Shivani Patel, Stage 3 Portfolio by Shivani Patel

PORTFOLIO

Shivani Patel 160297335

Newcastle University

18 19

Building Upon Building 1

CONTENTS 6

PRIMER STAGING

REALISATION & REFINEMENT

CASESTUDY

CHARRETTE

ILLUSTRATED REFLECTIVE REPORT

ILLUSTRATED CULTIRAL BIBLIOGRAPHY & BIBLIOGRAPHY

Introduction

Building Upon Building, challenges the transformation and extension of preservational monument Queenâ&#x20AC;&#x2122;s House, building on the history and cultural heritage of the site, while taking into consideration the cultural and social debates. Working on the the ideas of experimental preservation, a new extension builds on the ideas of contextualism to develop a new concept to house the British Centre for Architecture

Primer,

The Primer consists of excersises based around the idea of preservation; forming an imaginative masterplan of plans by Inigo Jones and Andrea Palladio, site analysis of Greenwich and an installation influenced by Andres Jaques Ikea Disobedients project to display 32 pieces of the studioâ&#x20AC;&#x2122;s work.

Primer

Introduction to Palladianism

Primer

We were first introduced to Queen’s House through the analysis of architectural plans and designs by Andrea Palladio and his influence on Inigo Jones, through the understanding of key rules and principles Palladio based his plans upon. Palladio varied the arrangement of elements in his plans to the key uses to which his buildings were designed for, and formed them through the idea of beauty and elegance which embraced the architectural monuments . He was able to reformulate new arrangements which tailored to ‘time, people, places, needs, manners and customs’. Being greatly attentive to symmetry established the proportions of the architectural elements to each of his buildings and proposed a composed sense of order and layout. The plans of Palladio and Jones have been used as part of an imaginery exercise of extending Queen’s House. The proprotions of Queen’s House have been used to create an imaginery grid system to which additional plans accommodate to. Considering Queen’s House as a monument (as the first Classical building in England) a respective boundary would form a courtyard emphasising a series of layers until Queen’s House is seen at the centre as the focal point. The boundary creates a sort of protective layer which increases the significance and monumentality through the perception of Queen’s House The buildings on the outer form as a gate to the centre which introduces access points from all sides. The main access and circulation within each plan has been utilised to attach additional building plans while maintaining the central line of circulation.

30 m

Primer

Villa Ragona (Ghizzole)

Villa Giacomo Foscarini

Villa Foscari/Malcontenta

Villa Zeno

Palazzo Antonin Antonini

Principle and rules are defined by Palladio’s style, consisting of symmetry, geometry, balance, proportions and the classical orders. Palladio varied the arrangement of his building’s parts by simple façades and entryways, but larger, decorative interiors; through the thought of beautifying and creating harmony in an simple manner with the use of the principle of proportionality . Through this, I created my composition of Palladio’s plans though a central vertical axis, and grids to align the exteriors of the Villa plans on the outside. This created a line up of embellished façades and enlarging the courtyard area within. The Queen’s House was initially placed in the central grid/axis to allow other plans to be aligned along the axis through careful proportions and to create balance between the area of the buildings, enabling a large courtyard to form within. The ideology behind creating a courtyard was through the site analysis, identifying the courtyard space allocated within Christopher Wren’s buildings; symmetrical to the central vertical axis, but also through Palladio’s plans.

The Queen’s House

Palazzo G. B. Garzadore Shivani Patel

STUDIO 06 0

60 m

30 m

Primer

Experimental Preservation

Experimental Preservation: The potential of Not-Me Creations Text by Jorge Otero-Pailos

This reading presented the studio with ideas between the words; experimental and preservation. The words together; experimental preservation is seen as something risky, with an invite to failure. It could damage culture and history, even if itâ&#x20AC;&#x2122;s just about maintaining the object. In the text, there are some people who are for experimental preservation and some who are against. Experimental preservationists chose objects to preserve which are not selected by a higher authority such as the goverment. Governments tend to choose aesthetically pleasing and beautiful objects, whereas preservationists choose anything thats needs preserving even if its ugly. In the text, we were introduced to Quasi-objects, which refers to objects, buildings and a whole system, which are neither quite natural nor quite social and are used to define or identify ourselves socially. They can be used to intervene in hostoric objects as a way to modify old preservations.

Primer

STONES OF VENICE.

DISOBEDIENTS

Author split between what is History, and what is Heritage. History is a text, a language based study. Based upon history off records and archives. Given levels of accountability the author suggests that evidences are based on methods of genesis authenticated the evidence/records, the more reliable the source becomes. This accounting of historical truth is a mix of text/narrative/and the act of recording. In contrast, heritage is not the same as history. Heritage is CURATED, CONSERVED, POSESSED, PERFORMED. It is ‘artefactual’ (material objects), for example a mix of tangible and intangible objects such as; the building site, tools, speeches, dresses in ritual ceremonies, or even dances or songs. Its existence is material in a sense that it can be measured by time. The author further suggested, there is a capacity to CONNECT THE PRESENT TO THE PAST and vice-versa. Whereas history is either written or read and is textual, almost like a manuscript. David Lowenthal states, “The totality of the past cannot be preserved … HERITAGE IS THUS FRAGMENTARY, a disconnected element of something that encompassed life.” Through this fragmentary relationship of the past, the author explains that heritage is bestowed upon the individual or groups of the present that these ‘gifts’ have an ‘aura’ that offers a direct unmediated link to the original maker. When heritage is translocated, through the ideas of ‘spoila’ or spoils of war, it suggests that the heritage imbued within these materials have a potential to be removed. Thus inextricably linking the geography of the place - its history and its heritage.

EXPERIMENTAL PRESERVATION. Deconstructing the words, the author noted that there is always a possibility of failure attached with the word ‘experimental’. Similarly, the author suggests that preservation has a deference to the past potentially preventing any form of new development. Similarly, he also differentiated between the ideas of how we are On the other hand, it is suggested that EP’s (Experimental Preservationists) choose buildings that are not QUASI-OBJECT, helps us to bridge the distance between older ideas and the modern material world. that is, that do not circulate with everyday exchanges. That there is no currency in contemporary culture. The

HOW SHOULD WE PRESEVRVE THE QUEEN’S HOUSE?

cultural currency.

IDEAS OF PRESERVATION. Palladio and Jones. Both Jones and Palladio can be regarded as experimental preservationists to an extent. In the text, Pierre Bourdieu ad Michel Serres portray ‘experimental preservationists as players in the game of cultural production whose position is that of introducing new quasi-heritage objects into the game, each of which has the potential of changing the game altogether’. Jones recognised the potential in Palladianism and in a way preserved these ideologies by importing and implementing them in England. Palladio wishes to reinvestigate past Vitruvian, lost knowledge and preserve it within a system of proportions and ‘’rules’’. During their times there was no heritage, only ruins but one could infer; it was today’s perception of their experimenting in preservation that deemed their works worthy of heritage.

‘IKEA DISOBEDIENTS’

Why do we look at ancient plans? Palladio himself states that he “learned more from the ancient buildings than from the book of the divine Vitruvius”. It is through the study of buildings that the preserved tangible and intangible information can be unravelled as it rests in permanent physical context as well as ever changing in perception. The exercise begins to trigger discussions about notions of symmetry and proportions, and questions which elements are easiest to connect (i.e. doors and windows).

architecture through his readings into the ancient ruins of Rome and the adherence to the classical ideals of Palladio did not become

Differences between Jones and Palladio Experimental Preservation text claims ‘there is no such thing as cultural heritage, only political.’ Inigo Jones’ buildings follow coherently with the principles of Vitruvius, proportions, symmetry and

experimenting with historic architecture has become the opposite, where we now defer to the past over our needs of the present.

On the other hand, introducing the classical orders to a Puritan Britain had to be done with a touch of sensitivity, otherwise, the orders could’ve been seen as being ‘pagan, popish or foreign’. Ultimately, ‘political climates affected his work, further emphasising that there is no such thing as cultural heritage, as earlier mentioned in the text. In this case, politics decide what is worthy of heritage, our studio delves into the ongoing discussion is what makes something worthy of becoming heritage?

system of assemblage and re-interpret the rules for their uses. To achieve this we used IKEA furniture which follows a very Palladian system of rigid sets of rules, to create a new way of interacting

For out exhibition we wanted to try and challenge this opposition

inspired by Andres Jaque’s ‘IKEA Disobedients’ performance where

did not want to cut the furniture if possible, to allow preservation model of the pieces of furniture that could be used, and made

THINKING THROUGH MAKING Transforming Objects

This skills workshop, presented small groups with everyday furniture, which could be used as a whole or dismantled to reconstruct a new object using parts and fixings from the original object. Various groups, analysed the objects and dismantled them to different stages; some being completely disassembled, while some kept some parts fixed and adopted a new use by arranging parts from multiple objects together. We transformed a table and wooden stand to create a taller eisel type object. This workshop encouraged us to take defined objects and go against the rules to create something abstract using ready-made parts which wouldnâ&#x20AC;&#x2122;t typically be assesmbed in such a way. These skills aided our Primer exhibition initial design and development process.

Primer

PRIMER

Phase 1: Modern Columns?

For the first phase of our Primer exhibition, we began testing design ideas in reference to Andres Jaques Ikea Disobedients project, to continue exploring the themes of Experimental Preservation. We wanted to use objects that had a fixed system of assemblage and re-interpret the rules of construction assemblage to collectively re-assemble parts in an unconventional way; like the architect Reinhard Kropf who re-discovers neglected buildings whcih are considered waste to test and experiment new methods of interaction with the public and prevent them from becoming derelict. We used IKEA furniture which uses a very Palladian system of definite set of rules to re-interpret a new way of interacting with the objects, using inspiration from Andres Jaques Ikea Disobedients to create a new way of interaction, to reflect a new path of rules; which would also display and present the main aspect of the primer exhibtion which is our Palladio/Jonesâ&#x20AC;&#x2122; Plan compotion and site contect.

PRIMER

Phase 2: Modern Arches?

Primer

Phase 2 presented new ideas of exploration to create a stronger link between Jones and Palladioâ&#x20AC;&#x2122;s system and ideas, which needed to be developed and refined in conjunction with the concept of Ikea Disobedients. Arches were suggested through research of historic forms of ancient architecture as the proposed structure to display the entire groupâ&#x20AC;&#x2122;s work consisting of 32 A2 Portrait frames, since they would be able to support the suspended work.

Primer

to say “ Ithatam Ilonging have perhaps shed so much light on this area of architecture that THOSE WHO COME AFTER ME may be able, with my example before them and using their own intellectual acuity, readily to ADD THE TRUE BEAUTY AND ELEGANCE OF THE ANCIENTS TO THE MAGNIFICENCE OF THEIR BUILDING.

“

Emily Chan, Xueqing Zhang, Shivani Patel, Raissa Fonseca Da Silva, Joseph Allen, Ka Ng, Isabel Fox, Miruna Ilas, Solomon Ofoaiye, Jason Lam, Qian Yi

- Andrea Palladio

STUDIO MANIFESTO CATALYST.

Through the process of our primer, we have arrived at a critical point in our understanding of what preservation is. It is not yet the arrival of a “manifesto” but instead a

catalyst that drives our studios’ ideas. From readings and tutorials, we have wid-

ened our interpretations of what both architecture and heritage are together. A tangled

web of intricate relationships that often generate political, cultural and social debates. -

change to the material reality perception of it. Tangible changes may result in irreversible misinterpretation and not always involve

Architecture and Heritage is a process

within our studio. Architecture informs our interpretation of the “artefact” on which we are intervening. Therefore, we believe that

Architecture is Preservation. It is Provocation of Questions.

“gift” from the past that is heritage. It is the It is our sensitivity in respecting considerations. It is about building upon the past to build upon a future. It is in our case how we build upon buildings.

The Plans. 01

The Queen’s House Inigo Jones.

Lower plan of Belvoir-Castle pillars.

Villa Saraceno Andrea Palladio.

Villa Emo Andrea Palladio. Vene-

Lower plan of building in Chiswick

Plan of building with porticos in front

by ionic pillars, chambers of wings

Villa Pisani Andrea palladio. Magnolo.

Villa Medici, Poggio a Caiano,

Plan of Octagonal building with Doric order pillars Inigo Jones.

Ikea Catalogue

Primer

Villa Barbaro Andrea Palladio. Veneto.

Villa Mocenigo Andrea Palladio.

Tempietto Barbaro Andrea Palladio. Maser.

Plan for temple in Chiswick Inigo Jones.

Villa Capra La Rotunda Andrea.

create your own Palladian inspired exhibition space.

Principle plan of Circular building with Corinthian Portico Inigo

Everything you need to

RÅSKOG Bar stool £20 Plastic feet protect the furniture when in contact with a moist surface.

Plan of large circular building with Ionic Porticos Inigo Jones. Lower plan of building in four apartments Inigo Jones. Principle

Palladian villas were desined with curved porticos to realte openly to the environment. In both his pallazi and villas, there is a central space surrounded by rows of smaller rooms; this can be a sala or a courtyard.

“

ESSENTIAL

ornaments, that is, bases, columns, capitals, cornices,

“

included NOTHING OF MY OWN but have measured all of them myself with scrupulous care using various fragments found on the sites where the temples were … and the decoration inside as I imagined they would have been …

GLENN Bar stool £50 and store them on the same space

BOSSE Bar stool £30 Solid wood is a hardwearing nat-

NEW HYLLIS Suitable for both indoor and outdoor use. The included plastic feet protect

- Andrea Palladio

JANSJÖ LED

R D O ER

the public interaction with it. This led us to the creation of our “gallery seating” furniture, where although the structure is formed of chairs only some surfaces can be successfully used. on a building, where the building is preserved because of the changes in Romy Scheroder is an artist that inspired us to step away from the uniformity of the structures shape instead of following the rules of the orders too strictly. She is still preserving the idea of the chair, but creating new interpretations of it. Although she uses items that can be recognised as chairs, their forms differ greatly to what you would expect from a typical chair, to the point where even if it contorts the body, people will still follow the lines of the chair anyways. It creates a new social intervention,

In the later weeks we decided this view was too narrow and literal for our studio manifesto so we started to challenge the rulles and become “disobedient”...

]

As Palladio did in studying the ancient Roman ruins, in the initial stages of our studio design process we focussed on following the Vitruvian strictly to design our “Ikea” columns, translating the classical orders exactly.

[ RO MY S H 21

Primer

PRIMER

Exhibition Installation

Construct 14 identical IKEA shelves were constructed, with multiple shelves connected as one to elongate the sides and the top part of the arches.

Brace To support the structure of the arches, metal bracing was attached to the sides of the shelves to support the load of the frames.

Attach The top shelves were balanced and secured onto the side shelves using screws and zip ties.

Ikea Catalogue 23

PRIMER Exhibition

Staging

The Grand Tour Rome, Milan, Verona, Vicenza, Venice

City Axis Romeâ&#x20AC;&#x2122;s narrow streets and passages allowed for organised, monumental entrances at the end or at corners of the streets, which displayed a sort of continuity of the buildings. Monumental buildings would look on to the ongoing streets with a longer istance perception. Streets would also open up to larger, public squares with stairs or ramps to buildings with a recognition of arrival; and fountains or statues commonly located at the centre of the squares or at the front of buildings.

Staging

Access and Circulation

As one walks through the entrance gates, they pass a fountain on their left, as they walk towards the arches and on the ramp, they overlook the buildings with gardens on either side. Inside Palazzo Barberini, the placement of openings such as doorway reflect a simple simple circulation to each room, with the doors proportionally postioned to open out to the outside. Doors seem to follow a single line of access to provide a simple route of circulation. As they open out, they form a continuity in the space.

Preservation The concerns behind preservation unfolds the negative attitude for transformation, even if the building remains untouched by people, it will still be constantly changing and evolving, and there is no denying that fact. Whether the preservation maintains it’s original aesthetic or demolishes elements to create something new will always come with cultural debates. It’s about creating a conversation between architecture and heritage through experimental preservation to enhance or alter the way it is perceived through cultural debates. My concept revolves around reframing Queen’s House and the rest of the buildings on the heritage site as well as enhancing the key views through an intervention to house the British Centre for Architecture. Evgenii Mikhailovskii; a soviet preservationist, was ‘concerned with the growing rift between the historicist approach advocated by the UNESCO heritage preservation institutions and the unruly aestheticism and cultural nationalism,’ in the 1940s.

Staging

Queen’s House

England’s first classical building by Inigo Jones, built in Greenwich, commissioned for Queen Anne of Denmark, as a means for the Queen to pass freely between the palace gardens on the north side to the Royal park on the south. This design was later altered to what stands now after facing interruptions around the Queen’s death. Now Queen’s House has been marked as a preservation, located on a World Heritage site. Previously designed as private accomodation, now used as a public gallery space. Our Studio; Building upon Building is based around the understanding of preservation and heritage. Any changes to the buildings on the heritage site becomes a political and social conflict, which our studio challenges by designing a contemporary extension to an existing building with the understanding of the history of the building in terms of its architecture, With Queen’s House previously functioning as private accomodation, now it’s used as a public gallery space. Moving away from the private realm, Queen’s House needs to be connected and reframed with the rest of the publicly used buildings on the heritage site.

Staging

Framing of the site

With power and symbolisim, Queen’s House seems to stand at a destination out of grasp, when viewed from the River and the Royal Observatory. With its protected views and large Royal park on the south side, Queen’s House conveys something which stands on a podium; a plinth. Amidst the Heritage site, the other architects such as Christopher Wren, adapted his building plans to have similar storey heights; to avoid the appearance of diminishing or discrediting the significance of Queen’s House.

Staging

Internal Framing

Statues have been positioned infront of windows and in-line with doorways. The use of daylight, and alignment of access and circulation creates a contrast through the daylight which frames the statues in the room.

Staging

The History Behind...

1615 Inigo Jones became surveyor of the King’s Works in 1615, following the death of Simon Basil. Jones’ two trips to Italy and the study of Palladianism, Jones advanced a much purer expression of the “all’antica” style of using and expressing the orders, systemising the principles of Renaissance architecture the adaptation to suit English sensibilities. The royal buildings to be built on site were proposed to celebrate the “King’s Peace”, displaying authority on the city, to be viewed through their form and icongraphy in the eyes of the public. Jones intended for a two storey building which would bridge a highway, allowing Queen Anne to walk between the palace gardens on the north side of the road to the Royal Park on the south. Jones proposed a ‘H’ shaped plan as a unification of the two sides of the road. The two buildings on either side of the road would be connected with a covered bridge, built of stone. The ‘H’ had other connotations, referring to a significance in terms of novelty and royalty, as a ‘Highness’. A balcony looking out across the Royal park was proposed in the style of an Italian Loggia of Ionic columns. Following an early death of Queen Anne, the house was left unfinished until 1929, when Queen Henrietta was given Greenwich and gained interest in the house. Queen’s House was completed in 1636 and known as the first classical building in England.

1661 Two further bridge rooms were added (first floor) over the orad, on either side of Jones’ original central plan to provide further accomodation for Queen Henrietta in 1661 -1662. 1675 The site of Greenwich, at the time The Tudor Palace of Greenwich, was chosen to house wounded soldiers. John Webb had started work on a new palace for Charles II (currently the eastern side of the King Charles Court) was built first before receiving funds for other projects. 1699 Christopher Wren was commissioned to design the hospital (Greenwich Hospital), for which he proposed a scheme to be built over the nexy fifty years. Wren’s used the existing buildings on the site as inspiration for the style and materiality of his designs. Queen’s House’ rusticated stone and Webb’s 1660s King Charles Quarter inspired a Portland stone facade dictated by a giant order, with two huge domes, either side of the view framing Queen’s House. Queen Mary proposed the buildings to be built on either side and not to obstruct the view of Queen’s House from the River Thames. The domes crowned the two pinciple rooms; the Painted Hall in the King William Court to the west and the Chapen in the Queen Mary Court to the east.

1699 Nicholas Hawksmoor designed the remaining buildings behind the colonnade of King William’s Quarter from 1699-1708, and the east side of the Queen Anne Court. Thomas Ripley concluded the construction of the exterior of the Queen Mary Court from 1735-42. Wren and Hawksmoor also designed the interior of the Painted Hall in an extensive baroque style.

Staging

1751 Ripley’s Chapel was completed in 1751 but was burnt in 1779. It was rebuilt as a neo-classical hall by James Stuart and William Newton between 1780 and 1789. The hospital as a residential infirmary was declined during the 19th century and so it was closed in 1869. 1806 Queen’s House functioned as part of the Royal Hospital School from 1806 to 1933. As the centre

1886 Queen’s House was further restored to programme a Millennium exhibition. Restoration from 1886 to 1890, included the reconstruction of the existing furnished interiors to display Charles I’s art collection and Henrietta’s property near the time of her death. New facilities were implemented, in 1899, into the house to make the house fully accessible and function as a Millennium exhibition space with redecorated rooms to display the Museum’s art collection and but also public events at times.

of the National Maritime Museum, two new volumes; the east and west buildings were constructed from 1807 to 1816 along with linking colonnades on either side, by Daniel Asher Alexander to accommodate children and staff of the Royal Naval Asylum. The two new buildings were built short and balanced in composition, but expanded futher north by 1816, potentially seen to emphasise the central axis upon Queen’s House and raise it as the focal pointon the site. The west building built a gymnasium between the inner and outer parts of

1937 After a new function was realised, Queen’s House’ main structure underwent restoration to form the centre of the New National Maritime Museum, opening in 1937. The two buildings either side were reconstructed to also function as a museum. Where once stood the gymnasium courtyard, now covered by a glazed canopy by the late 1990s. 1996 The Government stated the Royal Naval College to be moved from Greenwich and the site to be managed by heritage and historical importance due to the site’s rich history of international architecture. The Hospital was concluded to house a new occupant and function as the University of Greenwich, continuing to preserve the buildings and creating public access for the future conservation of the buildings. The King William, Queen Anne and Queen Mary courts all form part of the university excluding the Painted Hall and the Chapel. 2010s The National Maritime museum continues to house exhibtions and art collections but now the Queen’s House sees to function as a new space to house the British Centre for Architecture with further extensions to be added on site.

Staging

Horizontal Axis

Staging

Vertical Axis

Staging

Perception

Caneletto’s Paintings of Greenwich

Caneletto’s view of Greenwich, shows how the site was perceived. The Royal Observatory looks down upon Queen House with the path at the side all the way down. Another with the view from the river front right through Greenwich Hospital, with Queen’s House sitting at the end. Queen’s House seems protected within the site, signifiying the views to and from the House.

Staging

Grand Axis

Views to Queen’s House

Views from Queen’s House

Staging

Existing Connections

Now that Queenâ&#x20AC;&#x2122;s House will programme a different function to the east and west buildings of the National Maritime Museum, the linking colonnades are now unnecessary and the removal of the colonnades seems ideal. This decision has also been reasoned by the quality of the connection; the poor contact between Queenâ&#x20AC;&#x2122;s House and the Museum.

Staging

Removal of Colonnades

Staging

Establishing a New Connection

Staging

Central Connection

The central road between the north and south side of Queenâ&#x20AC;&#x2122;s House is quite an open area which connects the two sides by establishing a central connection, the new volumes can connect within the centre of Queenâ&#x20AC;&#x2122;s House in the basement.

Staging

Initial Concept

Staging

FRAMING Queen’s House The surrounding reflected onto the elevations of the extension, metaphorically bring the surroundings closer. The north elevation would receive the imagery at sunrise and sunset while the south elevation would display the views during the day. At night, is where the extension would present it’s interiors more vividly.The inner workings of the extension, a lively, working, commercial environment would connect with the commercial side of central London to present development and growth of the modern era. The reflected elevations of the extension may seem constantly changing, while the key views to and from Queen’s House is permanent. Queen’s House is the sight, viewers would be fixated on.

Realisation and Refinement

Building Envelope

FRAMING Queen’s House There are two ways of conserving views without a permanent obstruction; one is to build away from the views and another is to provide transparency. Materiality comes into play to achieve this transparency. Glass would provide transparency but also create subtle reflections, allowing the surroundings to be reflected on the facade as well as allow views through. Fondation Carter by Jean Novel, implements the ideologies of transparency and reflections to provide changing views through the day which change the perception of the buildings and its surroundings on site. Novel believes, a ‘transparent’ building connects with the public by allowing them to see inside the building at night and see the reflections during the day.

Realisation and Refinement

Form Development

Initial massing showing gaps between for views through

Glazed facade, linear massing

Connecting two volumes with a top floor above to enhance the views through the site

Similar gap created between the roof of Queen’s House and extension to enhance the framing of Queen’s House on site. Connection (yellow) between Queen’s House and extension through basement

FRAMING Queen’s House While the extension frames Queen’s House, it shouldn’t intrude onto or diminish the significance of Queen’s House, therefore there is a ‘breathable space’ provided around Queen’s House to allow clear views and access through the site. Also by not touching the facades or the roof of Queen’s House, it presents Queen’s House as a powerful monument within the site context as the contemporary extention respects the boundaries of Queen’s House rather than constrain or depreciate the clear axis Queen’s House is centered upon. The ‘bridge’ upon Queen’s House provides a public viewing mezzanine to appreciate the views around Queen’s House and understand the monumentality, heritage and preservation of Queen’s House in the constantly developing city of London.

Realisation and Refinement

Thinking Through Making

Realisation and Refinement

Structural glass facade system implemented on a 1:5 glass table

Realisation and Refinement

Basement

The extenson of the existing basement and excavation of new spaces within. The construction of the walls of the ground floor were used to

constrcut the new spaces in the basement creatign a more open and fucntional area and creating a main central lobby which connects two the basements of the extension

Realisation and Refinement

Programme Public space connected to Greenwich Heritage site & unique views of London

Storage

Residence IT Technitians

Staff Room/ break room

Printing services

Toilets

Offices 200m2

Studios 300m2

Meeting Rooms & Conference Rooms

Research Desks >300m2

Exhibitions Halls >400m2 Toilets

Scanning services Toilets

Plant room/ mechanical room

Auditorium >400m2 200 Capacity

Scanning services Archive >600m2

Lockers/ storage

De-humidifier (Control Room)

Toilets

Entrance Lobby

Shops 50m2

Private Semi-public (Authorised Access) Public Quiet Normal Loud Sunlight Required/ Daylight No Sunlight Required/ Daylight required No Sunlight Required/No Daylight Required

Lockers/ storage Reception 10m2

Cafeteria 50m2

Library >600m2

Realisation and Refinement

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Realisation and Refinement

Development Process

Realisation and Refinement

Basement Plan

2 1

2.5

7.5

Realisation and Refinement

17 18

19 3

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

Plant Room Female Toilets Disabled Toilets Male Toilets Conference rooms/ meeting rooms Auditorium Lobby Storage Fire Refuge area Main Public Lobby Archive Help Desk Archive Scanning & Printing Room Plant rooms Reading desks Library book shelves Lounge Help Desk Book Check-in station

Realisation and Refinement

Ground Floor Plan

2.5

7.5

Realisation and Refinement N

9 8

1 2 3 4 5 6 7 8 9 10

Exhibition space Reception Gift Shop Storage Reception Staff Cloakroom Public Cloakroom Bridge Lobby Quiet Library Quiet Reading space Large Book Storage

Realisation and Refinement

3rd Floor Plan

1 11 3 2 3

2.5

7.5

Realisation and Refinement N

6 5

10 7

1 2 3 4 5 6 7 8 9 10 11

Offices Meeting Room Private offices Printing & Scanning room Food Court Winter Garden Residential flats Laundry Room Plant room Storage Fire Refuge Area

Realisation and Refinement

2.5

7.5

Realisation and Refinement

View through the Foodcourt

Realisation and Refinement

Case Study

BUILDING UPON BUILDING, STUDIO 06

Emily Chan, Isabel Fox, Qian Yi Choi, Raissa Fonseca, Shivani Patel, Xueqing Zhang

CONTENTS A. ARCHITECTS/DESIGNERS

P.5

B. TYPOLOGY

P.7

C. SITE

P.9

D. PROGRAMME

P.12

E. CONCEPT AND DESIGN DEVELOPMENT

P.16

F. STUDIO RELEVANCE

P.20

G. SPATIAL SEQUENCE

P.22

H. STRUCTURAL STRATEGY

P.24

I. ENVIRONMENTAL STRATEGY

P.26

J. ATMOSPHERE

P.29

K. MATERIALITY

P.33

L. THRESHOLD

P.37

BIBLIOGRAPHY

P.40 70

INTRODUCTION The Fondaco dei Tedeschi, renovated by OMA and led by Rem Koolhaas and Ippolito Pestellini Laparelli during the period of 2009-2016, is situated in the very heart of Venice, along its Grand Canal and adjacent to the Rialto bridge. It forms part of the commercial hub within the ancient city and attracts thousands of tourists and locals to its walls every day. Drawing on its history as a hub of exchange, OMA used the Fondaco to rejuvenate Venice’s commercial and trading links within the present context, since Venice lacked a space for high-end retail and cultural transactions. It was intervened uopn to recover this important historic building where, until a few years ago, there other hand occupying only some parts), respecting and even restoring the unitary building image of Venice and opening it up to public use through an original solution and innovative mix of commercial, cultural and interpenetrated social spaces.

Emily Chan - D. PROGRAMME & G. SPATIL SEQUENCE Isabel Fox - C. SITE & L. THRESHOLD Qian Yi Choi - A. ARCHITECTS/DESIGNERS & I. ENVIRONMENTAL STRATEGY Raissa Fonseca - B. TYPOLOGY & H. STRUCTURAL STRATEGY Shivani Patel - F. STUDIO RELEVANCE & K. MATERIALITY Xueqing Zhang - E. CONCEPT AND DESIGN DEVELOPMENT & J. ATMOSPHERE

A. ARCHITECTS/DESIGNERS - rem koolhaas

in 1975 together with Elia and Zoe Zenghelis and Madelon Vriesendorp. He graduated from the Architectural Association in London and his urban theorist when he published Delirious New York: A Retroactive Manifesto for Manhattan in 1978. He heads the work of both OMA and AMO, the research branch of OMA, running in areas outside the realm of architecture. Koolhaas and OMA often manipulated at a conceptual and theoretical standard, conceiving of irregular works that remained unbuilt, including the Très Grande 83). Some of his well-known built work includes the headquarters for China Central Television who established a distinctive aesthetic, Koolhaas did not establish a continual look from project to project. He created architecture that is utilizing the best of modern a materials and technology, spoke to the needs of a particular site and client. The consolidation of his theoretical writings with his tenderness for asymmetry, challenging spatial explorations, and unexpected uses of colour led many to classify him as a deconstructivist. However, his work, unlike that of other deconstructivists, he does not mainly depends on theory, and it is pervaded with a powerful sense of humanity and a concern for the role of architecture in everyday life, particularly in an urban context. Thomas J. Pritzker described Koolhaas as ‘a prophet of a new modern architecture’ when he was awarded the Pritzker Prize in 2000.

REM KOOLHAAS 5

A. ARCHITECTS/DESIGNERS - his works

The Fondazione Prada is projected in a former industrial complex but with an unusual diversity of spatial environments. Three new buildings are added- a large exhibition pavilion, a tower and a cinema which represents a genuine collection of architectural spaces in addition to its holdings in art. The Fondazione Prada is not a preservation project and not a new architecture. Two conditions that are usually kept seperate here confront each other in a state of permanent interaction, offering an ensemble of fragments that will not congeal into a single image or allow any part to dominate the others. New, old, horizontal, vertical, wide, narrow, white, black, open, enclosed- all these contrasts new Fondazione. By introducing so many spatial variables, the complexity of the architecture will promote an unstable, open programming, where challenges. Rather than creating a new free-standing building, Milstein Hall is an addition to the AAP buildings of indoor and outdoor interconnected spaces. auditorium solely dedicated to the AAP. Milstein offered an opprtunity to simultaneously rethink the neglected north side of the Arts Quad and provide a space where the AAP’s interdisciplinary potential architecture stands in isolation, however, Milstein Hall acts as a connector, linking Rand and Sibley and extending over Universitt Avenue to establish an urban relationship to the Foundry, Released from its iconic solitude, it creates one system of buildings that are so coordinated they form a single complex.

B. TYPOLOGY

- casa fondaco

The “fondaco” houses were common along the canal, a space that had the function as a werehouse and as residence for the merchant’s. Porticos were designed for the ships’ discharge

merchant’s rooms. The composition of the facade is divided into a central set of columns and a more solid structure on the sides. A mezzanine divide towers on both sides. At the same time the republic would guarantee protection and the commercial space for the foreign buyers they also could control all the trades inside the building. The Venetian houses, had a different composition from all the other buildings of that time, with the presence of more open spaces than walls, creating a true air channel through the whole building.

The Grand Canal from the Palazzo Vendramin Giovanni Antonio Canal

Ludovico Ughi’s topographical map of Venice Fontego dei Turchi in “Monumental and Pictorial Venice”

Il Canale Grande a Rialto, Giovanni Antonio Canal

B. TYPOLOGY - fondaco dei turchi

“The Fontego dei Turchi is today

one of the most characteristic palaces

overlooking the Grand Canal,

easily recognizable by its façade decorated with various architectural elements such as patera and tile; one of these, depicting a bird, perhaps a smergo, catching a fish, has been taken in the logo of the Museum.” 8

C. SITE

- Venice; a world heritage site Fundaco dei Tedeschi is located the in Rialto ‘Mercato’ Area of Venice. Strategically situated at the bend of the Grand Canal, a main way for transportation and communication in Venice, it sits within a context with an evident ‘port’ vocation. Its central location at the point of intersection that, historically, the building has always played an important function in the everyday lives of its residents. markets of Rialto and directly linked with the Rialto Bridge, the building holds a geographical connection to both present commercial activities and the historic Venetian-German centre for trade. In the context of the ancient city, it is one of numerous redevelopment/regeneration projects Arsenale and around Piazzale Roma. The building links Venice’s past as a commercial metropolis with the current layout of the Rialto Area and the urban pattern of the rest of the city.

1:20000 Collage Map of Venice

C. SITE

Average number of expected users per day:

- access & traffic

Periods of intense commercial activity: such as seasonal changes, Christmas holidays

1000 people

As a commercial hub, it is able to take advantage concentrated at this part of the ancient city, its position adjacent to the Rialto Bridge, overlooking the Grand Canal. Koolhaas, in concept, uses the bridge as a main entrance to the Fondaco. Its central loggia at water level provides direct access to the building from the canal by boat.

1 boat

The Fondaco borders to the north with the Rio del Fontego dei Tedeschi, to the south with the Calle del Fontego dei Tedeschi, to the east with the Salizada del Fontego dei Tedeschi and to the west with the Grand Canal. The location in the heart of the spaces to place equipment and materials and its main accessibility being by water or foot).

per day for off-loading goods, and at peak times, up about 30 days of the year. With respect to the 7,000 people /day s expected howwver can reach between 10,000 and 12,000 people.

1-100,000 Map of Venice showing areas of â&#x20AC;&#x2DC;Fragilityâ&#x20AC;&#x2122; and

C. SITE - views

intact while offering panoramic views of he city over the Grand Canal. As one of the only pubic roof terraces in Venice, it is a major vantage point for attracting tourists while also openly connects the Fondaco wth other historical buildings around the city.

D. PROGRAMME - history to present

In order to revitalize the building into a major destination and vantage point for tourists and Venetians alike, OMA renovated the Fondaco into a departmental store, staging a diverse range of activities, from shopping to cultural events, social gatherings and everyday life. The project opens the courtyard piazza to pedestrians, maintaining its historical role of covered urban ‘campo’. New entrances to the building are created from the Campo San Bartolomeo and the Rialto; existing entrances into the courtyard, used by locals as a shortcut, have been retained; escalators have been added to create a new public route through the building; rooms are consolidated in a way that respects the original sequences. The new rooftop is created by the renovation of the existing 19th Century pavilion, which hovers above the central courtyard. Addition of a large wooden terrace allowed for spectacular views over the city. The rooftop, together with the courtyard below, will become public venues, open to the city and accessible at all times.

13th century

17th century

Soon after the original building was completed, it was used by German merchants as a trading post. The ground

current form from 1506. Taken over as a customs house and the building manipulated under the Napolean regime.

area for about 160 living quarters

1930s Submitted to radical architecture interventions to accomodate a post regime under Mussolini.

A: Feature escalators to improve circulation and public access B: Roof above courtyard that supports a transformed 19th c. pavillion above the new Rialto entrance) D: New rooftop terrace

D 1987 Declared the legal status of ‘Monument’ which guaretees protection, fobidding almost any future changes.

2016 OMA’s renovation of the Fondaco into a high-end departmental vertical distribution devices that support the new program and the historical building.

D. PROGRAMME

Campo San Bartolomeo entrance

Rialto entrance

Ground Floor

Accessories, Fashion, Gourmet & Gifts and Restautant Circulatory Space

Retail Stores

Existing Entrances

Commercial Event Area / Public Space

Services

New Entrances

Technical Spaces Pavillion for Public and Private Events

Staff Services

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXX

Mezzanine

Level 3

Women’s Shoes and Beauty

Level 1

Women’s Fashion & Jewellery

Event Pavillion and Access to Terrace

Level 2

Men’s Fashion & Watches

Rooftop Terrace

E. CONCEPT AND DESIGN - osmotic relationships; circulation To bring the Fondaco out from the past and into the present, OMA designed a series of new circulations including lifts and esculators, which were useful to

Phase 1

previously was two sets of stairs. By refurbishing the stairs and bringing in modern technology, OMA was able to elevate the whole building as a modern work and allow for an easier exchange of goods throughout the building. revolved around using the central space of the

Phase 2

2) to allow for use of the space. However, the City rejected the idea because the structure of the building would not hold, which forced OMA to reconsider the idea. They came up instead with an escalator to the side of the building, leaving open the central space. I believe this is a much better proposal as it leaves a space in the middle to allow and the like.

Phase 3

the building, OMA made a cut-out on the inner east wall so the esculator would become visible to all inhabitants of the building, making clear the new relationship between the building and the people.

Final Phase

- Ippolito Pestellini Laparelli

E. CONCEPT AND DESIGN

- osmotic relationships; public and private hotel, but it would have made the Fondaco inaccessible to the majority of the people and a waste of the potential of the building especially considering the Fondaco’s history of continually being a public building. OMA’s reconstruction of the Fondaco as a department store continues the legacy of the Fondaco being the centre of exchange, and its use of public and private spaces allows for it to become alive with activity once again, especially with the opening of a new roof terrace and gallery.

Ground Floor

The result of this allowed for a true diffusion of public and private, past and present, opening up the history of the city for all to enjoy.

Mezzanine

Second Floor

“When the client originally approached us, they wanted to transform the Fondaco into a luxury hotel. We thought that was

Private Commercial

Public

Circulation

Techinal Service

a bit of a sad prospect because . . .it would have made the building

inaccessible for many people” - Ippolito Pestellini Laparelli

Third Floor

Fourth Floor

Gallery - Fifth Floor

Outdoor Roof Top

F. STUDIO RELEVANCE

-preservation and heritage Building upon Building is based around the understanding of preservation and heritage. Fondaco dei Tedeschi has been renovated over this conversation with the mixed use of traditional materials and programme. With a number of changes in its function and programme; from a trading post for German merchants, to a customs Mussolini. With OMA’s intervention, Fondaco, in a way has reverted back to its original function; now a retail department store. OMA’s interpretation of preservation is to ‘give life to the historic elements that survive’, which means to adapt and enhance these elements with the possibility of creating new elements to support them. The exposed materials add a sense of rawness to the building, revealing it’s inner skins in a way to open up its history to the public. Fondaco, by some is seen as unauthentic since the original building had been destroyed and rebuilt a number of times with elements being removed, reconstructed and added. In the 1930s, the concrete frame was reconstructed using modern concrete technology, yet the aesthetics and texture resembled the previous structure. In 1987, Fondaco obtained the legal status of ‘monument’ and therefore any new interventions and changes to the building were neglected, as a result of a lack of clarity of the original preservation of the building and as a result of modern construction methods.

Layering of Fondaco dei Tedeschi’s history

F. STUDIO RELEVANCE

-preservation and heritage So, does preservation mean the building should be abandoned and not maintained if authenticity means that the building should be kept in its original form. What does it mean for something to be preserved? How should it be preserved? Is anything really original if its preserved? For Fondaco, preservation is the history of change and this is shown in the several layers of interventions and reconstruction over the centuries. Queen’s House in Greenwich, located on a heritage site, the original function of the building has not been maintained to this day. It is now used as a gallery and sometimes hosts functions, but this does not mean the history of the building is non-existent. It’s history is what makes a building worthy of preserving, as well as its physical form, which displays a layering of history of the building’s changes, that are worthy of preserving. OMA’s intervention on Fondaco caused many protests and controversies when it was announced to be renovated a department store. By these buildings classed as heritage and monuments, any changes to the buildings becomes a political designing contemporary additions to an existing building with the understanding of the history of the building in terms of its architecture, heritage and preservation.

G. SPATIAL SEQUENCE - in and out

ni Grisoto Rialto bridge to Fondaco

Closed Rialto entrance

San Giova n

Whilst it does remain true to its aims in terms of the open courtyard piazza and improving circulation within the building using vertical devices such as the employment of a feature escalator and lifts, it failed to maintain the traditional local shortcut route through the semi-public building.

One of the main goals of this project by OMA was to supplement and improve the circulation of the Fondaco Dei Tedeschi.

Surrounding narrow footpath

During the visit, the entrances at Rialto and the Calle del Fondaco Dei Tedeschi were not allowed to be used by visitors to enter the space; only the entrances at San Campo Bartolomeo and the Salizada del Fondaco Dei Tedeschi were.

One of the reasons for the closure of the entrances might be due to the fact that high end products are displayed through

alt oB

rid

these shops might not be the most safe and secure for the shops.

ge 2

Narrow path towards building

Entrance from piazza

3 5

Cam po S

Bar

tolo

Closed Calle del Entrance

Footpath towards river

Salizada del FDT entrance

Bridge to Fondaco

Site map with view points and main roads into Fondaco Dei Tedeschi

Entrance from piazza

Choice: Escalator up to shops or...

to go through to the courtyard

Existing and old circulation services:

Corridors with displays

Old shortcut route Intended interior circulation in use View of courtyard from above

Perforated wall allow for views

Intended interior circulation not in use

H. STRUCTURAL STRATEGY

- overview v

Rebuilt for its original form from 1506 after being eighteenth century, later in the twenty century went through a radical architectural intervention regime. The Fondaco represent the brutality of Venice. With most of it rebuilt with modern concrete in the 30s,

“The

Fondaco

palimpsest

historical

of modern substance, its

preservation spanning five centuries

of construction techniques.”

- Ippolito Pestellini Laparelli

constructive techniques. removal of its tower, covered courtyard, new openings and new structure, the building received the status of ‘monument’ in 1987, preventing any drastic changes in the future.

• • •

• •“ •

• “

H. STRUCTURAL STRATEGY

- rooftop

Renovating the existing 19th century pavilion, the above the central courtyard, that will be open to the city and accessible at all times. With this new level added, the visitors have the opportunity of a panoramic view of Venice and its canals.

Model of the roof structure

View from the courtyard of the glass and steel structure that supports the new roof level

Steel frame structure supporting the new roof in the fourth

Steel frame connection on the rooftop

subtle and ambitious, [the design] continues the Fondaco’s tradition of vitality and adaptation, avoids nostalgic reconstructions of the past and it building.” “both

its preservation [being] yet another chapter of the building’s illustrious and multi-layered history. It

I. ENVIRONMENTAL STRATEGY

- water management and energy concept

transfers the air from the facade to the spaces when outdoor conditions permit. On very cold or very hot days air is supplied from the earth tubes.

roofs to protect and secure the underlying

gravel

gutter

The radiant slab system further heats or cools the supply air in the needed. The system also doubles as a radiant below.

AHU

Earth tubes provided ground cooling/ ground preheating during summer respectively winter season.

The rainwater harvesting system collects rainwater from the roof and stored in a buried retention tank and redistributed for greywater use.

I. ENVIRONMENTAL STRATEGY

- ventilation strategies

Adding active component to enhance the effectiveness of the passive strategies of the natural ventilation.

active component 1

active component 2

active component 3

Natural ventilation is a passive strategy using both wind and temperature differences to cool or natural ventilation include improved air quality and increased energy

Stack ventilation, maximum performance when inlet and outlet areas are equal.

I. ENVIRONMENTAL STRATEGY

- lighting strategies

windows next to the staircase

Staircase spaces are mainly relied on natural light.

window rooftop

Large window rooftop placed on the central of the building provides excellent daylighting to the main space. Curtains are applied normally to prevent glare.

to create different atmosphere in the building.

used in the building to create better effect for showcasing the products.

J. ATMOSPHERE - internal lights

The Fondaco is a listed Monument within Venice, therefore OMA were not able to make a lot of structural changes to the buildnig. Therefore, although the exterior presents a very uniform facade blending in with the rest of Veniceâ&#x20AC;&#x2122;s typology, OMA designed the interior atmosphere to be able to communicate the exchange of goods and culture. To make the interior a more exciting space, there are spotlights mounted onto the new ceiling to create dramatic lighting when needed, casting a stark contrast to the uniform material of the walls and rejuvenating the new experience of the building.

Interior on a regular day

Interior during events

J. ATMOSPHERE

- courtyard

The courtyard, which previously used to be just bare, has been transformed into a space that hosts many different activities throughout the year, be it a regular cafe space or a stage for performances and runways, helped by the atmosphere created by welcoming space. The space is easily changed because of its uniformity, allowing the Fondaco to be a prime hub

The old courtyard

J. ATMOSPHERE - gallery

With the creation of the new rooftop space, there was the opportunity for a gallery space on top of the Fondaco as well. Different artists are able to show their works to the public for free, and there dinner parties and recitals. The gallery space opens up the city of Venice to the public, showing off the culture and heritage of Venice free to all. The use of the steel cross bracing and the glass suspended in the air, greatly contrasting with the heavy materials of the rest of the Fondaco.

The new gallery space

J. ATMOSPHERE

- external

The external facade of the Fondaco is left bare to follow the rules of Venetian buildings, although that does not detract from it being a central hub for exchange. On the end of the Rialto bridge, the and from the Canal, which it has direct access to because of its history as the centre for German trade. Nowadays that water link is used by guests during special occasions by giving them a direct access to the courtyard of the building, and creates a welcome entrance for people when its lights are seemingly bigger entrance than what is actually there.

K. MATERIALITY

- the old and the new Fondaco dei Tedeschi preserves the existing and preservation. OMA are widely concerned with history of Fondaco and Venice, as well as the programme, systems, materials and technology throughout the years. Experiencing reconstruction functions in the past, Fondaco is said to ‘serve as forensic evidences of the complex history of transformations of the building, from the XVI to its latest evolution,’ with OMA adding its newest layer. From reinvigorating the exposed concrete Tedeschi uses the layers of materials to create a conversation between old and new. “Materials always play a crucial role. The combination of new, old or restored surfaces generates different associations and meanings, contributing in different ways to the main ideas of each project and more in general to the notion of “historical layering.” Ippolito Pestellini Laparelli (Lead Architect)

Layering of old and new materials

K. MATERIALITY

- terazzo flooring

in Fondaco dei Tedeschi delivers a discovery of old and new through the variation of materials throughout the building; chosen in response to its historic context and retail product range, but also Venice itself, which explores colours and textures through the array of tectonic conditions and materials through the city and its architecture, such as scraped walls, oxidised brass, exposed concrete, old/new marble patterns and new steel construction. Fondaco dei Tedeschi creates a sense of warmth and luxury incorporating traditional materials of Venetian style including weathered marbles, Murano glass, and polished plaster as well as fabrics and carpets popular in palazzos. reinterpretation of the traditional Venetian red modern construction techniques with experimental manufacturing.

K. MATERIALITY

- brass detailing

Brass is not a typical material used in Venice but its symbolises richness and luxury, and its a material Fondaco in the form of cladding for the walls, stairs, balustrades, lifts, door frames and window frames but also the furniture within each retail department which nicely integrates the programme within the design of the building and softens the internal spaces. The brass is presented in its different forms; as its natural state and through various gradients and shades, ranging from cobalt blue to light gold created from controlled levels of the oxidisation process. The exposed concrete reveals aging and represents the history of its changing materials. Concrete can be seen as dull and cold especially when left exposed but in Fondaco, when touched the concrete is warm and with the combination of the materials, creates and to expose the connection between the old and the new materials and constructions methods. Due to its legal status as Monument, none of its existing structure was allowed to be removed and any addtions and changes had to be discussed, therefore OMA worked with the existing and added

Brass detailing/old meets new

Exposed Concrete/ old meets new

K. MATERIALITY Wooden patio

Steel frame structure

Brass detailing

Wooden veneer on red escalator

Aluminium Door gates

Exposed concrete arches

Carpets in corridors and staircases

L. THRESHOLD

- external; water & sky The Fondaco holds important thresholds to the water of the canal with space for boats to dock and unload goods and also for people to congrugate publically in commerce.

Sectional Collage of Thresolds at Roof- and Water-levels

Collage made of â&#x20AC;&#x2DC;Front Facadeâ&#x20AC;&#x2122; highlighting acess and relationship to water and the adjecant buildigs and bridge

Majorly, it holds a unique contact point with the sky when compared to the rest of the ooftops of Venice. As can be seen from its roof terrace, the majority of other rooftops have been left untouched while this one opens up toward the sky using elements of glass and steel.

Photomontage of Roof Terrace

L. THRESHOLD

- internal; existing & new Internally, their is an important relationship and treatment of the existing and new openings within the building’s frame. New incisions are made to well as the addition of some opulantly decorated staircases and escalators.

The existing symmetry and structure of openings along the internal facades of the central courtyard have been maintained while, within one of the walls just behind, a large cut has been made. This opening, or threshold, breaks the symmetry of spatial composition as a whole and is typical to the Renaissance style in which the building was originally built.

Collages and Photographs that show the distinctive thresholds within the interior of the builing. Red forms are highlighted as haing been newly introduced by Koolhaas.

BIBLIOGRAPHY A. ARCHITECTS/DESIGNERS & I. ENVIRONMENTAL STRATEGY

B. TYPOLOGY & H. STRUCTURAL STRATEGY

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Casa Fondaco / Venice Wiki | Venice Wiki. 2015. [ONLINE] Available at: https://venicewiki.org/wiki/Casa_fondaco [Accessed 11 December 2018]. La sede e la historia, Fontego dei Turchi / MUVE | MUVE. 2017. [ONLINE] Available at: http://msn.visitmuve.it/it/il-museo/la-sede-e-la-storia/cenni-architettonici/ [Accessed 11 December 2018]. LA CASA FONDACO RIBADISCE LA DIVERSITA' VENEZIANA / MILLO BOZOLAN | Dalve Neto Al mondo. 2017. [ONLINE] Available at: https://dalvenetoalmondoblog.blogspot.com/2017/09/la-casa-fondaco-ribadisce-la-diversita.html [Accessed 12 December 2018].

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Il Fondaco dei Turchi / Università degli Studidi Cagliari Facoltà di Ingegneria e Architettura | People Unica. 12 December 2018]. The Grand Canal at Rialto / Canaletto | Wiki Art. 2015. [ONLINE] Available at: https://www.wikiart.org/en/canaletto/the-grand-canal-at-rialto [Accessed 13 December 2018]. Il Fontego dei Turchi / Carlo Naya | Wikipedia. 2015. [ONLINE] Available at: zia_-_Fondaco_dei_Turchi_nel_1870.jpg [Accessed 13 December 2018].

C.SITE & L. THRESHOLD

D. PROGRAMME & G. SPATIAL SEQUENCE

Scottish Centre for Conservation Studies. Moving Towards a Collective Shaping of the City The Case of the

ArchDaily. OMA's Fondaco dei Tedeschi Department Store is Revealed in Venice. 2018. [ONLINE] Available at: cessed 10 December 2018]. Designboom. OMA restores 16th century Fondaco dei Tedeschi in Venice. 2018. [ONLINE] Available at: https://www.designboom.com/architecture/rem-koolhaas-oma-fondaco-dei-tedeschi-venice-departmentstore-06-07-2016/ [Accessed 13 December 2018].

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Colegio Ingegeneri Venezia. Fondaco dei Tedschi. 2018. [ONLINE] Available at: https://www.

Dezeen. OMA completes restoration of Venice's Fondaco dei Tedeschi. 2018. [ONLINE] Available at: https:// www.dezeen.com/2016/06/07/oma-completes-restoration-venice-fondaco-dei-tedeschi-department-store/ [Accessed 12 December 2018].

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OMA. Il Fondaco dei Tedeschi. 2018. [ONLINE] Available at: http://oma.eu/projects/il-fondaco-dei-tedeschi [Accessed 10 December 2018].

December 2018]

Wallpaper. First look into OMA’s Fondaco dei Tedeschi department store in Venice. 2018. [ONLINE] Available Ware Wtaerfront Regeneration, Cita d’Acqua. Waterfront Redevelopment: a Strategic factor of Urban Regeneration in Venice. 2012. [ONLINE] Available at: http://www.mona.ee/eesti/ware/01_rannikulinnade-uus- at: https://www.wallpaper.com/architecture/oma-fondaco-dei-tedeschi-department-store-renovation-venhingus/02-1marta_30-03-2012.pdfhttps://arcspace.com/feature/fondaco-dei-tedeschi/?fbclid=IwAR0ckdF0h 3LYrDYsHCOPiN2D-MbiASxfSjrxJqXIqzmm0-IiE_lSXFEeXJU [Accessed 11 December 2018] Wikipedia. Fondaco dei Tedeschi. 2018. [ONLINE] Available at: https://en.wikipedia.org/wiki/Fondaco_dei_Tedeschi [Accessed 10 December 2018]. Yatzer. The Fondaco dei Tedeschi in Venice: OMA Architect, Silvia Sandor, Talks to Yatzer. 2018. [ONLINE] Available at: https://www.yatzer.com/fondaco-dei-tedeschi-venice-benetton-oma [Accessed 11 December 2018].

E. CONCEPT AND DESIGN & J. ATMOSPHERE

F. STUDIO RELEVANCE & K. MATERIALITY

ALAMY/ stock photos | Alamy. 2018. [ONLINE] Available at https://www.alamy.com/stock-photo-geography-

ArchDaily. Il Fondaco dei Tedeschi / OMA | ArchDaily. 2018. [ONLINE] Available at: https://www.archdaily. com/789167/il-fondaco-dei-tedeschi-oma. [Accessed 11 December 2018].

Architects Data File. Italian Renaissance T-Fondaco dei Tedeschi | Architects Data File. 2017. [ONLINE]

ArchDaily. OMA's Fondaco dei Tedeschi Department Store is Revealed in Venice | ArchDaily. 2018. [ONLINE]

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venice. [Accessed 11 December 2018].

CNTraveller/ Gallery. T Fondaco dei Tedeschi by DFS Venice | CNTraveller. 2018. [ONLINE] Available at https:// www.cntraveller.com/gallery/t-fondaco-dei-tedeschi-by-dfs-venice [accessed 10/12/2018]

arcspace.com. Fondaco dei Tedeschi / OMA // Feature | arcspace.com. 2018. [ONLINE] Available at: https:// arcspace.com/feature/fondaco-dei-tedeschi/. [Accessed 11December 2018].

Ilgornale della Architettura. Venezia tra lusso e Polemiche ecco il Fondaco Griffato, OMA | Ilgornale della Architettura. 2018. [ONLINE] Available at http://ilgiornaledellarchitettura.com/web/2016/09/28/venezia-tralusso-e-polemiche-ecco-il-fondaco-griffato-oma/ [accessed 11/12/2018]

Dezeen. Fondaco dei Tedeschi restoration by OMA | Dezeen. 2018. [ONLINE] Available at: https://www. dezeen.com/2010/08/30/fondaco-dei-tedeschi-restoration-by-oma/. [Accessed 11 December 2018]. Espazium. Le Fontego dei Tedeschi à Venise. 2018. [ONLINE] Available at: https://www.espazium.ch/lefontego-dei-tedeschi--venise-histoire-et-restauration-dun-palais-public. [Accessed 11 December 2018].

Luxos/ Venice/ Things to Do. A Venetian Experience | Luxos. 2018. [ONLINE] Available at https://www.luxos. com/venice/things-to-do/7320-a-venetian-experience [accessed 12/12/2018]

Experience The Past, Present, And Future Of Venice Through Jamie Fobert's Design Inside T Fondaco Dei Tedeschi | DFS | T Galleria. 2018. Experience The Past, Present, And Future Of Venice Through Jamie Fobert's Design Inside T Fondaco Dei Tedeschi | DFS | T Galleria. [ONLINE] Available at: https://www.dfs.com/en/dfsnews/features/experience-jamie-foberts-t-fondaco-dei-tedeschi-design. [Accessed 11 December 2018].

Volume 12, Issue 1) Nature Morte/ Artists/ Subodhgupta/ Selected Works/ 1612 | Nature Morte. 2018. [ONLINE] Available at http://naturemorte.com/artists/subodhgupta/selectedwork/1612/ [accessed 9/12/2018] Non-solo Cinema. T Fondaco Tedeschi Venezia Inaugurazione foto dfs | Non-solo Cinema. 2018. [ONLINE] Available at https://www.nonsolocinema.com/t-fondaco-tedeschi-venezia-inaugurazione-foto-dfs.html [accessed 10/12/2018]

OMA. Il Fondaco dei Tedeschi. 2018. [ONLINE] Available at: http://oma.eu/projects/il-fondaco-dei-tedeschi. [Accessed 11 December 2018]. The Telegraph. Inside T Fondaco dei Tedeschi: Venice's most beautiful new department store. 2018. [ONLINE] Available at: https://www.telegraph.co.uk/luxury/watches/t-fondaco-dei-tedeschi-venice-grand-canal/. [Accessed 11 December 2018].

Wallpaper* Magazine. Fondaco dei Tedeschi in Venice opens after OMA redesign | Wallpaper*. 2018. OMA/ projects/ il Fondaco dei Tedeschi | OMA. 2018. [ONLINE] Available at http://oma.eu/projects/il-fondaco- [ONLINE] Available at: https://www.wallpaper.com/architecture/a-historic-venice-landmark-is-transformed-intodei-tedeschi [accessed 10/12/2018] a-unique-retail-space. [Accessed 11 December 2018]. OMA/ news// OMA to restore Fondaco dei Tedeschi landmark building in Venice | OMA. 2018. [ONLINE] Available at http://oma.eu/news/oma-to-restore-fondaco-dei-tedeschi-landmark-building-in-venice [accessed 10/12/2018]

ADDITIONAL https://www.unospitedivenezia.it/new/welcome-to-t-fondaco-dei-tedeschi/

Retail Design Blog. T Fondaco dei Tedeschi by Rem Koolhaas and Jaimie Fobert Venice Italy | Retail Design Blog. 2016. [ONLINE] Available at https://retaildesignblog.net/2016/10/09/t-fondaco-dei-tedeschi-by-remkoolhaas-and-jamie-fobert-venice-italy/ [accessed 13/12/2018] Telegraph/ Luxury/ Watched. T Fondaco dei Tedeschi Vencie Grand Canal | Telegraph.2018. [ONLINE] Available at https://www.telegraph.co.uk/luxury/watches/t-fondaco-dei-tedeschi-venice-grand-canal/ [accessed 10/12/2018] TRBusiness/ Regional News/ Europe. DFS enters Europe through Venices Benetton-owned Fondaco dei Tedeschi | TRBusiness. 2018. [ONLINE] Available at https://www.trbusiness.com/regional-news/europe/dfsenters-europe-through-venices-benetton-owned-fondaco-dei-tedeschi/60261 [accessed 9/12/2018]

Illustrated Reflective Report

This year’s design project had a slightly different approach to other projects undertaken throughout the past years. Not only did it present a brief to design an extension to an existing building; this existing building was part of a conservation and heritage site, which brought many social and cultural connotations in the analysis, master-planning and preservation of the site. Enriched with a historical architectural background, the project provided a strong foundation upon which we required extensive research into the history of the building as well as the architectural style to which it was built. Queen’s House being the first classical building in England presented further research into Andrea Palladio, Inigo Jones and classical architecture which was reinforced with a fieldtrip to Italy and a site visit to The World Heritage site of Greenwich.

Adopting the bold statement of an entirely glazed façade, the early integration with technology, aided the development of a working structure before concluding further details and allocating precise programmable spaces. The structure of the buildings and façade was one of the first developments of the extension. This was experimented with and tested upon during the Thinking Through Making stage, I constructed a 1:5 model of a glass table which incorporated a structural glass system composed of glass fins, beams and steels fixings. The model was further developed at a later stage to represent how the glass fins would fix onto each floor of the building.

The initial take on the project began with a reading on Experimental Preservation which provided the skills to understand wider views on preservation. Through readings, I was able to understand key ideas of preservation but also interpret the text to apply to Queen’s House and think about the response, if such preservation views were proposed on Queen’s House. The recognition of my personal views on preservation advanced based on the interpretation of the readings, which influenced my thoughts into the Primer stage. Through the implementation of early readings, it was necessary to continue reading particular at the earlier stages of developing a strong concept. Through readings, the Theory into Practice essay influenced an analysis of architects who had altered or transformed existing buildings. Rem Koolhaas’ main ideologies brought a realisation into the significance of contextualism and how analysis of context was key in developing the form of the building rather than the programme dictating major design decisions. This reinforced the depths of understanding context before proceeding with an initial concept. Moving through stages of the project, it was easy to forget early understandings of the project, particularly with the history of the site and Queen’s House. My early concept ideas didn’t quite reflect on readings or research I had accomplished during the Primer, therefore Staging started with difficulty in proceeding with ideas since they didn’t have a strong foundation, neither did they integrate the scope of research. At first ideas started with trying to imagine aspects and concepts rather than implement the ideas with the use of drawing accurate plans and models. The conceptual sketches consisted of drawing a simple square to represent Queen’s House, which was incorrect. With the application of drawing accurate plans and sections of Queen’s House, I was able to distinguish details within the plan, and implement a contextual perspective into the concept developments which helped advance an initial idea into a strong concept which continued to advance since it was built on a huge source of factual research.

The building’s structural system was developed from an early site analysis stage through the realisation of an imaginary grid system using the proportions of Queen’s House through the study of Palladianism from Primer; showing how every decision was refined through a constant conversation with site and historical context but importantly with reinforcement from the concept, in the development of the extension and alteration of Queen’s House to maintain the key ideas raised at staging. Each design decision underwent critical thinking to establish how each decision would impact the immediate design and wider context. When a decision alleviated away from the main concept, the question had to be asked whether this decision would be effective and whether it was necessary, or could be created differently which would support the concept. Often, problems were raised with the details of the design, investing time to resolve a design problem which was created in the process, rather than to remove the aspect that created the problem, and create a new take on that design aspect. With the integration of technology, the distribution of spaces was made effective, ensured by a certain requirement of a space; circulation, access and fire safety which would affect the structural strategy and materiality of the building. Through the Professional Practise essay, another perspective and approach was taken to explain the project and understand how decisions would be taken in the design and planning of the project in practice. In particular, key considerations made with access to the site and construction process affecting the safety of others though CDM regulations. With considerations made in the delivery, transport of materials and construction of the building, this helped establish a suitable structural strategy which strengthened the decisions made in the construction of the building, improving the understanding and awareness and designing and building in practice. With the development of a project which initially had a lot of early design considerations in the historical background, context, and a political and social debate of preservation and heritage, a strong and bold concept was developed. Through the intense research and understanding of context in architecture, and a careful but experimental take on preservation, it would be significant for a practice to value site and its architecture.

CHARRETTE

Architecture of Self Destruction Led by Andrew Walker

Self destruction can be explosive, implosive; contraction, extraction; physical or psychological, or none at all. For our group charrette, we chose the themes isolation and mis-direction based on our initial thoughts on the definition of self-destruction coinciding with the materials and technology at hand. Our installation/exhibition made use of arduinos and servos used to sequence our exhbition through aspects of movement, sound, light and proximity.

Illustrated Cultural bibliography Sustainable hospitals and BREEAM certification was a current and developing subject which I chose to study for my dissertation. Though conducting interviews was the primary source of data collection, I came across a webinar which invited guests from various sustainability assessment and certification services, such as LEED and BREEAM. Sustainbility has become a key criteria provided in practice and further practices are enriching their designs and projects in regards to sustainability. While learning the history and background of these service providers, they also stated the postives of having a sustainability assessment method aids decision making in practise in terms of sustainability, as buildings continue to develop, sustainable architecture would be integrated further into the planning, design and contruction process which is where I tried to think about sustainable options through Integrated technology.

Bibliography 1. Authors Work, also used for Technology 2. Authors Work, also used for Technology 3. Authors Work, also used for Technology The history of the Queenâ&#x20AC;&#x2122;s House: From 1689 | British History Online. 2019. The history of the Queenâ&#x20AC;&#x2122;s House: From 1689 | British History Online. [ONLINE] Available at: https://www.british-history.ac.uk/survey-london/bk14/pp4758#h2-0004. [Accessed 24 May 2019] Greenwich: The park and the royal observatory | British History Online. 2019. Greenwich: The park and the royal observatory | British History Online. [ONLINE] Available at: https://www.british-history.ac.uk/old-new-london/vol6/pp206223. [Accessed 24 May 2019]