Architecture portfolio RK

Page 1

Portfolio Randi Karangizi BA Architecture Stage 3 2014/15


Indicates New work Indicates Improved work

ALL OTHER CONTENT IN SEPARATE DOCUMENTS AS FOLLOWS: AP1 Contents and Deceleration Form AP2 Learning Summary AP3 Original Submissions AP5 Non design Coursework: ARC Technology Coursework ARC Professional Management Coursework ARC Principles and Theory of Architecture Coursework ARC Dissertation in Architectural Studies AP6 Stage 2 portfolio


TABLE OF CONTENTS

2014/15

BLOCK AND PRINT SHOW/STORE

5-51

Thomas Bewick’s wood block engravings [Graduation Project]

FOUR TOWER HOUSE

53-81

A music hall and house for four musicians [Project 1 : Chamber]

THINNING THROUGH MAKING WEEK

83-86

Material Testing

CHARETTE WEEK Telephone Machine

87-89



BLOCK AND PRINT SHOW/STORE

Thomas Bewick’s wood block engravings


6

Collection The brief asks to design a building to show and store a chosen collection. The first phase involves housing a single object from the collection within Newcastle. The collection used are Thomas Bewick’s wood block engravings which were used to make print book illustrations in the 18th Century. The blocks shown below were studied from Newcastle’s Natural History Society collection. Particularly, British Bird pieces are used for the buildings collection. Forty pieces of the original blocks are available within the Newcastle City Library archive.

SHOW/STORE COLLECTION


7 Thomas Bewick initiated methods of creating depth in printing images compositionally and technically through layering cut levels. He also using different ink density and pressures to print with. His printing method is represented through the process taken to develop the incubator site. The project involves an interchange between ‘image’ and ‘object’ as the three-dimensional blocks are used to create twodimensional images.

Incubator Site

Sketch

Redrawn

Bewick’s Bird illustration

SHOW/STORE INCUBATOR

Transfer

Printed


8

Incubator Site Series of prints used to analyse the Incubator site as a block. The prints are created by engraving lino sheets and rolling them with acrylic paint to print. The contrast between void and solid spaces becomes apparent in the representation of space. Detail showing the faded quality of the print is shown on the corresponding page materiality.

SHOW/STORE INCUBATOR


9

SHOW/STORE INCUBATOR


10

Series of Incubator site models using plaster, timber and clay. Further representing the distinction between void and solidity s which expresses the tension between heavy and light spaces of the prints

Incubator site plan 1:200

N

SHOW/STORE INCUBATOR


11

The incubator is placed on the site of Thomas Bewick’s old workshop in Newcastle’s city centre. A single block is stored and displayed within a series of steps. This leads to a one on one interaction with Bewicks monument and the wooden block. The incubator is represented as a ‘ghost’ of Bewick’s workshop as his prints are ‘ghosts’ of the original wooden blocks.

Bewick’s old workshop entrance

Monument Replaces workshop

Incubator reflects workshop

monument

show

store

SHOW/STORE INCUBATOR


12

The Site Situated along Pilgrim street, the main building site (a) is represented as its own ‘block’ within a greater Urban Block. This strategy is a magnification of the incubator block (b). The building block inserted on the site maintains a place amongst buildings within a city with towers, particularly seen further South along Pilgrim Street. The greater context allows the building to maintain its height. The block has a relationship to the immediate context but also beyond towards the Tyne River.

SHOW/STORE SITE SECTION 1:1000


13

m ri lg Pi et re st

ey Gr et re St

a

b

SHOW/STORE SITE PLAN 1:2500


14

Approach The archive used to store the wood block engravings is treated as a block as done with the sites. Activity spaces are imprinted and leave traces above and below the archive to create spaces necessary for the building program.

DISPLAY

ARCHIVE

WORKSPACES

public public route

Wood Block

Archive

private

SHOW/STORE DEVELOPMENT


15

A block is placed on site holding the main building programs. A secondary tower holds a fire escape unit.

The archive is carved out of the centre

A circular route is taken around the archive maintaining public spaces and private spaces that are deliberately not accessible through the public staircase

SHOW/STORE SITE CONTEXT


16

Printing the Building Site The printing process was further applied to the site from different historic periods. The voids created became more applicable to the spatial logic of the building with its void and solid space.

SHOW/STORE SITE CONTEXT


17 The volumetric module at 1:200 shows the building sitting within the elevation of Pilgrim Street. The neighbouring buildings are modelled as the building design. They are represented as solid volumes that can be pulled out of the elevation. The archive captures is made distinct due to the high void spaces primarily used for circulation around the building. Pilgrim Street slopes towards the site, thus the bottom ‘Workspaces’ volume merges with the street and the archive is clearly visible upon arrival into the building.

SHOW/STORE SITE CONTEXT


18

1.500 Cast Site Model

SHOW/STORE SITE CONTEXT


19

Printing the Plans The materiality expressed through the prints was used to develop the final plans.

DIsplay

Archive

Workspaces

Lino blocks

Prints

SHOW/STORE PRINTING PROCESS

Diagrams


20

2

6

1

3 5

4

SHOW/STORE BASEMENT PLAN 1:100 1-workshop 2-storage 3-printing 4-changing 5-plant 6-lecture theatre


21

Workspaces The lecture theatre at 1:50 in presented as a volume that is carved out of the workspace volume. It is modelled at 1:50 as a single cast element. The staircase to the left is from Bova Nova Tea House in Portugal, photographed on the studio Field trip. The public scale of steps leads to the main entry and is represented in my design

SHOW/STORE MODELS


22

1

3

2

SHOW/STORE GROUND FLOOR PLAN 1:100 1-reception 2- shop table 3- view to workshop


23


24

Volumetric Model Model at 1:100

The display consists of an open gallery space that is accessed via the main public route through the building. The structure that holds this volume up are two sets of steel columns, one with the lift core, the other one mirroring it above the archive. To achieve the change in height in the space, a ramp runs around this section of the building.

The archive is carved down from the original rectangular form mirroring the wearing down of Bewick’s wood block engravings. There are three levels within this space, the first being study rooms, the second is solely a store and inaccessible by the public route and the third are administrative facilities.

The Workshop volume is ivites the public . The indented space here is achieved using a lecture theatre that its taken out of the volume. Workshop spaces are hidden below the indent particularly the printing room which less natural light.

SHOW/STORE MODELS


25

OMA’s Bordeaux House displays two main volumes separated by one main structural column which supports the heavy upper level. The Structure is reflected to the interior of the building showcasing floating spaces. This inspired the structural composition of the Block Show/Store.

SHOW/STORE PRECEDENT


26

2

1

SHOW/STORE ARCHIVE PLAN 1:100 1- study block room 2- admin office


27

Within the archive the atmosphere created is cave-like with limited light permitted through the thick concrete panels. This contrasts the emphasised light within the circulation void. The lighting is controlled here to preserve the quality of the blocks

Archive is a magnification of the site plan print

SHOW/STORE THE ARCHIVE


28

From the entrance to the third floor of the archive, the door is carved out of the archive to show the depth of the archive wall

SHOW/STORE THE ARCHIVE


29

Transformation of the archive Cast model at 1:100 showing the three stages taken to carve the outer shell of the archive

1

1

2

2

SHOW/STORE THE ARCHIVE

3

3


30

The Section shows the relationship between the Block Print Show/Store and 55 Degrees North. The tall void upon entry is accessible to the public which is reflected with the spatial organisation of 55 Degrees North. The section line highlights the level in change towards the back of the site which is primarily a service route. The Fire escape is also highlighted as a separate structural entity, Natural light filters through the curtain wall glazing and both the ‘display’ volume and fire escape receive light from skylights above it


31

SHOW/STORE AA’ LONG SITE SECTION


32

SHOW/STORE TOP OF ARCHIVE PLAN 1:100 Bewick Literature room


33

The reading space holds collections of Bewick sketches and prints as well as books with his work made available to the public audience. The printing surface developed in the plans is expands onto the surface of the walls which are hold shelving units within the, This rough surface is contrasted against the steel beams running through it.

SHOW/STORE THE ARCHIVE


34

2

1

SHOW/STORE LEVEL6 PLAN 1:00 1- gallery of wooden blocks 2- kitchen/cafe


35

SHOW/STORE ROOF PLAN 1:100 Outdoor seating with view to city


36

Sectional model montage The gallery and cafe are linked together in the top display volume. There is further access to the roof as the staircase continued to wrap around the building. Facing 55 Degrees North, the windows are also shown for greater context.

SHOW/STORE MATERIALITY


37

The process used to transfer screen pattern prints on Eberswalde Library (Herzog & de Meuron) outer-skin is used in the development of the wall surfaces in the gallery space. A photo-concrete film is placed into the shuttering during construction and the concrete dries out at a different rates in different places for rough and smooth areas, as well as light and dark graduations. This is applied to select surfaces of the gallery space as shown in the image below

SHOW/STORE MATERIALITY


38

SHOW/STORE BB’ STRUCTURAL SECTION (Originally 1:50)


39

SHOW/STORE STRUCTURAL MODEL 1:50


40

1

2

3

4

5

SHOW/STORE ENVIRONMENTAL STRATEGY 1:20


41

1

services to control the humidity and temperature for the storage of the blocks running through the top of the structure

2

1:20 detail of peep hole

Peep holes enables archive users to experience the depth of the walls used to enclose the archive. Metal hooks (a) hold precast elements (b) in place. A seal (c) prevents the services from being exposed to people within the space. Gaps also enable ventilation through heavily enclosed archive.

a

b c

3

suspended floor boards within archive emphasise the cave like quality it maintains.

4

structure permits services to run towards the bottom of the structure

5 insulated

suspended ceiling reflects sound in the lecture theatre

SHOW/STORE ENVIRONMENTAL STRATEGY


42

Pre-cast archive wall element

Store and recycle timber pieces

Timber form work to pour mould into

Reuse form-work to pour into for engraved wall details using Berwick’s blocks as patterns to engrave out on the Archive walls. Patters are made using detailed rubber moulds.

Used for furniture

Door for archive using recycled timber with rustic qualities

doors

and

SHOW/STORE CONSTRUCTION STRATEGY


43

1- Material testing from thinking and making week: pour plaster into rubber mould and plaster 2- Engraved concrete details on the archive inspired by University Library Utrecht. Moulded rubber mats are laid in the form work and used to create the engravings within the space 3- The ‘Owl with Canon’ Block is used to create a printing pattern for specific surfaces around the archive SHOW/STORE CONSTRUCTION STRATEGY


44

Exploded Axonometric Main structural elements of the design

SHOW/STORE STRUCTURAL STRATEGY


45

The University Library Utrecht’s use of staircases and ramps within voids to connect the main solid spaces. The three sketches below are developed from analysing the library.

SHOW/STORE PRECEDENT


46

Above: Jean Nouvel’s Tete Defensive Below: Series of models exploring details of the facade

SHOW/STORE FACADE


47

Facade Inspiration from Nouvel’s delicate facade to the left. Nouvel described the structure as ‘the opposite of a perspective; the dissolving structure and de-materialization as it rises leads to the projection of the building as a bad print’. The facade is treated as a separate element to the structure of the building and allows for a faded facade to express the solid volumes within the building. The Photographs to the right are taken from models exploring the facade at 1:100 and 1:50 respectively. This was a constructive process used to develop the facade detail.

grid

entrance

SHOW/STORE FACADE

detail


48

Structural Extension The structural model depicts the development regarding the 2 arms and one leg structural system. The full model at 1:100 explores the steel beams and columns necessary to hold up the building The image on the corresponding page depicts an extension of the gridded fading facade within the interior of the building

Two steel arms and one steel leg Lift core mirrored by additional structural support

SHOW/STORE MODELS


49

SHOW/STORE MODELS


50 Facade sits against other facades of 18th Century builings on Pilgrim Street which all maintain different forms, The horizontal elements of the frame for the facade follow the horizontality of the fenestration that unites the facades along this section of the street. The ‘Display’ volume above the frame is bold, breaking up the delicacy of the facade as a print. Thus, it is pushed slightly back to relate more closely to the buildings besides it.


51


52


FOUR TOWER HOUSE A music hall and house for four composers


54

COMPOSITION The brief asked for a residence and performance space to be designed for a group of 4 composers in Edinburgh. The Incubator phase involved three prototypes developed from studying 20th Century music with clear architectural parallels. Two main quotes structured the design ideas: one by composer Karlheinz Stockhausen’s about the individuality of notes and this was supported by a quote by Adolf Loos regarding public and private spaces that inspired the organisation of the building.

1

‘‘INDIVIDUAL sounds spread out in time and space with more and more emptiness between them so that they become clear as INDIVIDUAL notes’’ Karlheinz Stockhausen

Musical notation observed as spatial diagrams:

Notes maintaining individual characteristics

Organised into four notes spread out in space.

Linking individual notes together

CHAMBER MUSICAL COMPOSITION


55

Incubator The prototype model below influences the design of the building. Four timber blocks were placed in a line and then separated from each other to create links within the space. The four elements have a strong material presence and are utilised to establish both heavy, solid within the group of elements and the voids created in between them. This distinction allows a separation of private and public spaces within the building program.

2

‘‘This static form accommodated the dynamic dispositions of the Raumplan with its symmetries and changes of level, placing emphasis on the difference between PRIVATE and PUBLIC’’ Adolf Loos

Individual elements with similar overall structure but different individual qualities. Start together as one entity reflecting a pause in music.

Movable vertical elements are developed into the performance space

CHAMBER INCUBATOR

Spreading out the elements in ‘time and space’. Higlighted void spaces amongst the heavy material volumes.


56

Construction and Spatial prototypes Below is an image from the Botanico gardens in Porto seen during the studio field trip to Portugal, The use of steps and surfaces that run through the building inspire the model that links to the landscape inspired the construction prototupes and later site landscaping. At 1:20 scale, materials that reflect the qualities of construction are used- recycled timber sits between concrete walls. Timber is later used for details within the building. The light timber spans between the walls which are still treated as ‘individual elements’

The atmospheric piece from Prototype 1 explores steps within void spaces, this is given detail below in the construction of the solid steps with lighter timber filling the voids.

1:20 Model: entry

Botanico Steps

CHAMBER INCUBATOR


57

Further prototype studies show the spatial qualities that can be achieved from different structures. These prototypes further fed into the development of the building design when given a site for the program.

Exploring the voids between the towers and the layered structure linking them together as seen in structural model below.

1:100 platform model of four elements in space with light weight strucural support

CHAMBER INCUBATOR

Sheltered space under the platforms


58

The Site site section

Site as a gap in the extension of Edinburgh’s New Town

N

CHAMBER SITE PLAN 1:5000


59

Extending the grid of the New town to the Site on Eyre Place

Distorted grid that follows the looser grid towards the edge of the New Town

CHAMBER SITE RELATIONSHIP

Four towers for Four Composers placed within the established grid


60

Edinburgh’s New Town grid was introduced in the late 17th C as an extension of the overpopulated Old Town. The axial grid balances private residential spaces with public gardens separating creating breaks within the grids. This Long section shows the relationship between the Four Tower House and the greater context of the New Town. The repetitive features of the New Town residential areas are mirrored in the four towers of the building. Additionally the series of steps frequently used in the New Town to link the street to the basement level is reflected in the landscaping of the site.

CHAMBER SITE CONTEXT


61

CHAMBER SITE SECTION 1: 1000


62

Approach Four towers for four composers

Split for performance space Private spaces above

Separating Public and Private entry

Ramp route to Park

Balcony extends to Park

CHAMBER DEVELOPMENT


63

Wooden and Cast volumetric models at 1:200 exploring the voids created between the towers. The performance space is suspended as a transparent volume between gaps of the individual towers and unites the elements together.

CHAMBER DEVELOPMENT


64

Routes Separate routes are identified to further emphasise the individuality of the four towers. The site is landscaped to further invite the public into the park. The public route is larger and opens onto the street making it clear for members of the public. The building is primarily for the use of the four composers. Thus, the private realm consists of the living spaces for the tutors on the top floor. There are a series of spaces within the towers they can access that are closed off from the public. The music played in the performance space travels around the voids.

Routes added to the landscape private route public route

Private routes through two towers Public route through central void space Stairs are a part of the towers, hidden with in walls.

CHAMBER SITE RELATIONSHIP


65

CHAMBER CONCEPT SITE MODEL


66

B

1

4

5 3

2 A’

A

B’

CHAMBER GROUND FLOOR PLAN 1:200 1- reception 2- public music library 3- Plant 4- Store 5- Cafe


67


68

CHAMBER LONG SITE SECTION 1:200


69


70

3 2

1

CHAMBER FIRST FLOOR PLAN 1:200 1-performance space 2-backstage 3-rehersal 4-recording

4


71

CHAMBER BALCONY WITHIN THE TREES


72

2 4 1 3

CHAMBER SECOND FLOOR PLAN 1:200 1/4-tutor study pace 2-reherseal 3 mezzanine


73

2 3

1

4

CHAMBER THIRD FLOOR PLAN 1:200 1 tutor bedroom 2 reading room 3 communal kitchen 4 living/dinning room


74

CHAMBER STRUCTURAL SECTION 1:100 (Rescaled from 1:50)


75 bedrooms Study

Performance

Rehearse

Public Cafe

The Section explores the construction detail by using the insitu frame as a continuous layer around the tube of to create a shell for each tower. The areas within the tube are separated with rigid insulation. These are primarily private areas for the accommodation and rehearsal rooms and thus, prevents the four composers from experiencing the sounds running through the performance space. The performance space sits in-between the tube forms and is protected the quality of sound is enhanced using acoustic glazing.


76

1

lime render

2

Rigid Insulation

3

Cast insitu frame

4

interior plasterboard

5

Brett staple timber frame and glazing

Acoustic Separation is achieved with the bedroom and recording space which are heavily insulated, Structural elements are achieved using inner linings with plasterboard and outer insulation and renders.

Shell protects Private spaces

CHAMBER STRUCTURAL DETAIL 1:50

Insulation separates spaces within the tower


77

CHAMBER THE PRIVATE SPACES


78

Cast in situ frames

Brettstaple timber frame- C16 Strength

Acoustic Saint Gobain Glass - 30% recycled material

CHAMBER: STRUCTURAL DIAGRAM


79

Model photos exploring the relationship between the towers and the performance space. Additional wire mesh is used to filter the sunlight through the glazing

CHAMBER: MODELLING


80

Facade The building’s main entry maintains the four towers as solid spaces by not puncturing the in situ frames with fenestration further enhancing the individuality of the facade. The main openings are primarily facing the park and light is gained through the large glazing panels encasing the performance space

CHAMBER: FACADE


81

CHAMBER: FACADE


82


THINKING THROUGH MAKING WEEK Material testing


84

1 to 1 drawing

THINKING THROUGH MAKING WEEK 1 to 1 drawing


85 Development of drawing A week long, detailed drawing focusing on a concrete staircase. This was chosen due to its relevance to my year long studio and interests in the contrast between void and solid spaces

THINKING THROUGH MAKING WEEK 1 to 1 drawing


86

Dynamic Testing

Observing chemical arrangements using live matter Dynamic movement and creation of spaces seen with variations of matter. The transformation process informed design strategies in the Graduation project which used paints to develop different spaces

THINKING THROUGH MAKING WEEK DYNAMIC TESTING


CHARETTE WEEK Telephone Machine


88

Machine for living Working with a small team to create a train reaction for a telephone that functions as part of a larger Machine for living. The final exhibition room displayed a series of different reactions

Path of the balls used to trigger reactions

CHARETTE WEEK


89

01 Ball falls into cup

06 phone dials phone at 07

02 cup lifts string

05 domino’s triggered

String turns Phone

04 balls caught by cups and ring

CHARETTE WEEK

Ball released

03

smaller balls hit and released



Thank you for Reading RK


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.