CONTEST DESIGN STUDIO 3 INTERIOR AND SPATIAL DESIGN FACULTY Peter Arthur Di Sabatino Frank Clementi Monica Mazzolani Claudia Mastroianni Michela Funari Andrea Giulia Pusineri
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Ashraf Ali Reehanul Karim Ciprian Alessandro Fiorentini Ilaria Miranda Catalan Andrea Maria Zhou Tian
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Traces of the past evidences of tomorrow Preface.
Adaptive reuse is the process of taking an old building or site and reusing it for a purpose other than what it was designed or built for. It may or may not relate to historical preservation or conservation around cities with rich history. After built structures become disused or dilapidated, it can be the perfect way to breathe new life into an old building whilst conserving resources and historic value. Site location can often be the biggest advantage of adaptive reuse. These might be located on the site of historical grounds or might be a frequently visited location. Although deteriorated in some way, the character and the detailing found in these buildings are typically unique to the periods from which they hail from or constructed in, that modern building design lacks. These features are often highlighted in the new use and preserved with the help of sensitive designing strategies as opposed to being relegated to landfills. These finer aspects of detailing are what will offer that one-of-a-kind site for the new tenant. Once the site of a medieval farmhouse in the 1300s, the Villa Arconati conversion went through several phases and families till 2011 when it was reborn as a cultural project for the FAR [Augusto Rancilio Foundation]. Since 2015, it has been open to the public, it constantly looks towards the future, whilst still retaining its ancient and characteristic soul. “Remnant” is an architectural studio project that aims to give credence to the Meridiana building, situated inside the grounds of Villa Arconati alongside Castellazzo di Bolalte, fronting the Borgo or quarters on one side and the Cider court on the other. They present themselves with different styles and have been used for different functions.
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The maiden visit to the Meridiana, the historic site of the Villa and the intervention area, allowed us to directly understand the issues, opportunities and challenges that the structure posed. This five-month studio project aims to investigate the viability of adaptive reuse of the Meridiana building situated inside these hallowed grounds. We set about taking all these factors into consideration and aimed to propose an optimal solution to convert the ancient structure with its beautiful materials, details and nuances from its disused state to its new setting as the studio for an illustrious architecture firm in Italy. The fundamental point of the project is the creation of a tension between the old and the new. The project is based on a process of due subtraction, exposure and addition that guided us in the creation of the intervention strategy which is as versatile as it is respectful to the existing site and surroundings. The functional activation process of the Meridiana was developed in conjunction with an aesthetic characterization linked to the re-development and re-use of the structure both from a functional and aesthetic point of view.
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BSTRACT
REMNANT traces of the past gestures of tomorrow This study aims at launching an investigation into the grounds of Villa degli Arconati, and identifying the viability of rehabilitating the Meridiana building, allowing it to be habitable as a commercial space for its owner. Dozens of proposals have been laid out to rejuvenate the grounds but upon realization that it takes time and resources to bring this vision to reality, it was decided that the Meridiana building would serve as the perfect initial setting for an adaptive reuse solution. In the primary inquiry of the site and its surrounding, we inferred some observations like the lack of lighting into the structure, the unstable structural members present on the upper floors as well as inaccessible routes to entering the space. This was the first step for developing a strategy for intervention that facilitated us to plan for better circulation, structural stability and overall aesthetics. The principal axis of the project was the creation of a visual tension between the old and the new, based on the process of subtracting from and adding to the existing, whilst exposing the finer details of the structure that makes it unique whilst preserving the details that speaks of the historic nature of the building. We designated the east end of the Meridiana as the main point of ingress, whilst also proposing the reinforcement of certain horizontal members inside the structure; this led to further inquiries into the nature of the building, and how we could integrate modern processes to resuscitate and derive the usable spaces inside the Meridiana. The functional activation process of the Meridiana was developed in tandem with an aesthetic characterization, that maintained the building’s functional aspects whilst being considerate of the aesthetic point of view as well. We strived to pick up on the traces left behind by the past builders and enhance it to create architectural gestures for the future occupants of this beautiful structure.
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01 Chapter One SITE ANALYSIS Site definition Historical context 17 - 09 - 2020 SITE VISIT
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02 03 04 Chapter Two
Chapter Three
STRATEGY 17 - 09 - 2020 SITE VISIT Strategy Zoning Storyboard Fluxes
REMNANT Meridiana entrance Roof plans Sections Interior detail studies Individual working area Conference room Central connection space Axonometric view
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Chapter Four
REMNANT AND THE SITE Masterplan Meridiana - East facade Meridiana - North facade Exterior detail studies Meridiana - Elevations
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MATERIALS Meridiana - Materic plans Meridiana - Materic sections Material strategy
Chapter Six
Chapter Seven
LIGHTING General lighting Accent lighting Task lighting
PROMO Making textures REMNANT traces of the past Evidences of tomorrow
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Chapter Eight CASE STUDIES Making textures Varese scrim Neues museum
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Chapter One
SITE ANALYSIS SITE DEFINITION HISTORICAL CONTEXT 17 - 09 - 2020 SITE VISIT
Villa Arconati
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SITE DEFINITION
VILLA ARCONATI
Villa Arconati and the Milanese context. The project in its first phase consisted of a brief research The area surrounding Villa Arconati and more particularly the Meridiana building is located in a land that has seen about the site, its history and its surroundings. great changes during different historical periods. Subsequently, a field visit was carried out and allowed us Villa Arconati, the Borgo and the Meridina present to know and notice both historical and architectural de- themselves with very different styles and have been used for different functions. tails not told in books and websites. The definition of the key points of the site and the place of The path to discover the site of the intervention led us to intervention guided us in the creation of a strategy, explai- know the architectural features and testimonies of the ned at the end of this chapter and applied to the site in the area. chapters to come. This strategy was then explained through diagrams that The visit to the Meridiana, the intervention area, allowed illustrate its on-site application. us to directly understand the problems, opportunities and threats of this particular structure. Bollate is located north-west of Milan, about 12 km from the city center. The municipality has four factions: Cascina del Sole, Cassina Nuova, Castellazzo and Ospiate. In addition to Villa Arconati, nearby points of interest are Palazzo Seccoborella and the oasis Il Caloggio. The Villa can be reached by: RAILWAYS: Malpensa Express, Milan-Turin line and suburban routes to Saronno. AUTOSTRADE: A4 and A8 SUPERSTRADE Milan-Varese, Fiera Rho-Milan.
ARESE BOLLATE
RHO EXPO 2015 SITE
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LEGEND Metropolitan area of Milan Suburban area of Milan Key sites Railway network
Towards the understanding
Railway stations
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HISTORICAL CONTEXT History of Villa Arconati
1300 THE ARCONATI LINEAGE. First evidence of the existence of a fortified farmhouse of medieval origin and once an ecclesiastical property. The “de Arconate” lineage sees its very first progenitors in Giacomolo and Gerolamo, rich notaries and silk merchants who acquire fame and wealth through political offices. The family will come to obtain noble status at the end of the fifteenth century and the lineage will last until the nineteenth century.
1500 CUSANI FAMILY. In 1573 Carlo Borromeo visited the village and established a church for the growing population. The construction was completed in 1588, based on a design by Martino Bassi and commissioned by Guido Cusani, the largest landowner in the area.
1610 THE FIRST WORKS Galeazzo Arconati buys the property of Castellazzo dai Cusani for a sum of 238,000 ducats and some material assets. Upon purchase, the villa consists of a rectangular block with a double body which has, on the ground floor, a portico and a large staircase and, on the upper floor, a gallery and several halls. The first expansion works begin, both of the village and of the villa
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1620 - 1630 VILLA OF CULTURE Galeazzo Arconati was born in 1580: after a failed career in arms, he was placed under the tutelage of Cardinal Federico Borromeo: this gives Galeazzo a constant bond with the fervent city of Rome, making him a man of honor and a lover of the arts. He translates his passion for culture into fundamental attentions to the villa.
1700 THE HERITAGE The Arconati family notes the Villa as one of its fundamental assets. Work continued: in 1715 Giuseppe Maria took care of the south-east wing and fed the family’s hunger for culture by purchasing new statues. In 1718 the inheritance passed to Giuseppe Antonio who, after a very suggestive visit to Versailles, proceeded with the extension of the southwest wing.
1743 LAST CONSTRUCTION SITES. The extension of the south-west wing, by the architect Ruggeri according to some manuals, is therefore the last of the significant interventions, the rest will be restructured.
1772 BUSCA FAMILY. After the death of the last heir Arconati, the property passes into the hands of the Busca cousins: they will mostly deal with reinforcement, arranging the villa and equipping the vast park with a new English garden. Fundamental is the choice of the Busca to keep the property together, following the will of the cousins.
1800 - 1900 CASA CRIVELLI Beatrice Crivelli is the last owner of the Castellazzo residence. After the settlement of the Busca family, he received the complex as an inheritance and decided to transform it, unlike the ancestors who used it only for leisure, into a real home.
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1989 AN EMPTY VILLA. Beatrice Crivelli died in 1994: the property was bought by Palladium Group. The complex goes through a phase of abandonment and closure to the public until 2005 when a project to redevelop the area is proposed to the superintendent.
2011 - 2020 THE REBIRTH. Active since 1983, the FAR (Augusto Rancilio Foundation) took over the property in 2011: thus a project, still in progress, for the physical and cultural, material and mental recovery of the spaces of Villa Arconati was launched. Since 2015 the complex has been open to the public on an ongoing basis and, while retaining its ancient and characteristic soul, it constantly looks to the future.
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17-09-2020 Site Visit
Entrance Circulation
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Chapter Two
PROJECT STRATEGY 17 - 09 - 2020 SITE VISIT STRATEGY - addition and detachment subtraction and detachment STRATEGY - Diagramatic application of the strategy STRATEGY - Diagramatic step by step ZONING STORYBOARD FLUXES
Meridiana - detail of the elevator and bridge.
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STRATEGY Addition and detachment Subtraction and attachment At the beginning of our work, it was necessary to define Continuing with our strategy, an addiction can only be a strategy to create a common guideline in architectural preceded or continued by a subtraction. and design interventions within the Meridiana. The idea of subtracting one or more components of the One of the first actions that became necessary within the historic building is possible, if respectful, to activate or space was to add tools, activities and volumes within the allow a more effective use of the building space. The idea of a ddition immediately joined the theme of the Our strategy, taking into consideration the possibility of old and the new, the historicity and heritage of the place subtracting portions of the building, is based on showing could not in fact transcend from a respectful architectural and communicating the subtraction in order to give importance to the portion that is no longer visible. approach. From the necessity of “bringing somethin inside” was created the strategy of showing the addition completely detached from the historic building in order to highlight The general idea is to associate and use addition and the added part and at the same time the historic building. subtraction within the building in an active and visible way without hiding the interventions. The addictional architectural volume must therefore The strategy will be applied in the architectural field respect the site, the building and what it represents within the Meridiana building and will have respect for the intervention site. without imposing itself on it. The relationship between new and old is going to be a fundamental point of the project.
Existing
Addition
Addition detached from the existing.
Existing
Subtraction
Subtraction communicated in the existing.
Honesty
The respect of the historical Heritage of the meridiana guided us in the design choiches of the project.
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STRATEGY Diagramatic application of the strategy
1 Current state Outdoor situation -entrance
The application of the strategy within the first portion of the Meridiana (entrance) can be summarized in nine points identified and divided into main actions.
2 Current state Indoor situation
3 Current state Division of spaces Groundfloor First floor Vertical connection
5 Subtractions Indoor 1 Walls 2 First floor 3 Door enlargement 4 Beams and rafters 5 Elevator pit
6 Subtractions Mix of evidences
8 Additions Indoor 1 Elevator 2 Bridge 3 Vertical divisions 4 Stairs redesign
9 Additions Final internal situation Groundfloor Orizontal connection Vertical connections
The following diagrams show in particular the description of the intervention aimed at the new entrance of the Meridiana. 1 - The first diagram shows and defines the designated entrance of the Meridiana as well as the general external characteristics. 2 - shows the current situation inside the Meridiana 1
3 - Associate the volumetric definition of the spaces with the first two diagrams, defining in particular the vertical connection taking into account the need to insert an elevator within the spaces.
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4 - The subtractions referring to the external portions of the Meridiana are highlighted in red
4 Subtractions Outdoor 1 Roof 2 Original openings
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5 - Internal subtractions 6 - The internal and external subtractions show, as a consequence of the strategy, some “evidences” that will be shown and communicated through design choices. 7 - 8 - show the internal and external components of the new design 9 - Illustrates the new definition of the spaces following the intervention
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7 Additions Outdoor 1 New glass roof 2 Detached facade 3 Extruded frameworks 4 Extruded totem
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STRATEGY - Diagramatic step by step
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Entrance - Public Semi-public Semi-private - Private Connections Elevator East staircase West staircase Middle staircase
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N’1 Entrance Meridiana Fluxes
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Entrance / Reception Exposition path / Connections Offices - individual working area Meeting room Collaborative working area Shop Conference room Common/Community spaces Steps Toilets
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GROUP WORK 12 p.
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GROUP WORK 12REMNANT p.
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ZONING
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TERRACE
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First floor
AMPHITHEATER STAIRCASE 5.05 x 5.50m
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The zoning for the studio program is derived from splitting the public from the private zones inside the building in order to find the semi-public or private niches that could serve as the mixing chamber of sorts. After defining the formal and informal, we set out to plan a compartmentalized planning of the spatial organizations with the spaces following a clear hierarchical order of open (groupwork + networking) to semi-open (individual working areas) to closed (meeting or conference spaces) so that the further one progresses into the building, the more the privacy is enhanced. This is done to demarcate the areas for the studio members to interact with one another, work by themselves or partake in group sessions with their peers or superiors.
FOYER AREA 2 p.
FOYER AREA 2 p.
EXHIBITION CORRIDOR
One single linear pathway connects all these spaces and introduces “connection spaces” or “mixing chambers” intermittently. This not only ensures that the rhythm of the flow is flexible and allows for social mixing of the members during their breaks, but also promotes a more democratic environment overall for the studio.
AMPHITHEATER STAIRCASE 5.05 x 5.50m
ENTRANCE + RECEPTION
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KITCHEN AND PANTRY AREA 8.20 x 6.85m LASER CUTTING
GROUND FLOOR TOILET 3.40 x 5.6m
SANDERS BENDING MACHINE
FOAM CUTTER
AMPHITHEATER STAIRCASE 5.05 x 5.50m
MACHINERY + (WORK)SHOPS + STORAGE 6 p.
KITCHEN AND LUNCH AREA 12 p.
LASER CUTTING
Ground floor 26
TOILET 3 p.
DRILL PRESS
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SHOP 17.50 x 5.65m
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TOILET 3 p.
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3D PRINTERS
PLOTTER
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DRILL PRESS
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Ground and First floor plans depicting the formal and informal entities with connection, circulation and services shown.
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KITCHEN AND PANTRY AREA 8.20 x 6.85m
GROUND FLOOR TOILET 3.40 x 5.6m
Zoom
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CONFERENCE ROOM 23 p.
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ZONING
EXHIBITION EXHIBITION
SECTIONS The building allows for optimal vertical circulation by introducing a atrium or “connection space” with a bleacher style staircase, which separates the ground from the first floor thus achieving a dual use of space for its inhabitants. The visitors are taken on a tour of the studio from the reception on the first floor, to the maker-labs or workshop spaces in the floor below, where they can partake in events or occasional tutorials as well as the vast public conferencing area for book signings or public showcases by the architects to promote their work. This splitting of the floors to offer different function or utility with a “gateway” in between works in harmony to accommodate the visitor/client into the space without interrupting the regular workflow of the staff or studio members. Various subtractions are made on the roof structure (marked in red) in order to solve the lack of lighting, therefore ensuring that natural lighting is made use of through the day, cutting back on the operational costs of the building.
FOYER AREA FOYER AREA 2 p. 2 p.
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FOYER AREA FOYER AREA 2 p. 2 p.
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DISPLAY SHELVING
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FLOOR LEVEL +2.84
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FLOOR LEVEL -0.30
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FLOOR LEVEL -0.30 RAISED FLOOR SYSTEM
Section AA Section AA
TOILET TOILET 3 p. 3 p.
RAISED FLOOR SYSTEM
MEETING ROOMS MEETING ROOMS 15 p. 15 p.
INDIVIDUAL WORK INDIVIDUAL WORK 16 p. 16 p.
FLOOR LEVEL +0.00 RAISED FLOOR SYSTEM
RAISED FLOOR SYSTEM
MACHINERY + (WORK)SHOPS + STORAGE MACHINERY + (WORK)SHOPS + STORAGE 6 p. 6 p.
TOILET TOILET 2 + 3 p. 2 + 3 p.
FLOOR LEVEL +0.00
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EXHIBITION EXHIBITION
CONNECTION SPACE CONNECTION SPACE
GROUP WORK GROUP WORK 12 p. 12 p.
FLOOR LEVEL +2.84
Zoom
FLOOR LEVEL +2.84
Ground and First floor sections depicting the functions of the studio for formal working, workshop spaces and exhibitions.
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CONFERENCE ROOM CONFERENCE ROOM 23 p. 23 p.
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STORYBOARD
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Experiencing the project - ELEVATOR, BRIDGE
Experiencing the project - CENTRAL STAIRCASE, TERRACE
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ENTRANCE + RECEPTION
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The fluxes inside the building can be illustrated with two different pathways, one of the visitors versus the studio member:
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MODELS AND PRINTINGS
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BENDING MACHINE
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Zoom
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First floor
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The regular pathway for studio members The entry leads the inhabitant to the group working spaces first, where open planning is provided for discussions and networking, from there they are led to the individual working areas adjacent to the covered meeting rooms for the high-profile clients and then the semi-open meeting areas for regular studio discussions. They can travel down the staircase again for relaxing, taking calls or working casually. From there they are taking down the ramp again to the communal space where they can take their lunches to and eat/interact with their peers. These two fluxes are provided for clear circulation for both the in-house members as well as occasional visitors and ensures optimal horizontal and vertical movement are met.
Ground and First floor plans with the two pathways highlighted to show the movement inside the Meridiana.
MODELS AND PRINTINGS
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The exposition pathway for visitors The entry leads the user to take one of two pathways of exposition, or that of a working member. The exposition pathway highlighted in green takes the user from the reception near the east end of the building, across the various working spaces of the studio members to the far end, where they would find the toilets fronting the remnant insignia of the fascist kind, a clear notion to where it belongs. From here they would travel downstairs through the connecting social staircase to the floor below, where they would be greeted by the spacious conference room which merges with the staircase. Behind the staircase through the ramp, they would see the communal spaces and the lab area adjacent, where the studio has its cuttingedge equipment for holding expositions, tutorials and workshops.
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TEAMS INFORMATION
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Chapter Three
REMNANT MERIDIANA ENTRANCE ROOF PLANS SECTIONS INTERIOR DETAIL STUDIES MERIDIANA - INDIVIDUAL WORKING AREA MERIDIANA - CONFERENCE ROOM MERIDIANA - CENTRAL CONNECTION SPACE AXONOMETRIC VIEW
Meridiana - detail of the detachment between the original beam and the new structure.
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PLAN Roof plan
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The soft lighting that permeates the structure after passing through the semi-transparent scrim material around the bridge casts a soft glow inside the space and welcomes the visitor with a warm embrace whilst the perfect harmony of the existing, complimented and supported by the modern is both reminiscent and respectful of the century’s old heritage of the Meridiana and the Villa Arconati grounds.
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The Meridiana east-end entrance is the principal point of access for the entire studio space and was the first point of intervention in the project. This allowed us to base our strategy and to set the tone for the rest of the space to follow. We surveyed the site of the entrance, identified the key issues that lack of lighting, unstable floor and closed-in atmosphere posed and set about to suggest our intervention in the form of subtracting the floorplate on the first floor, opening a portion of the roof and allowing it to act as an oculus to bring in light, as well as integrate an elevator structure to enable handicapped people to access the first floor. The reuse of the removed wooden beams as the support members of the bridge after remilling them, the intricate detailing of the torsion wires that hold a part of the roof crossbeam, as well as the combination of powder coated steel flange skeleton around the tubeless elevator structure inside the entrance area are especially mentionworthy.
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PLAN
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Meridiana - detail of the detachment between the original beam and the new structure.
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Meridiana - Entrance staircase.
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Meridiana - Exploded axonometric of the entrance.
Meridiana - bridge view and structure.
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MERIDIANA - INDIVIDUAL WORKING AREA.
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The individual working area on the first floor is dotted with desks, display shelves and open aisles and constitutes one of the main spaces where the studio dishes out its designs. It is also the only area which is connected to the balcony at the west-wing of the Meridiana and allows its occupants to access the breakout space for taking a quick call or a smoke as architects often need a breathing space during crunch deadlines and heavy workloads. It has display shelves where the best project models are featured along with awards and accolades; It is freely accessible from the corridor and has elegant task-lighting suspended from the heavy wooden beams above to provide the best possible working environment for its inhabitants.
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MERIDIANA CONFERENCE ROOM.
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The long conference area on the ground floor has a combination of curved vaulted ceilings from the existing structure, integrated with clear float glass walls and soft lighting to enable a comfortable atmosphere. The conference space is flexible and acts as a multipurpose hall which can accommodate multiple public events, extended book signings or even celebrations or merry making inside the studio. It also has an exposition pathway with display totems showing the latest works or featured projects. It fronts the connection space and the social staircase and doubles up as extended seating in case of maximum occupancy reached.
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MERIDIANA - CENTRAL CONNECTION SPACE.
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The main atrium of the Meridiana building that connects the lower floor to the upper floor, this bleacher style staircase is the centrepiece of the studio. It is bathed in natural lighting, it has the exposition pathway adjacent to it, casting the filtered light onto the space and acts as the principal mixing chamber between the interns, seniors and the associates. It also has charging stations that double up as a work desk and allows one to find both privacy and social gathering at the same time. The passing of the time of day is cast onto the space that is also acting as the extended staircase for the conference area in an amphitheatre style seating experience.
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CENTRAL CONNECTION SPACE - UPPER FLOOR
CENTRAL CONNECTION SPACE - ROOF PLAN Scale 1:50
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CENTRAL CONNECTION SPACE - SECTION B - B Scale 1:50
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AMPHITHEATER STAIRCASE 5.05 x 5.50m
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BREAK-OUT SPACE
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Chapter Four
REMNANT AND THE SITE MASTERPLAN MERIDIANA - EAST FACADE MERIDIANA - NORTH FACADE EXTERIOR DETAIL STUDIES MERIDIANA - ELEVATIONS
Meridiana - Detail of the East Facade.
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MASTERPLAN Along with the importance that Villa Arconati represents, the Meridiana building is located in a privileged context that will play again an important role on the master plan. The Meridiana is currently surrounded by important and various use buildings, the most immediate to the North is The Borgo Housing, a deeply rooted local village representing the most active space in the closest surroundings. Northeast, we find one of the two wings of the old and currently unused barns of the castle. Right after, to the South east we find the back part of the Legnaia, that served as a woodshed. And to the South the recently restored Limonaia articulated by the rest of the Villa Arconati Castle to the West. The adaptive intervention inside the main body of the building pretends to impact these various dynamics happening in the surroundings, using the three entry ways that the villa has, the vehicle circulation will be defined to the east and north façade identifying just the right space for vehicle lane and passing through and the division of the landscape segments surrounding The Borgo and The Meridiana. Remnant propones universal accessibility in its immediate settings, it pretends to be the missing key part of the reactivation of abandoned buildings inside the castle.
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MERIDIANA EAST FACADE.
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The east face of the Meridiana possess the façade which serves as the first impression for the people accessing the east gate of the Villa Arconati and as such, gives a glimpse into the delicate intervention that the team has woven into the building and its spaces inside, by showing a eloquent white metal skin with the openings punctured and provided with double glazed windows where you get can idea of the inside space briefly before you access the entrance. This is inset with soft lighting and leads the visitor towards the inside in a welcoming embrace, and demonstrates that the old and the new exist in harmony with each other inside this storied historical structure.
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MERIDIANA NORTH FACADE. The rear end of the Meridiana has the long balcony which connects the individual working spaces with the far end of the building, acting as the breakout space for the occupants from both the meeting rooms as well as the working areas. This view fronts the borgo building and the well-manicured boulevard pathway in between. It also houses the recycling station fashioned from the old existing shed adjacent to the workshop areas below. The modern materials like perforated sheets, clear glass and white powder-coated metal supports contrasts well with the weather old brick and terracotta roofing tiles of the building and gives a quick peek into the inside of this bustling structure, brought back to life, for use in the 21st century.
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MERIDIANA ELEVATION. East Elevation
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MERIDIANA ELEVATIONS. North Elevation
South Elevation
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Chapter Five
MATERIALS MERIDIANA - MATERIC PLANS MERIDIANA - MATERIC SECTIONS MATERIAL STRATEGY
Meridiana - Original brickwall of the south facade.
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MERIDIANA MATERIC PLANS.
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MATERIAL STRATEGY Materialboard
1 Terracotta tiles Old Floor finishes
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2 Rough stone Old Floor finishes
5 Polished concrete Old Finishes
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10 Fibreglass scrim New Structural+aesthetic
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Chapter Six
LIGHTING GENERAL LIGHTING ACCENT LIGHTING TASK LIGHTING
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GENERAL LIGHTING Using spotlights and linear lights to provide a uniform level of illumination throughout the connection spaces, lunch area, toilets, and the recycling station.
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ACCENT LIGHTING Indirect Hidden Lighting Hidden strip lights are used to highlight the new inserted volume of the elevator and the meeting room. Light in sinergy with the scrim creates a soft and enigmatic effect. Integrated lighting features in the detachments of the facade, creation of a tension and the highlighting of the gap between old and new. Direct Lighting Specific roof and wall lighting to emphasize the original structure of the building.
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TASK LIGHTING Groups of high-brightness linear lights, lamps, and spotlights illuminate the work spaces, conference room, and the big staircase. Hidden strip lights lighting the redesigned steps on both ends of the building.
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GENERAL LIGHTING Provide a uniform level of illumination throughout the space
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Entrance (left) Conference room (right)
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ACCENT LIGHTING Emphasizing the volume of the insertion and the structure of Meridiana
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Individual Working space
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TASK LIGHTING Giving high-brightness to specific areas
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Chapter Seven
PROMO MAKING TEXTURE - Group 3 contest design studio 2020 Creating a pedagogy of prints, patterns & permutations (PART 1) REMNANT - Traces of the past gestures of tomorrow. Group 3 contest design studio 2020
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MAKING TEXTURES
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Multiple results
given by the differenciation of colors, pression and style created by each user.
Group 3 - contest design studio 2020 Making textures: Creating a pedagogy of prints, patterns & permutations (PART 1) The exercise is aimed at exploring the opportunity to study the qualities of materials in model-making, to begin with understanding the application of the same in a design project for the Meridiana site. This was done by way of listing out various material families and then articulating them into a library for use. The category of families were as follows: 1. Carta [Cardboard extrusions/paper mache] 2. Polysterene [Foam/thermocol] 3. Mesh or Fibre [Plastic fiber mesh] 4. Wood [Lightwood like Balsa sticks/Solid wood like Beech] 5. String [Weaving or sewing string] These were cut and made/mounted on 5cmx5cm wood piece in order to form a modular unit for printing. A stop-motion video was made to illustrate the change in nature of the different materials selected and were dipped in Impression ink and acrylic to prepare for the imprinting process. A 150gsm A3 paper was taken and used as base for printing the blocks over. 5 tests were made by the group members to determine different compositions and composition of patterns. This was also documented and added to the film for review. The output was a series of images and compositions which varies largely depending on the persons using the print blocks. Interesting patterns give us an idea of the inherent nature of the material both visual and tactile. The study opens up new avenues to explore and offers insights in terms of model-making. This exploration will serve as a base to study about the materials and surface studies to be conducted further during the design research stage to create the perceived qualitative and aesthetic preferences for both the exterior and interior.
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Connection
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with the context.
Traces of the past evidences of tomorrow Group 3 contest design studio 2020 REMNANT is the place where history and becoming get in touch, it is the place to imagine, create and shape the future. REMNANT uses the autentic state of the building as main value for the redesign approach. The transformation of the meridiana is carried out through surgical subtractions in the historical building that expose traces of the past The insertions are respectfully distanced from the architecture and are used to activate the connections and amplify the entrance of natural light.
Creation of new spaces.
REMNANT is the place that looks at the traces of the past to inspire the gestures of tomorrow
Reminescences of the original architecture.
Tension
“Remnant is the place that looks at the tracesof the past to inspire the gestures of tomorrow.”
between old and new.
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Chapter Eight
CASE STUDIES MAKING TEXTURES - Group 3 contest design studio 2020 VARESE SCRIM - Robert Irwin NEUES MUSEUM - David Chipperfield Architects in collaboration with Julian Harrap.
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MAKING TEXTURES
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Experimenting
GROUP 3 - Contest design studio 2020 Creating a pedagogy of prints, patterns & permutations (PART 2)
with materials by using their characteristics as beginning point for a new experience.
Studying about textures and surfaces is as important in architecture or interiors as the organizations of the spaces or articulation of the structure and can be used to enhance the optical and tactile elements of a building or interior decor. Texture is the surface quality of a material. It is perceived directly by touch or indirectly by sight and has four natures of reflectivity, transparency, translucency and solidity. Owing to modern technologies and new processes, the architect or designer can produce almost an endless variety of textures and surfaces from pre-formed to bespoke laser or water-cut textures/patterns. Choice of surface materials in the 21st century has been instrumental to inspiration and is now at the forefront of design application. Performances and functional features are not enough to explain interest for surfaces. People and consumers choices are much more influenced by perceived quality and aesthetic preferences (and the price of course). The designers, as their clients, tend to connect the quality of materials and their aesthetic. Frequent changes of fashion lead to the rapid rise and inevitable decline of many materials, especially in the interior. The technical progress in materials is accompanied by an improvement in performance that often frees designers from practical constraints and usually favors aesthetics. Materials become a stimulus to all the human senses.The essence of a material is concentrated in its appearance and therefore appearance is a carrier of aesthetic, sensory, cultural and not least functional values of the material itself. The narrative quality of materials is linked to how well materials are capable of portraying the theme that the designer wants to represent. Even if the potential number of images and subjects could be endless.
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VARESE SCRIM Robert Irwin Robert Irwin has consistently deemphasized the making of objects, focusing instead on an awareness of perceptual phenomena. Irwin started out as a painter but eventually abandoned the canvas and its finite edges, striving instead to incorporate his art with the space around it. Since the 1970s Irwin has focused on the production of “on site” art by creating installations in rooms, gardens, parks, museums, and various urban locales. These interventions, constructed with materials such as scrim and fluorescent lighting, manipulate and draw attention to the optical conditions of the environment and how we perceive these conditions through subtle, sometimes imperceptible alterations of scale, light, volume, and atmosphere.
“Our existence is suspended between the known and the unknown. We delude ourselves that we know many things.” Robert Irwin
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NEUES MUSEUM
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Old and New
David Chipperfield Architects in collaboration with Julian Harrap.
and their contrasts are the protagonists of the architecture.
The Neues Museum on Berlin’s Museum Island was originally designed by Friedrich August Stüler and built between 1841 and 1859. In 1997, David Chipperfield Architects won the international competition for the rebuilding of the Neues Museum in collaboration with Julian Harrap. The design focused on repairing and restoring the original volume, respecting the historical structure. Both the restoration and repair of the existing is driven by the idea that the original structure should be emphasized in its spatial context and original materiality – the new reflects the lost without imitating it. The key aim of the project was to recomplete the original volume of the parts that remained after the destruction of the Second World War. The original sequence of rooms was restored with new building sections that create continuity with the existing structure.
Respecting
the historical structure in its different states of preservation.
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