’ of the European Union. He argues that after globalization has

two images, when read alongside one another, have a jarring impact on the

taken hold “social life can only take place in an expanded interior - No

the quality of the two images is perhaps emblematic of the leap from the qualitative to the quantitate that occurs with ‘Bigness’: “Through size alone,

are neither without planning or

more historic events could take place under such conditions … only mood competitions between parties and the fluctuations among their consumers”

Koolhaas in his reference to ‘Bigness’ as an ‘after-architecture’.14

This idea of the end of an era is reinforced by

of the PRD finds importance in the relation to the exterior; ‘inhabited

1. Koolhaas, 2001, Mutations, p313

landscape becomes the medium that links everything together.’ 8

2. bid. p309 3. Ibid. p324

Koolhaas’ study of the Pearl River Delta raises a pertinent question

Fig 5.3. Aerial perspective of St. Mark’s-in-the-Bouwerie Towers by Frank

architecture. Is there an opportunity to create a more positive architecture

P13 ‘Junkspace’ : the epitome of modernity?..........................................................................................................................

‘The product of modernisation is not modern architecture

(2002): 175–190. -F.Jameson, “Future City”, New Left Review 21, May-June (2003): 65–79. -Marc Augé, “From Places to Non-Places”, in Non-Places: Introduction to an Anthropology of Supermodernity (London and New York: Verso, 1992): 75–115.

p17 The Possibilities of Preservation......................................................................................................................................

Disneyfication Koolhaas’ essay on ‘Junkspace’ describes the global phenomenon of a new form of space, which may be epitomised in the typologies of the shopping mall and the airport (see fig’s 7.1 & 7.2). Derived from our contemporary everything into a seamless superficially appetising morass without past or future.1 Jameson, in the “Future City”, expands on the idea of ‘Junkspace’ in relation to consumerism stating: “The virus ascribed to junkspace is in fact the virus of shopping itself; which, like Disneyfication… spreads like a toxic moss across the known universe”.2 Koolhaas considers ‘Junkspace’ to be the ‘defining feature of modernity an ‘all-conquering space’3 engulfing extensive that you rarely perceive limits; it promotes disorientation by any means (mirror, polish, echo) ... “

This notion of ‘Junckspace’, presented by Koolhaas, is corroborated by Marc passage. Similarly to Koolhaas, Augé identifies a new vernacular which has emerged as the by-product of globalization and mass-mobilization. Like Koolhaas’ ‘Junkspace’, it is a transient in-between space - which one simply

p20 List of figures.....................................................................................................................................................................

passes through. It does not facilitate ‘dwelling’, thus it may be defined as inherently ‘non-place’. 5 In the same manner as ‘Junkspace’ it is unable to ‘operate socially or culturally’. 6

simultaneously revealing the intensity of the urban condition and stepping back to identify boarder patterns. I would argue adversely that this juxtaposition of scales creates a disconnect for the observer - portraying

Conceivably this

Lagos as an even greater enigma.

footage, which features heavily in “Lagos Wide & Close”.

In contrast to his anaylsis of Manhattan and the Pearl River Delta, which

“Lagos Far and Wide” (2005) shows a diversification in Koolhaas’ methods

focuses on asking the reader questions. Arguably this is a symptom of the

show an attempt to conceptualize the urban conditions, Koolhaas instead

11. Sloterdijk, 2005, ‘The Interior of World Capitalism’, p13 13. ibid. p.13 14. .Koolhaas, 1995, ‘S,M,L,XL’, p516

11.

of research, introducing the reader (now viewer) to the agency of film. In a

inconclusive nature of his findings in Lagos. Koolhaas perceives the city to

similar manner to his ‘Mutations’ text the observer is presented with various

be in a state of constant adaptation similar to his ‘Generic City’; it has an

representations of the city, and permitted a degree of freedom through

ability to expand, contract and re-organise itself, its infrastructure built to a

the multiple combinations of video and audio tracks that can be played in

point mutates, adjusting to the needs of its citizens.

tandem with one another.

Fig 8.1 Still from ‘Lagos wide & close’

15.

‘….’ to drift from one thought to another, making no attempt to structure one continuous body without so much as a paragraph. This endless list

Core Reading: Koolhaas, ‘Preservation is Overtaking Us’ (New York: Columbia University Press, 2014

and transience’. 7 This form of method writing is frequently adopted by Koolhaas - most notably in ‘S, M, L, XL’, in which he emulates the structure of the ‘Typical Plan’ through a mantra-like repetition. In contrast to its structure, the content of the essay is largely concise. Koolhaas presents the reader with

“… a fuzzy empire of blur, fusing high and low, public and private, straight warped, busy, atrium-ridden’ . . . ‘the product of an encounter between escalator and air-conditioning’ . . . ‘like being condemned to a perpetual

nor a manifesto. Koolhaas does not make a call for action, or outline describes the essay as a “jeremiad ... veering into denunciation and back Indeed the tone of ‘Junkspace’ is

somewhat pessimistic; his lament for modern architecture is preceded by a reprimand to architects that they only have themselves to blame:

Although this initially seems like a radical switch in Koolhaas’ ideology,

examples and multiple definitions of preservation.

numerous parallels can still be drawn between his earlier work. The scheme

This supplementary technique seems emblematic of Otero-Pailos’ definition

in a similar strategy to the horizontal skyscrapers, the barcode strips merge

of preservation itself, as a process of ‘re-framing’ and ‘contextualising’ to

extremes of programmatic densification alongside total preservation.

improve the observer’s understanding of the original architect’s (or in this

His inclination to ‘fuck context’ approach is still present in the arbitrary

instance author’s) intent.

nature of the strips in plan. Similarly it could be argued that this blanket

Within the lectures Koolhaas states that ‘preservation is not the enemy

for the valorising of low cultural forms.

1. Wiles.w, 2013, Rem Koolhaas: Junkspace, Icon

their mystifications……They thought they could control Junkspace, and it

2. F.Jameson, “Future City”, New Left Review 21, MayJune (2003): 65–79

ended up consuming them”. 10 It is clear from this extract that ‘Junkspace’ (in Koolhaas’ opinion) is the

4. Ibid. p175

result of shortcomings within the profession. What remains unclear is

5. Auge, 1992, “From Places to Non-Places”, p

how the profession should respond. Koolhaas towards the end of the text

6.ibid. p

poses an interesting notion that there is a fragility to ‘Junkspace’ – ‘like an

7.Wiles.w, 2013, Rem Koolhaas: Junkspace, Icon

illusory curtain pulled over the eyes of the consumer, a spell which can be

8.Koolhaas, 2002, ‘Junkspace,’ Content, p175-190

the influence of his involvement with the Hermitage Museum in St. Petersburg (2003-2005), decidedly OMA’s most curatorial project to date.

Arguably Koolhaas’ instinct to question and challenge urban conditions

in an intangible way, making a conscious design decision to maintain the

in an effort to progress architectural discourse has come round full circle

in-between spaces and voids (see fig 9.4) – allowing for a programmatic

to challenge even his own theorems. Throughout the lectures Koolhaas is

spontaneity in a style to the ‘Typical Plan’. This focus on the activity of spa

critical of the current strategies of preservation, questioning its integrity

He views ‘involuntary heritage’, such as Pompeii or the Chernoble site, as compelling examples of totalising preservation and through this exploration identifies a shortcoming in the ‘selectivity’ of contemporary preservation.

10. Koolhaas, 2002, ‘Junkspace,’ Content, p178 Fig 7.2 typologies of the shopping mall airport - the epitome of Junkspace

Rather than design or re-construction, Koolhaas’ deviation towards a theory of preservation seems to centre on curation. This was undoubtedly

to ‘fuck context’2 in his (1995) ‘Bigness’ manifesto, he now identifies ‘contextualisation’ as the important driving force urban planning.

with respect to its political and economic motives.

9.Foster, 2013, ‘Junkspace / Running Room’

disrupted by the introduction of a foreign body: a mother or a refugee’. 11 In other words any introduction of reality shatters the illusion of ‘Junkspace’.

of a series of declarations which on first reading stipulate a U-turn from his ‘Urban Thesis’ presented in ‘S,M,L,XL’. Contradicting his exhortation

Koolhaas attempted to bring out the heritage of the Hermitage Museum

“Architects could never explain space; Junkspace is our punishment for

SAMPLE PAGES

preserved forever or systematically scraped”. 3

attempts to distill a ‘Manifesto of Preservation’ from Koolhaas’ nebulous

of modernity but actually one of its inventions’.1 This statement is one

a programme. Hal Foster (co-author of ‘Junkspace / Running Room’)

Should we as architects celebrate and protect ‘Junkspace’?

applying a blanket preservation across entire strips of the city (see fig 9.1) These ‘heritage strips’, designated holistically over the city, “could either be

Asia, and their recent work on the Hermitage Museum in St. Petersburg.

preservation articulates a recurring trend in Koolhaas’ theoretical writings

Unlike many of his previous publications ‘Junkspace’ is neither a theory

again almost sentence to sentence”.

Koolhaas’ re-interpretation of preservation can be seen in OMA’s Barcode project in Bejing (2003) in which he attempts to avoid ‘selectivity’ by

Koolhaas endeavours to highlight instances in which preservation has played an integral role within their architectural projects - specifically in

bares a close resemblance to OMA’s 1982 proposal for Parc de La Villette; Fig 7.1 ‘typologies of the airport - an example of Augé’s Non-place

Jacuzzi with millions of your best friends’ . . . ‘this inferno of the neutral’. 8

This week’s core text comprises of two lecture transcripts by Koolhaas which outline OMA’s philosophy on preservation. Throughout the lectures

The lecture is appended with a critical response by Otero-Pailos, who

3. Koolhaas, 2002, ‘Junkspace,’ Content, p175

Augé’s “From Places to Non-Places”, in his study of spaces that facilitate

from its citizens, was intended to provide a conceptual depth of field,

reluctance to publish to a ‘final lack of concentration’.

or even format his stream of consciousness. The whole essay reads as

and bent, bloated and starved’ . . . ‘smooth, all-inclusive, continuous,

modern architecture through its totalizing nature. “It is always interior, so

P19 Bibliography......................................................................................................................................................................

nature. He is constantly reluctant to close a sentence, using semicolons and

beginning ‘Junkspace is….’

Consumerism, Post-Modernity, ‘Non-place’, History, Interiority, Technology,

The technique of ‘Foregrounding’ and ‘Backgrounding’, through a

towards the project itself. In an interview with the film’s director Bregtje Van der Haak in 2014 (almost a decade after its release) Koolhaas attributes his

The Possibilities of Preservation

Something that is immediately striking about Koolhaas’ essay is its rambling

quote upon quote in a series of declarative sentences and anecdotes each

culture of consumerism and advertising, this new vernacular unites

7.ibid. p326

describe: ‘a formlessness sensory overload paralleled by an indeterminacy taken from ‘Content’, October 100, Spring

“Lagos Wide & Close” (2005).

elements of the research, presented in the form of photographs and aerial

12. ibid. p.15

7. ibid. p500

of prose seemingly reinforces the qualities of space he is endeavoring to

Core Readings:

Key themes:

P15 Lessons from Lagos.........................................................................................................................................................

10. Koolhaas, 1995, ‘S,M,L,XL’, p501

8. ibid. p322

‘Junkspace’ The epitome of modernity?

-R.Koolhaas, “Junkspace”,

3. ibid. p502

13.

P12 The Pearl River Delta – An Archetype for the ‘Generic City’ and the Commodification of Architecture?..........................

9. Sloterdijk, 2005, ‘The Interior of World Capitalism’, p12

6. ibid., p502

6. ibid. p334

to a commodity?

8. Verschaffel.B ‘Reading Rem Koolhaas’, Architectural Histories, 01 June 2013, Vol.1(1), pp.Art. 12, p69

2. ibid. p509

5. Koolhaas, ‘S,M,L,XL’, p510

5. ibid., p312

in Lagos. A criticism of the film is the ambiguity of these multiple interpretations.

This lack of dissemination is perhaps indicative of Koolhaas’ feelings Fig 5.2- Aerial perspective of St. Mark’s-in-the-Bouwerie Towers by Frank

1. Koolhaas, ‘S,M,L,XL’, p509

4. I.Böck, ‘Six Canonical Projects by Rem Koolhaas’, Essays on the History of Ideas, p210

4. ibid. p326

with regard to the instinct relationship between economic policy and

P10 ‘Bigness’: A Re-invention of Architectural Monumentality?.............................................................................................

emulate the mass authorship and surplus of individuality that he discerned

“Mutations” (2001) and “Content” (2002), and the interactive documentary

stems from a discord between his interpretation of Lagos and the empirical

with these economic constraints? Or has capitalism relegated architecture

for each observer. This technique is perhaps an attempt by Koolhaas to

his exploration of this emerging ‘Post-modern African Metropolis’

combination of wide angle aerial shots, alongside personal commentaries

.12 The principle of the interior has shifted in scale, making nature and ‘Posthistorical world.’

is independent of their quality.”

In this manner the documentary could be interpreted as a multi-layered drawing, the numerous compositions facilitating a unique trajectory

understand “what happens to a society when the state is absent”.1 However,

is yet to be formally published other than as relatively small features in

culture indoor affairs - Capitalism brings about the end of history, a new

such buildings enter an amoral domain, beyond good or bad. Their impact

Koolhaas’ research into the urbanisation of Lagos, Nigeria, demonstrates an attempt to release himself from western architectural discourse and

arguably his most heavily criticised project to date. Begun in 2000, it

Furthermore, unlike the solely internalized ‘Generic City’, the architecture

P09 Re-branding the Generic.................................................................................................................................................

Congestion, Aestheticisation, Voyeurism

DVD, (Amsterdam: Submarine Channel, 2005)

indirect consequence of their inherent monumental size. Under Koolhaas’

the scalelessness associated with ‘Bigness’. Additionally, the difference in

Koolhaas’ own theoretical constraints. The cities of the PRD with their predictive infrastructure and brutal opposition of one another ‘seeking

The Metropolis, Foreground and Background, Infrastructure, Culture of

producers, Bruno Felix and Femke Woltin ; director, Bregtje van der Haak,

presentation. The enormous font used throughout the essay in itself serves

observer. The jump from the figurative to the abstract seemingly emulates

However the downfall for placing the Generic City into Asia lies in

identity. Conversely, in Koolhaas’ theory, the ‘Generic City’ is liberated from “the Straightjacket of Identity” 7 with planning becoming ‘redundant’.

Key themes:

- Lagos wide & close : an interactive journey into an exploding city ,

‘Bigness’ and Dostoyevsky’s ‘Crystal Palace’ as referenced by Sloterdijk as an

The visual imagery which accompanies the text demonstrates a similar

opportunistic….. exploiting flukes, accidents and imperfections….a delicate

Core Readings:

The immediate impact on reading ‘Bigness’ is the graphics of its

the scale of the Crystal Palace’s all encompassing glass envelope crosses

Exacerbated Difference’: in a climate of ‘Permanent strategic panic – it is

PRD like the ‘Generic City’ is in a constant state of redefinition, there is no

P07 Coney Island – The Apotheosis of Hyper-reality? ...........................................................................................................

question - is the mega-structure a break from the conventional conditions

scale turns ‘society’ into an exhibit. Does the mega-structure thus stand culture?

dismissal of nostalgia and traditional leftist concerns for collective good,

as a billboard is for advertisement.’

12.

Lessons from Lagos

of an architectural monument? Sloterdijk in his discussion of the Crystal

be interpreted as an attempt by Koolhaas to harness the potential of the mega-structure which he eludes to in ‘Bigness’ - creating a condition in which: “Bigness no longer needs the city: it competes with the city;

becomes an act of faith.’ 3

as a twentieth century phenomenon generated simply by its mythic scale. In Koolhaas’ view their symbolism is empty, ‘available for meaning

main library presented as an “Inside-Out City” 4 - folding the traditional

seemingly overshadows the troubles of the present. Evidence for this theorem lies in the ambition of the PRD’s enormous infrastructural projects

P03 Reading Koolhaas............................................................................................................................................................F

projects could be said to possess the qualities of ‘Bigness’. The ‘Jussieu –

the early 90’s. The project demonstrated a highly ambitious scale with the

economies of supply and demand in Europe, the ultimate destination

The theory of ‘Bigness’ proposes the concept of the ‘Auto-Monument’7

Two Libraries’ competition entry in Paris (fig 5.1) for example, is particularly relevant to this essay as it was designed around the time of publication in

He defines this condition as a ‘Market Realism’: unlike the traditional

10.

11.ibid. p180

14.

17.

Pages 15 OF 20

ATTRIBUTES

GENERAL CRITERIA 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

page 49

MArch I

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SC[R] AT

MArch II

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

COURSE DIARY

SEMINAR DIARIES

Reading [ ... Koolhaas ]

[ WEEK 1 EXTRACT ]

Reading Rem Koolhaas “Maybe architecture doesn’t have to be stupid after all. Liberated from the obligation to construct, it can become a way of thinking about anything” [Koolhaas, 2013]

Core Readings: - Verschaffel.B, “Reading Rem Koolhaas”, Architectural Histories 1(1):12 (2013), DOI:http://dx.doi.org/10.5334/ah.al - Cunningham.D & Goodbun.J, “Interview: Rem Koolhaas and Reinier de Graaf ”, Radical Philosophy 154, March/April (2009): 35–47.