ARCHITECTURE
PORTFOLIO
THEODOR W. BRAATﾃ郎 ! ! !
! Bachelor Of architecture London South Bank University
Site Investigation 3-4 Pages Why I chose the site site plans routes footprints etc
Content
INSTITUTE OF INNOVATION The Institute of Wartime Innovation, research and learning Contents 1. The brief 2. The Site 3. Precedent studies 4. Sketch work 5. Design Development 6. Final Design a. Plans i. Roof Plan ii. Second Floor iii.First Floor iv.Ground Floor v. Lower Ground vi.LG1 vii.LG2 viii.LG3 ix.LG4 b. East Elevation c. Section A-A Technology 1. Orientation 2. Solar Gain 3. The Structure a. The Parasite b. The Bunker c. HVAC d. Acoustic Strategies
Theodor W. Braatøy! S.N. - 3007837 Mob: 07449773885 Email: Theodor@Braatoy.no
The Brief Innovation is at its foundation grounded in destruction, in order to create something new one must first take apart the old. And there is no other form that has brought greater innovations and technological leaps than war. The world wars gave rise to the development of modern medicine through the discovery of new drugs such as penicillin and better surgery equipment, the constant demand for better weaponry and equipment gave birth to innovations such as the radar, pressurized aircraft cabins, synthetic rubber and oil, jet engines, nuclear power and not to forget the first computer. In war-time there is no need for an invention to be economically viable, it is created because there is a essential need to be better than your enemy. War may not be the mother of invention, but it is certainly a hothouse of innovation. In modern times however, we find ourselves fighting many wars, some real some metaphorical. For instance we have the capitalist war on competition, where one must destroy its competition by making product after product ‘‘better’’ than the other. We have the war on disease, medical research to destroy cancer, HIV, and all other enemies of the human body. These are some examples. There can be no destruction without reconstruction much like we cannot create without destroying something first, and it is the aim of the institute of destruction to create a space where the innovations that shaped the battlefields, saved the wounded, fueled the machines of destruction can be displayed as what they gave back to society and how they shaped the modern lives we have now. The museums agenda is to create temporary and permanent exhibition spaces displaying innovations of destruction form a broad spectrum of disciplines that are now being used to reconstruct society. In addition the museum aims at creating teaching spaces and places where debates and discussions can take place.
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The Site The Site is situated between to the old Granary Building (now functioning as UoAL Central St. Martins school of arts) and the eastern handyside goods shed with the eastern handyside canopy in the back. On the site I am taking use of the old office building called Regeneration House. this is the main overground structure where the Institutes functions will be held.
East Handyside Cannopy Granary Building
East Handyside Goods shed
Regeneration House
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Regeneration House History of the Building It was designed by Lewis Cubitt in 1850 while King’s Cross Station, which he also designed along with the nearby Granary Building, was being developed as the London terminus of the Great Northern Railway. The Building served as railway offices for over a century and acted as the nerve-centre of the original King’s Cross Goods Yard. It suffered extensive bombing bomb damage during World War II and was refurbished in 1980’s by the London Regeneration Consortium. In more recent year it has been used as a site office with meeting rooms for the KIng’s Cross Development.
The Surrounding Area
Project Site footprint Waterfront Changes Parasite 1-2 Pages
Kings Cross & St. Pancras Station
Main Roads
Kings Cross Development
Regents Canal
Historic Buildings
Green Areas
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Project Site footprint Waterfront Changes Parasite 1-2 Pages
Green Routes
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Project Site footprint Waterfront Changes Parasite 1-2 Pages
Pedestrian Routes
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Orthogonal Drawings Plans/section/elevation etc 3-4 Pages
Heavy Trafficated and Loud Noise Areas - 90-120Db
Quiet Areas 40-50 Db
Medium Noise Areas - 60-70 Db Light to Heavy Trafficated Areas- 70-90Db
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Historic Analysis
Kings Cross & St. Pancras Station
Granary Complex
Imperial Gas Works
Regent’s Canal
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Precedent 1 • Project Name • Dresden Museum of Military History • Architect • Daniel Libeskind Daniel Libeskind’s winning design boldly interrupts the original building's symmetry. The extension, a massive, fivestory 14,500-ton wedge of concrete and steel, cuts through the 135-year-old former arsenal’s structural order. A 82-foot high viewing platform (the highest point of the wedge is 98 feet) provides breathtaking views of modern Dresden while pointing towards the area where the fire bombing of Dresden began, creating a dramatic space for reflection.
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Precedent 2 Lebbeus Woods (May 31, 1940 – October 30, 2012) was an American architect and artist The majority of his explorations deal with the design of systems in crisis: the order of the existing being confronted by the order of the new. His designs are politically charged and provocative visions of a possible reality; provisional, local, and charged with the investment of their creators. He is best known for his proposals for San Francisco, Havana, and Sarajevo that were included in the publication of Radical Reconstruction in 1997. ‘’Architecture and war are not incompatible. Architecture is war. War is architecture. I am at war with my time, with history, with all authority that resides in fixed and frightened forms. I am one of millions who do not fit in, who have no home, no family, no doctrine, no firm place to call my own, no known beginning or end, no "sacred and primordial site." I declare war on all icons and finalities, on all histories that would chain me with my own falseness, my own pitiful fears. I know only moments, and lifetimes that are as moments, and forms that appear with infinite strength, then "melt into air." I am an architect, a constructor of worlds, a sensualist who worships the flesh, the melody, a silhouette against the darkening sky. I cannot know your name. Nor you can know mine. Tomorrow, we begin together the construction of a city’’. Woods, Lebbeus (2002). War and Architecture. New York: Princeton Architectural Press. p. 1. ISBN 1-56898-011-6.
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Precedent 3 • Project Name • UFA Cinema Center • Planning • COOP HIMMELB(L)AU Wolf D. Prix, Helmut Swiczinsky + Partner • Project Architect: • Verena Perius • Design Architect: • Tom Wiscombe The design is characterized by two intricately interconnected building units: The Cinema Block, with eight cinemas and seating for 2600, and the Crystal, a glass shell which serves simultaneously as foyer and Public Square. The Cinema Block The Cinema Block opens up towards the street and is permeable for pedestrian traffic between Pragerstraße and St. Petersburger Straße. It is differentiated by the circulation system of the cinemas and by views through to St. Petersburger Straße. The Crystal The Crystal is no longer merely a functional entry hall to the cinemas, but an urban passageway. The bridges, ramps and stairs to the cinemas are themselves urban expressions. They allow views of the movement of people on a multitude of levels, unfolding the urban space into three dimensions. The lively quality of this space can be described in relation to the dynamic structure of film. The Skybar, the "floating" double-cone inside the foyer, is accessible and will host different functions (café, bar etc.). In this way, the content of the building becomes visible to the city as much as the city is visible from the building. It is an inside-out building which sustains a dialogue with the
city. The media event - projected from the interior towards the exterior - assists in the creation of urban space.
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INSTITUTE OF WARTIME INNOVATION
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// LEVEL_ Roof Plan [R] // SCALE_ 1:100
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// PLAN CONTENT_ Roof Plan
//Drawing Code_ PLN_R_00
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// LEVEL_ Second Floor Plan [G2] // SCALE_ 1:100
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// PLAN CONTENT_ Staff Cafeteria Staff Toilets
//Drawing Code_ PLN_G_03
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// LEVEL_ First Floor Plan [G1] // SCALE_ 1:100
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// PLAN CONTENT_ Institute Library Library Office Reading Space
//Drawing Code_ PLN_G_02
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// LEVEL_ Ground Floor Plan [G] // SCALE_ 1:100
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// PLAN CONTENT_ Institute Reception Office Storage Reading area Temporary exhibition space Museum Entrance to LG1
//Drawing Code_ PLN_G_01
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// LEVEL_ Lower Ground Floor Plan [LG] -4m // SCALE_ 1:100 -
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// PLAN CONTENT_ Ticket Office and Shop Restaurant Auditorium 1 Toilets
//Drawing Code_ PLN_LG_01
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// LEVEL_ Lower Ground 2 Floor Plan [LG2] -8m // SCALE_ 1:100 -
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// PLAN CONTENT_ Open Gallery 1
//Drawing Code_ PLN_LG_02
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// LEVEL_ Lower Ground 3 Floor Plan [LG3] -12 // SCALE_ 1:100 -
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// PLAN CONTENT_ Open Gallery 2 Entrance to Lecture Theatre
//Drawing Code_ PLN_LG_03
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// LEVEL_ Lower Ground 4 Floor Plan [LG4] -16m // SCALE_ 1:100 -
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// PLAN CONTENT_ Lecture Theatre
//Drawing Code_ PLN_LG_04
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Site Orientation and Solar Gain
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The Parasite Structural Precedents
Main precedent Coop Himmelb(l)au Ufa Cinema Center
Secondary Precedent Coop Himmelb(l)au Roof conversion
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The Structure
Scale Detail B
Scale Detail A
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Steel Cage Structure Cladding hooks onto steel cage and overlaps each other to create a uniform roof structure resembeling that of an exosceleton
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Scale Detail A
A) 20mm outer cladding B) 50mm Insulation C) 20mm acoustic plasterboard
Variations of cladding materials
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Scale Detail B
A) Steel framework B) Double glazed pane C) Protective membrane
Variations of glazing materials
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//SECTION THROUGH BUILDING_ Section A-A
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// SECTION CONTENT_ A] Detail A B] Detail B C] Detail C D] Detail D E] Detail E F] Detail F
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SCN_A_01
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Detail A
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//PARTIAL CUT THROUGH BUILDING Detail A
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// SECTION CONTENT_ A] Detail A B] Detail B
//Drawing Code_ SCN_PA_00
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//PARTIAL CUT THROUGH BUILDING Detail B // SCALE_ 1:50
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// SECTION CONTENT_ C] Detail C D] Detail D E] Detail E
//Drawing Code_ SCN_PA_01
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//1:10 DETAIL Detail A // SCALE_ 1:10
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// SECTION CONTENT_ F
A] B] C] D] E] F]
Steel Joiner Water Barrier Timber Roof Frame Roof Tilling Drain Brickwork wall
//Drawing Code_ SCN_DT_01
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a Cut Section
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//1:10 DETAIL Detail B A
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A] Brickwork wall B] Concrete floor slab C] Anchor Bolt D] Drain E] Castellated Beam F] Concrete Retaining Wall G] Acoustic Plasterboard H] Insulation I] Vapor barrier J] Gravel Infill K] Soil Infill
//Drawing Code_ J K
SCN_DT_02
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//1:10 DETAIL Detail C
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A] Floor Paneling B] Anchor Bolt C] Watson Truss D] Concrete Retaining wall E] Steel Reinforcements F] Vapor Barrier G] Insulation H] Acoustic Plasterboard
//Drawing Code_ SCN_DT_03
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//1:10 DETAIL Detail D // SCALE_ 1:10
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// SECTION CONTENT_ A] Castellated Beam B] Anchor Bolt C] Gravel infill D] Insulation E] Water Barrier F] Vapor Barrier G] Acoustic Plasterboard H] Steel Reinforcement I] Soil Infill J] Concrete Retaining wall
//Drawing Code_ SCN_DT_04
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//1:10 DETAIL Detail E // SCALE_ 1:10
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// SECTION CONTENT_ A] Anchor Bolt B] Concrete Floor Slab C] Warren Truss D] Concrete Retaining Wall E] Vapor Barrier F] Insulation G] Water Barrier H] Steel Reinforcement I] Gravel Infill J] Soil Infill
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//Drawing Code_ SCN_DT_05
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a Cut Section
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A //1:10 DETAIL Detail F
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// SECTION CONTENT_ C A] Concrete Retaining wall B] Gravel Infill C] Soil infill
//Drawing Code_ SCN_DT_06
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//HVAC_ Heating and ventilation diagram // SCALE_ 1:50
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//Drawing Code_ HVAC_01
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//ACOUSTIC DIAGRAM Lecture Theatre // SCALE_ 1:20
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//Drawing Code_ ACU_01
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