The Ones Who Walk Away
INTA412 Timothy Voss
“Night falls; the traveler must pass down village streets, between the houses with yellow- lit windows, and on out into the darkness of the fields. Each alone, they go west or north, towards the mountains. They go on.” The Ones Who Walk Away From Omelas, Ursula K. Le Guin, Pg. 7
– ii –
Abstract
Dunedin is made up of many historically recognized and beautiful buildings. Among these is the now vacant former Dunedin Prison. Containing a rich history of 116 years, and functioning as both a men’s and women’s prison, as well as the Dunedin Police Station, there is opportunity for alteration and intervention to allow people from all walks of life to make use of it. Currently the building is vacant, with the owners calling for a design competition to generate ideas. The space provided a home for some of society’s most challenging people for decades, but is now left empty and unloved. During the sentence of a prisoner, a life of structure and formalities is manufactured, and comfort is found within the objectification of being a prisoner. The prison system allows peace from a world of struggles, which is often romanticised. The entire world is shrunk within the safety of
prison walls. As time continues, the outside world flourishes and grows without, freedom is foreign and intimidating. The transition and threshold between the in and out is the crux of the project. The building can now be inhabited by the people of the city. This could forming a community that is diverse, unique and united, bring life back to the space in a new way, while retaining the physical and psychological link to the past. Bringing the reinvented community culture back to the building, through the programme of a retail, eatery and hotel hub, will involve understanding the mind-set of those who once inhabited the space. The memories of the building, its wounds and scars, are key to the dialogue that will represent the new and old, standing alongside each other. This will expose the truth of the building and influence how the new community uses it.
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Fromer Dunedin Prison - Central Courtyard Figure 0.1: Dunedin Prison Courtyard - http://doinglibrarygradschool.files.wordpress.com/2013/04/exercise-yard.jpg
The Journey Begins
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Table of Contents
INTRODUCTION
1
SITE ANALYSIS
5
PROGRAMME ANALYSIS
11
LITERATURE REVIEW
17
PROJECT REVIEW
23
PRELIMINARY DESIGN
29
DEVELOPED DESIGN
39
CONCLUSIONS & CRITICAL REFLECTIONS
65
LIST of REFERENCES, SOURCES of FIGURES & APPENDICES
69
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–1– Introduction
“The rigging of the boats in harbor sparkled with flags. In the streets between houses with red roofs and painted walls, between old moss-grown gardens and under avenues of trees, past great parks and public buildings, processions moved.” The Ones Who Walk Away From Omelas, Ursula K. Le Guin
– viii –
Introduction
‘The Ones Who Walk Away’ will investigate the act of flux in the threshold of the prison and the changes and perceptions it causes. The less explored consequence of leaving prison is that comradeship and community is abandoned. A life of structure and formalities is manufactured then taken away. Comfort is found within the objectification of being a prisoner. The mind and body are separate. The duality between inside and out becomes highlighted, with opposites
INMATE
+
EXISTING BUILDING
+
EXISTING PROGRAMME
+
of empathy and objectivity arising. An architectural intervention can alter the history a building, bringing freedom and voice to the repressed. The site for exploration is the Former Dunedin Prison, located near ANZAC Square, among many other important heritage and historically significant buildings. Throughout its history it has held many roles within the justice system, causing it to be vibrant and dynamic alongside being powerful and unmoving.
(
freedom connection reaclimitised
(
freedom connection reaclimitised
(
released
intervention freedom connection reaclimitised
re-programming
objectifying
)
=
CITIZEN
)
=
NEW DESIGN
)
= NEW PROGRAMME
empathising
Figure 1.1: Theoretical Design Approach Diagram
–1–
Introduction
In bringing these themes into the future, reinventing the community aspect, in a positive manor will cause a net gain for the city. A place of proactive growth rising from the depths of despair. The building was once a place for the nation’s criminals – but can the social norms be broken down between to balance the estranged social hierarchy? The division between the spaces is important. The narrative between elements in the way they speak of the memories within the building through inhabiting the building. Spatially translating this is paramount. The romanticized view of prison is one of comradeship and community within itself, albeit with a harsh and, at times, horrific reality. To some there is a comfort to life on the inside, while still having real pain looking out into the free world. Challenges that will be faced is the duality between the old site and new intervention. This will be explored through the historic and contemporary analysis of the building, both physical and mentally. The way in which the existing fabric and new intervention co-exist needs strong physical and psychological analysis into the ethos of both to navigate the incongruity that arises at intersections. The site has undergone many changes in its time, and this is an opportunity
to alter the building for a new generation of users, while retaining its unique cultural and contextual fabric. The programme of retail, eatery and hotel hub, will aid the building’s rehabilitation in a way that exposes the value of its history. Furthermore, the existing will be developed in a direct, eloquent, but also gentle manner. This exposition of memory of the building links directly to the thematic direction, providing a tangible link between the theory and the reality of the building. The journey from inmate to citizen can be seen as one of freedom, reconnection and readjustment. It is a process that is the reverse to that of going to prison, but there is scars remaining from the sentence. This journey is realised in the building, the way it was something used for detainment and scaring through regime is transformed to a restful place, While retaining the everyday activities of the prison. The intervention can be seen as exposing the narrative captured within the building’s memory. It will change the building by adding to the history, use, structure and truth.
–2–
Introduction
Structure of Research This research will be undertaken through analysis of site and programme, a review of relevant theory including changing architecture and thresholds, both important to the project. These will greatly inform the preliminary and developed design, being developed alongside the reviews and analysis.
Figure 1.2: Conceptual Intervetntion Sketch
–3–
–2– Site Analysis
–4–
Site Analysis
Historic The Former Dunedin Prison is a vital part of the “historically distinguished Anzac Square/ Railway Station Heritage Precinct” (Dunedin Prison Charitable Trust 102), so has a duty to uphold the style of the area, especially as it is a prominent, major transport route.
Fig. 2.1: Historic Image of Dunedin Prison
As a category I heritage building, care has to be taken to preserve parts of the building that are historically significant. Retaining much of the original fabric and form of the building, keeping remnants of the previous use of the building - its story and people who have used it – is highly important.
The Prison Building is uniquely suited towards being a place to tell the struggles and containment of people serving a sentence, through understanding the building’s former use, layout and design. The intervention and programme will seek to take advantage of the unique host, the way it has worked in the past will continue into the future. The exterior facade’s should
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Site Analysis
endeavoure to be retained, especially, the front, east facing wall. Original cells in most floors, with hallways/corridors as well should be utilised, alongside an increase in the link to the courtyard through arches and glazing replacement. The courtyard has potential to house the intervention, linking to the administration block. Rooms in the front administration block can be joined, but corridors, windows and ceilings are important. Walls and floors can possibility be removed systematically to enable an open interconnected space, providing double height space, complementing the large courtyard space All spaces should be adapted carefully, ensuring the spaces keep their form and fabric, retaining the understanding of how the space has changed over time (Dunedin Prison Charitable Trust 54).
Fig. 2.3: Ground Level Historic Relevance
Fig. 2.4: Level Two Historic Relevance
Fig. 2.5: Level Three Historic Relevance
Keep original form and fabric
Fig. 2.2: Dunedin Prison Front Facade
Adapt, try to retain form Remove
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Site Analysis
Contemporary With two main grids patterns of streets, the State Highway oneway system surrounds the site, (Figure 5) The Octagon, the centre of the city, forms a radial pattern of streets, which encompass the site and surrounding streets of the Dunedin Prison. These street grids provide opportunities for the combination of these, being on a curved street radiating from the Octagon, while also sitting amongst the SH1 grid parallel. It also reflects the past shoreline, providing evidence of the past and its effect on the location of
the site. Many Heritage Buildings are located nearby, including the Law Courts to the north and Dunbar House to the south. Opposite is the Dunedin Railway Station. All of these have unmodified exteriors (Dunedin Prison Charitable Trust). The Otago Settlers Museum, opposite the entrance to the prison, has been recently added to. This provides an opportunity to respond to the statement of new and old coexisting.
noise city grid highway grid
Figure 2.6: 20m Contour map with major street flows and noise
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Site Analysis
Noteable Buildings
M
Accomodation
L
S
P
K
O
Eatery
R
H A
B
Dunedin Prison
C I
D
G
Q
E J
Parks/ Greenspace
T
Figure 2.7: Nearby Locations of Interest to the Dunedin Prison U
A: Law Courts L: Craft Bar B: Railway Station M: Terrace Restaurant and Bar C: First Church of Otago O: Bacchur Wine Bar and D: Dunbar House Restaurant E: Otago Settlers Museum P: Ra Café and Bar F: Wharf Hotel Dunedin Q: BX Bistro G: Leviathan Hotel R: Golden Gate Café H: Law Courts Hotel S: The Octagon I: Scenic Hotel Dunedin T: Queens Park J: Scenic Hotel Southern Cross U: Dunedin Chinese Garden and Dunedin Casino K: Minami Sushi Bar and Restaurant
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Site Analysis
Many Hotels, Restaurants and Cafés are located nearby, but not immediately adjacent to the prison. The building has an opportunity to provide space that uniquely responds to the area and its history, setting it apart from the other establishments in the area through the environment and strong heritage link that these places often lack. Dunedin City sits on a flat piece of land, surrounded by hills on many sides, with the end of Otago Harbour on the city’s east. This provides a topographically interesting place for the building to be located, only blocks from the harbour (Dunedin City Council). Most noise pollution to the site will occur from the State Highway, primarily at the front admin block. Accommodation should be located
as far away as possible. The demographics of the city are similar with New Zealand averages, but with a greater population of 18-29 year olds and citizens are generally more educated. With 120 000 people, Dunedin City is the seventh largest city in New Zealand (Statistics New Zealand n.p.). In order to achieve the aims set out, reflecting on the struggle of using the space, a target for the younger educated population may be beneficial, with a thrust for both an understanding of the history and new and insightful experiences and entertainment. The solution needs to be both sophisticated, entertaining but most importantly come from the reality of the context.
gradual private
INNER courtyard
OUTTER administation block
public Figure 2.8: Spatial Arrangement Diagram - Author
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enclosed clearly defined
exposed
–3– Programme Analysis
– 10 –
Programme Analysis
cells
courtyard
administration block
removed from the assembly
inner place of engagement
connection to the exterior
HOTEL
RESTAURANT
RETAIL
2
2
A05
A06
STORE G102 F.F.L -0.370
WC G36
CELL G34
WC G38
CELL G39
F.F.L-0.580
F.F.L-0.580
F.F.L-0.580
CELL G40
CELL G41
CELL G42
F.F.L-0.580
CELL G43
SHOWER G44
OFFICE G45
COOL STORE G71
KITCHEN G69
SHR G37 CELL G33 1 A06
STORE G100 F.F.L -0.470
HALLWAY G47 SK
CARPORT G101
SK
200mm
G58
G59
G57
G60
UP
F.F.L-0.580
DRY STORE G73
W.H.B
G56
G61
G74
F.G.L-0.760
F.G.L-0.760
HOLDING CELL G35d
G55
G75
EXERCISE YARD G49 F.G.L-0.760
G78
G77
F.G.L-0.760
WC G82
HALLWAY G81
F.F.L -0.470
G76
LAUNDRY G80
F.F.L-0.760 F.F.L-0.580
CELL G30
STORE G96
1 A06
STORE G48
OFFICE G40
CELL G31
F.F.L -0.470
STORE G98
G70
F.F.L-0.580 TUB
CELL G32
F.F.L -0.470
STORE G99
STORE G97
TUB
DRY STORE G72
OBSERVATION G46
F.F.L-0.670
HALLWAY G35e
EXERCISE YARD G54
INMATES GYM G53
F.F.L -0.470
CELL G28
F.F.L -0.720
CELL G83
F.F.L-0.580
CELL G35c HOLDING CELL G35a
CELL G29
SK
EXERCISE YARD G51 F.F.L-0.670
F.F.L-0.580 F.F.L-0.580
CELL G84 SHR
F.G.L-0.760
G91
G92
F.F.L-0.580
CELL G35b
TUB
RECREATION / DINING ROOM G52
CELL G85
F.F.L-0.760
G93
F.F.L-0.670
ENTRY G25
F.F.L -0.720
ENTRY G26
STORE G63
UP
HALLWAY G88
HALLWAY G62
HALLWAY G27
F.F.L -0.720
STORE G64
STORE G65
STORE G66
STORE G67
STORE G68
F.F.L -0.720 F.F.L-0.760 UR
100
F.F.L-0.670
HALLWAY G21
1
SHR
F.F.L-0.580
MALE TOILET G12
A05
SHR
SHR G87
FEMALE G13
COMMUNICATIONS G18
ADMINISTRATION G20
F.F.L -0.620
OFFICE G11
G19
RECEIVING OFFICE G24
HOTWATER CYLINDER ROOM G90
CELL G86
SALLY PORT G103
F.F.L-0.580
OFFICE G10
G89
1 A05
UP UP
UP
CONTROL ROOM G17
F.F.L -0.670
50
F.G.L -1.070 APPROX
ENTRY G23
F.F.L -0.530
ENTRY G22
STAIRS G14
HALLWAY G09
FOYER G03
DATUM F.F.L 0.000
UP
F.F.L-0.580
HALLWAY G12
F.F.L-0.580
LOCKERS G95
LOCKERS G94
F.F.L-0.670
DATUM F.F.L 0.000
0 10mm
RECEPTION G02
ADMINISTRATION G16
DATUM F.F.L 0.000
MUSTER ROOM G15
HALL G05
STORE G08
OFFICE G06
STORE G07
OFFICE G04
FOYER G01 F.F.L -0.310
F.F.L -0.460 F.F.L -0.610 F.F.L -0.750 F.F.L -0.900 F.F.L -1.040
2 A06
Figure 3.1: Prpogramme Context Diagram - Author
EXISTING GROUND FLOOR 1 : 100
Project
Original sheet size A1 (840x594)
Plot date: 13/11/2009 1:43:56 p.m.
2 A05
1 A05
DEPARTMENT OF CORRECTIONS PRIVATE BOX 1206 WELLINGTON DUNEDIN PRISON AS BUILTS 2007 Sheet Title
Facilities Management GROUND FLOOR AS BUILT FLOOR PLAN Revisions No.
Amendment
Date
This drawing and its contents are the property of Opus International Consultants Limited. Any unauthorised employment or reproduction, in full or in part, is forbidden.
Project Number
Date
Dwg Status
6-CBM20.00
10/08/07
Scale
DIPs Number
Code
Sheet No
7/329/62
7706
A01 2
1 : 100
G:\Facilities Management\Department of Corrections\Dun Pn\drawings\As builts 2007\DUN PN AS BUILT 2007.rvt
AS BUILT Revision
The proposed programme is a combination of retail facilities, a restaurant and hotel rooms. Why is this programme appropriate? Because it will: Provide a range of experiences ranging throughout different times of day, activities and people. Be a place for people from different walks of life in the same way a bond between those in prison was formed.
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Programme Analysis
Programme: Hotel Rooms Location: Cells Occupancy: 50 Guests, 25 Guest Rooms at 4 star
Figure 3.2: Room 211 Hotel T’Point.
The Former Dunedin Prison is a Heritage Building that has many remnants of its past. Being in a prominent and visible part of Central Dunedin, the building has potential in the retail and hospitality sector to earn income for the owners, as well as a place to service the community. The opportunity to provide accommodation will be beneficial to the area. Although there are hotels in the vicinity, the building will allow a new experience previously unseen in the area. The hotel rooms will
enable the nature of the building to be exposed in the same way it was to inmates, 24 hours of the day. It will keep spaces in their original function primarily; a night in the cells will fulfil this. Guest room sizes should be 25 - 36 m2 for 3-5 star rooms. There has to be a strong link between all the various elements of the hotel, the guest rooms, back of house, admin and lobby, circulation being very important. Allowances for back of house (housekeeping, storage, admin and kitchen) need to be made (Tutt).
Programme: Retail Location: Admin Block Occupancy: 2 Tenancies, 51 and 20 m2 each
Figure 3.3: The Souk, Abu Dhabi by Foster and Partners
Retail will provide a space for day-to-day retail to take place, forming a hub and small community. Retail spaces include a Bakery and Barber, a collection of stores that have different personalities, complimenting each other. They are reminiscent to the routine and order of prison life, with eating and hygiene being an important part of this. In addition to keeping the space feasible, retail space will add life to the building, providing a way for both locals and visitors to mix and use the space (Dunedin City Council). A standard width for the spaces is
often used (suited to the columns of the building) and sufficient space for counters (700-900mm walking and 600-850 bench) (Tutt). Usually there is a glass frontage, but this could be an opportunity to make a change on the standard form. It will return life and energy to the building that was once a machine every day, helping the objectives of the project, and encouraging both locals and tourists to use the building. Being located at the front will provide layers of penetration into the building depending on the programme, the further in the more immersive and entangled the experience.
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Programme Analysis
Programme: Eatery Location: Courtyard Occupancy: 102m2 Dining Space, 70m2 Kitchen, 62 Seats
Figure 3.4: Jaffa Port Market, vibrant market atmosphere bringing community inward.
Integrated into the hotel, food stores could be beneficial to the area, being close to students, central city, museums and a major transport route. A pizzeria, coffee shop, deli or café will compliment a restaurant in the courtyard. The restaurant in the courtyard will be the main focus of the design, linking all the elements (Cell blocks and admin block) together, both tectonically and circulatory paths.
The programme will allow a range of activates to take place in the prison building, being beneficial to different parts of society. The new intervention’s programme seeks to reflect upon the dynamic make-up of the former inmates by integrating services that will attract a wider section of the community.
– 13 –
Programme Analysis
Eatery:
Occupancy Numbers & Proportions
Restaurant
2m2 per person seated
Coffee Shop
1.7m2 per person seated
Kitchen
1.0m2 per person
Ratio: 2:1m2 Seat:Kitchen 2 Ratio: 1.7:1m Seat:Kitchen New Metric Handbook (Chapter 17)
Hotel Rooms: 3 Star
25-27m2
per room
4 Star
30-34m2
per room
Back of House (housekeeping, storage & admin)
1.85m2 per room
Ratio: 18:1m2 Ratio: 15:1m2
4 Star room:Back of House 3 Star room:Back of House
New Metric Handbook (Chapter 11)
Retail Spaces: Sales and Back of House
55:45 Sales: Ancillary
New Metric Handbook (Chapter 13)
Bathrooms: For 120 Capacity (Restaurant and Lobby) 2 x WC (1x Disabled) 1 x Urinal Male 2 x Basins 3 x WC (1x Disabled) 2 x Basins
Female NZBC G1 Table 1, See Appendix 7.
– 14 –
Figure 3.5: Initial Concept Sketch - Centre of Rotation
– 15 –
–4– Literature Review
– 16 –
Literature Review
The theoretical basis for the design intervention will be explored ¬- how disparate elements coexist and are in dialogue with each other and the existing fabric. The literature is chosen for its link to the objectives in three ways: the altering, “All buildings, once handed over by the builders to the client, have three possible fates, namely to remain unchanged, to be altered or to be demolished”. (Scott) The narratives of thresholds and divisions and their impact on the themes as an application of condition, give insights into the intervention within of the building.
Figures 4.1 & 4.2:Initital Concept Sketches - Author
– 17 –
Literature Review
Change “Alteration is more like a duet than a solo. It is about an art of response as much as it is an art of individual genius; it sets out to make a concord between the new and the existing, or even a discord.” (Scott xvii) Scott’s On Altering Architecture provides insight into the understanding of how existing buildings create space for intervention. This is important in the context of the objectives, with the intervention and existing’s relationship being of utmost importance. The building has become obscure in the context of current times. Scott proposes three strategies for dealing with such buildings – alteration, preservation and demolition (Scott 11). The preservation can be seen in two lights, one as unchanging from the original materials and methods used, the other as a “license to alter” (Scott 47). Making the ruin in interventional work is a precise and creative undertaking, equal in many ways to the installation of the new work. They are twinned operations, with equal requirements of skill and attention, fused together as the outcome of the work (Scott 127). The act of choosing what is removed from the existing, according to Scott, is an important tool to understanding and analysing the space, and can be just as important as the intervention itself. It involves deep thought into what the changes
mean and how they will affect the dialogue with the intervention. From this key work and from other observations, the definition may be proposed that works of intervention are concerned with inhabiting ruins. An altered building is as an inhabited ruin. The ruin is the means by which a building addresses its past, present and future (Scott 126). Brooker and Stone in ‘ReReadings: Interior Architecture and the Design Principals of Remodelling the Existing Buildings’ similarly identify that intervention is strongly related to the existing but the “language used is completely at odds with the host although the character may be balanced” (81). The intervention is used as a form of “physical power” of the building that is used against itself (Brooker and Stone 82), gaining the knowledge of the existing and changing, revealing and adding meaning. The space is “activated” through the change (Brooker and Stone 82). Changing architecture involves adding and removing. Scott shows how intervention can bring new viewpoints to the existing, making comments about what was there before.
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Literature Review
“Alteration is breaking and entry, the precise cut, the strategic section exposed. It makes absences as well as additions”. (Scott 171) The act of changing architecture is powerful, and the process creates
an inevitably strong relationship with the host. Applied to the Dunedin Prison, the addition is an act of freedom for the host.
Narrative
Figure 4.3: Initial concept sketch - Moving Through
Narrative as a tool for designing experiences is highly important. Ganoe’s Design as Narrative finds that aspects of design narrative work within a framework. Innovation and universality involves the uncovering of a range of subjects and topics, and altering these into interiors. Ganoe highlights that design reveals meanings on multiple levels – “behaviour and function, power and status, philosophy and worldview” (Ganoe 13). Transformation through narrative is supplied by psychological events that “alter an individual’s perception of space and time” (Ganoe 9) to change the awareness and emotions. The design
intervention needs to bring together narratives based on individual stories, experiential needs, universal meanings, transforming environments and subjectivity response (Ganoe 13). These levels of narrative need to be applied to the project, showing how the intervention is about the individual and the universal. Basing it from a single character, for example in case study two (25Hours Hotel), brings intimacy to the design. Making the design responsive to people through senses to convey a rich experience is important.
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Literature Review
Boundary “Threshold as an operation entails the preservation of differences, as well as the creation of something new from their coexistence” (Berrizbeitia 82).
Figure 4.4: Initial concept sketch - Collision
Berrizbeitia and Pollak write about the link between architecture and landscape in five respects. In particular interest to the project, threshold is characterized. These spaces are transformations, the flux between two elements that cause “unlikely things” to occur. The relationships in the places are “dynamic” between the conditions required. (Berrizbeitia 82). Borden notes that boundaries “make social orders more concrete” (51). They arise between social elements, the space in-between (Borden 51)and form the definition of the relationship between. The boundary is a “thick edge” that is between in and out, causing a time of uncertainty and unease as the movement through boundary is allowed. (Borden 52) Ardener highlights that space can cause social boundary between individuals, affecting the way people interrelated
and act. (Ardener 16) Boundary and threshold conditions are important to creating space. The change that develops within them can be applied in an exploratory sense to the intervention. The threshold is an element that needs to be further understood in the context of the intervention and its relationship to the existing. Where it meets the heritage it forms a bi axial relationship and epicentre of the design. Research questions pose difficulties in the understanding between environmental and thematic differences, possibly the old and new in the Dunedin Prison. In the text landscape and architecture is used to understand various conditions, which brings an important variation on the idea the relationship between disciplines links strongly with the contextual conditions.
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– 21 –
–5– Project Review
– 22 –
Project Review
Project: Tower of Porta Nuova Location: Venice, Italy Architect: Map Studio Magnani Pelzel Architetti Associati
Left above: Figure 5.1: Section, Left Below: Figure 5.2: Plan, Above: Figure 5.3 Stair segment inserted into the existing.
This project is a rehabilitation of a neglected building for masting ships. Map Studio - Magnani Pelzel Architetti Associati won the competition to complete the design. Care was taken to ensure the building’s circulation remained,
– 23 –
especially the existing staircases (Europa Concorsi). Elements were created and added using steel to allow removal if necessary. This intervention exemplifies the aim of enhancing and protecting the existing. Added elements “are
Project Review
Top: Figure 5.4, Ramp. Left Below: Figure 5.5: Stairs and gallery space, additions contrasting through disengagement.
always volumetrically independent of existing masonry structures, so as to enhance the visual perception of the unity of the building” (Europa Concorsi n.p.). New services are only placed inside new structures, keeping the elements of the building separate, reading as unity between new and old. New materials, concrete and steel, are of a completely different texture from the existing masonry, allowing elements to be read clearly. New doesn’t overpower the old, instead matching it in scale. This respects the existing through engagement and repetition of existing elements in a new and complimentary way. This project displays methods of completing objectives with elements disengaged from the building but fitting precisely into a location. The scale of the intervention works in harmony with the existing fabric, providing a symbiotic relationship where care is given to both, craft enabling clear and readable differences from old to new. Going forward, it is clear this project deals with its host building well, and utilising this information will help to develop an intervention that is beneficial and a co-existent inhabitant. Working with materials that will contrast the texture of the masonry walls will be key to the project. Additionally the unconnected mimicry between the new and old will help to establish the duality of the new and old.
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Project Review
Project: 25Hours Hotel Location: Hamburg, Germany Architect: Stephen Williams Associates
25Hours Hotel is based upon a poem about sailors, bringing together different stories from the sea into a cohesive design. Each room was the result of 25 sailors being interviewed, their experiences and reactions embodied spatially through the layout and atmosphere of the space. Individual stories and thoughts are unified together through a common theme. The re purposing provides memory cues of time and place, creating a unified story about one fictional character
Left: Figure 5.6, Deck from shipping container hotel rooms, the rooms aren’t what they seem. Above: Figure 5.7: stairs. Right, Figire 5.8: Plan of hotel layout.
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(Parafianowicz n.p.). Containers make up eating spaces, lifted into the space, providing strong references to the narrative. Although sleeping areas are separate tectonically, they are tied with a similar visual language and materials. The design portrays ideas of intimacy of the cabin in the vast ocean, with very mechanical materials. The utilisation of a design language, reusing elements that resemble of the context provides atmosphere and depth to the design, but this has to be completed without
Project Review
Figure 5.9: Dining space below shipping container, appearing to have moved to reveal the table.
the project becoming “cheap”. The aims of the project are about retaining the personality of the building, telling a story about the past and what it could bring to the future. Learning from this project review there is evidence of mixing together of multiple narratives and themes with the programme. Theories of taking stories and making them spatial are important; this project uses artwork in the
guest rooms to portray narrative (Parafianowicz n.p.). This has potential to be developed further as a tectonic for the prison in a way that matches the scale of the building. Going forward, the design ideas in the building show the importance of the underlying themes and relation to the greater context. Although the project displayed themes to varying success, the motivation behind is a key learning point.
– 26 –
Figure 5.11:Initial Concept Sketch - Modular Dining
– 27 –
–6– Preliminary Design
– 28 –
Preliminary Design
The preliminary design process allowed the understanding of relationships and cemented the link between the administration block and courtyard interventions. The experiments undertaken are in response to the research aims and objectives. A space that is important to the many people who visit it, and that reveals the understanding of the space, its history and importance is the key aim. The problem presents an amount of issues with how heritage spaces are used and the importance and relevance they will have in the future without compromising what it has previously been.
Figure 6.1 - Preliminary Intervention
– 29 –
Preliminary Design
Field near
Yellow-Lit Windows
The field is ongoing, endless, rugged and exposed
friend
foe
The trees are arms reaching into the sky
Transition- open space within lots of Smaller spaces. Trying to find your own space.
The tree is the admin block, holding everyone at the same time but individually. The cell is at the end of the branch.
The window into a place of domesticity and control
Newfound freedom that is overwhelming The regulated is now unregulated. Relationship between the courtyard and the cells, and the doorway as a window between
Restaurant is pulling away, from the controlled path - not regulated by the existing
The window into a place hidden from sight
Relationship between the courtyard and the cells, and the doorway as a window between
The window into family, friends and home
Inner workings of the tree are hidden by the trunk. Yet the outcome are lights of the future. Light at top of verticals.
The window is fond memories passing by
Passing by the memories of life within are overtaken by the endless space. Some windows show snapshots of the past while others show glimpses of the future. Different openings and views.
Possessions that are loved are taken away, as transitions are made the pathway broken. Boundaries change spacial configuration.
The window into a claustrophobic and imitation of the real world
The honesty of materials is brought to life with the exposure of yourself in the field. The real world is imitated within these physical manifestations. Tight to endless.
Reuniting spaces in the “other traveller”. Strong connection of the past. The arms of the tree bring the emotions together. Like comrades.
Table 6.1 - Theoretical Matrix
– 30 –
Preliminary Design
far The sky is an overshadowing porous canopy
The field is people who have changed over time - now unknown
The mountains are a distant unknown destination
Horizontal ceiling, roof overhead. Newfound freedom that is overwhelming The regulated is now unregulated
Leaving one family, returning to another. Changing space between retail and restaurant. Switching characters.
Hope of the future. The eventual and impending change that will happen.
Link to the exterior - a need to find your own place to stay - movement from the formal to informal
Control of the tree, tells people how to physically change actions but cant mentally change. Control forms strict pathways for movement.
Pathways of control, breakaway with freedom
Always hidden but once within the box of the cell, isolation. Now hidden only by the canopy above.
Isolation from people who have now change. Unknown of where you now live.
Trying to find a place to hide within the exposed mountains. The cell is your new space, yet reminds you of the prison cells.
Modular layers that enclose, insulating the memories from being shared no link to the previous life. Isolates you from the other traveller. Your belongings become the canopy. Small personal elements.
The trees are walls and spikes, slicing the memories of within. Disengagement from existing. The Guards standing by
Cells are where new memories will be created. Isolated from others, a place to dream back to the yellow lit windows.
The facade is an imitation of what is happening inside, the inner workings of the prison. The sky is the exposure of this. Allowing the truth to be seen.
Exposed to the harsh realities, dangerous places and events. Loosing connection with the other traveller.
Mountains are the distance exploding the doors of caecorrhaphies. Cell windows are the hope beyond the windows.
– 31 –
Preliminary Design
Figures 6.2-6.6: Courtyard Intervention Development
Figures 6.7 & 6.8: Administraion Block Intervention Development
The accuracy and ability of the design experiments to achieve a level of realism is important to the design intervention. The preliminary design attempts to handle the history of the site through the application of the epigraph. The process of leaving prison is one that one that is emotion filled, which is explored within the experiment. The administration block begins to tell the story of the warm “yellow-lit windows”, the comfort of comradeship felt inside, as well as the reflection of the new “cells” that are looking into the central path through the space. The courtyard embodies
the fields of despair, with feelings of exclusion and lost hope without support, a machine of society pushing the prison cells into place. The way these two opposing elements come together is important, the wall between the courtyard and administration block becomes key for transition. Programmatically, the proposed design answers the research objectives of programme with a layered approach. Levels of privacy increase deeper into the space, retail in the outer, then dining, lobby and finally kitchen. At this stage, the design is mono axial.
– 32 –
Preliminary Design
The literature review speaks of spaces that bring a new perspective to the existing, working to compliment and highlight parts of the old. This has the beginnings of being evidenced within the new ‘cells’ and dining wall and a continuation of the existing cell block. However, the administration block doesn’t have any apparent connection to the exterior, there is no large amount of dialogue with the façade, but does deal with the symmetry of the space and the building as a whole. Figure 6.9 - 6.13 - Initial Design Sketches
– 33 –
Preliminary Design
Figure 6.15: Preliminary Design: Contextual
Case studies have had influence, with 25 Hours Hotel having people whose stories are revealed within the spaces an important part to the success of the design. This is not incorporated as well as possible. The application of a true and accurate story may help more, rather than a theoretical application. Important design decisions made were the framework of layers moving through the space. The parallel
of opposition between the courtyard and admin block and its relationship to the narrative of the emotions of leaving prison will be key in the development stage. Also the discovery of the site implications and how to form a conversation to the intervention is invaluable.
– 34 –
Preliminary Design
6.16: Preliminary Design: Intervention - Front View
Intervention Elements
Kitchen - 88 m2 for 90 seat restaurant
Restaurant Dining - 200m2 for 100 seats
6.17 - 6.19: Preliminary Design: Programmatic Charateristcs
– 35 –
Retail - 4 stores
Preliminary Design
Figure 6.19: Programmatic Ordering
– 36 –
Preliminary Design
Programmatic Diagram
Figure 6.20: Programmatic Ordering
Circulation Retail Restaurant Kitchen
– 37 –
–7– Developed Design
– 38 –
Developed Design
The developed design intervention further tells a narrative between the front and back. The three major parts of the intervention display the beginning, middle and end of the transition, becoming a key part of the intervention.
Figure 7.1: Overall Intervention
– 39 –
Figure 7.2: Presentation Panels
– 40 –
– 41 –
THE GUARDIANS
– 42 –
1 : 50
1
Level 1
Figure 7.3: Passing between the cloaked ones to the light within. Standing at full awareness they cast shadows but also extend a welcoming but firm hand.
The investigation of flux in the thresholds of the prison has invoked a further understanding of the space and how the stories contained within the prison are enacted. The project research questions where about: the consequences of leaving prison, the subjections and change in emotions and the exposition of past of the prison in a meaningful way. It is important for the intervention to take cues from the existing, providing a new viewpoint on the remaining, and revealing powerful connections within that were not apparent previously. – 43 –
– 44 –
the collision The central wall becomes a space for thresholds. The space compresses and expands the pathway through the space, while also drawing on the layout of the exiting columns and walls. This threshold is developed from the texts explored in the literature review, a space “where exchanges between unlikely things occur.” The space is not formed from one of the oppositions, instead a hybrid of both. Answering the objective of exploring the transition between in and out of prison and the physical and emotional hardships associated with it formed a space of power and compression.
Figure 7.4 The dining space is being pushed forward forcefully and purposefully. It is a cavernous protected space but in flux. – 45 –
dispersion
Figure 7.5: Two paths take you to the stairs and eating space. One the receiver, one the giver.
– 46 –
In contrast, the north-west axis provided opportunity for a gradual transition within the courtyard in response to the site context and programmatic requirements for servant and served spaces. The space between public and private is reflected in the historic qualities of the prison cells, where north-facing
– 47 –
1 : 50
1
Level 1
N
cells are to be kept intact, so their privacy remains. Moving forward there could be a better way for the space to show influence of the crosswise flow through the form of corridors, showing the degrading of privacy.
REFLECTION
Figure 7.6: Peering back through, horizontals meeting the verticals with force. The wall is shaping those who move through it.
1 : 50
1
Level 1
N
– 48 –
– 49 –
Figure 7.7 - 7.11: Overall Intervention and its elements.
– 50 –
bridging the THRESHOLD
inner
outter
– 51 –
Powerful Creatures disgused by their Cloaks
– 52 –
The administration block intervention, being the first new aspect seen, provides a setting of powerful creatures that are disgusted by their cloaks. They meet the façade head on and act as the reality of prison life, and programmatically function as the space for retail. This fits with the research objectives for setting the beginning state of the narrative while also providing a programmatic function to the space that will be used by the community. Left: Figure 7.12: North Facing Section
1 : 50
1
Level 1
N
– 53 –
The space addresses the programmatic requirements for the redevelopment of the site, integrating it into the narrative of the site with levels of depth. The intervention displays the truth of itself and the intervention, being accurate and within the New Zealand Building Code requirements.
N
1 : 50
1
Level 1
Figure 7.13: South Facing Section
– 54 –
Alteration is more like a duet than a solo. (Scott)
– 55 –
Developed Design
Figure 7.14: Perspective Plan
The developed design seeks to repair the missing links between the various parts of the intervention and existing that the preliminary design struggled with. There were issues in achieving a design language that could be both a static and bold form in the administration block while
also enacting a dynamic machine in the courtyard. Translating a bold and symmetrical design language into an asymmetrical one in the rear resolved this. The philosophy of interface between old and new was to allow space between the elements. Informed by Scott, materiality is to
– 56 –
Developed Design
1 : 50
1
Level 1
N
Figure 7.15: Plan
contrast the old, creating readability. The places this is broken is where circulation is required, and the central wall element, providing a mirror line of threshold that is heightened by its placement. Research Questions, Aims and Objectives have fed into the
developed design, along with literature, context and case studies. There is exploration of space, which creates the emotional, painful and challenging experience of leaving prison, making the result relevant to societies past as well as the future.
– 57 –
Developed Design
Deatil One
Deatil Two
– 58 –
Developed Design
Deatil Three
– 59 –
Developed Design
N
Figure 7.16: Existing Structural Grid
Figure 7.17: Circulation Public Figure :Circulation Private
– 60 –
Developed Design
N
N
guest rooms 25 rooms (4 star) 50 guests
restaurant dining space (upper) lobby (lower) 102 sq m 62 people seated
public fire stairs & lift
male bathrooms 2 toilets (1 accessable) 1 urinal
stairs & lift
bakery 51 sq m
restaurant reception/service area
restaurant & bakery kitchen
female bathrooms 3 toilets (1 accessable)
bakery (upper) barber (lower) 20 sq m (barber)
Figure 7.18: Spatial Funtions
– 61 –
70 sq m caters for 140 people
back of house stairs
bakery back of house 11 sq m
Developed Design
Figure 7.19: Materials Palette
Figure 7.20: Custom Furniture - Lobby Lounger
– 62 –
– 63 –
–8– Conclusions & Critical Reflections
– 64 –
Conclusions & Critical Reflections
The intent of the project is to recover and re-establish the prison history in a way that is accessible understandable translated in a way that has a direct relationship to the existing building. It has revealed stories and also enhanced the raw and rough remains. It was important that the issue was resolved through design to harness the emotion a physical space can provide mentally, allowing it to have a deeper meaning over time, to create a new history, adding to the already rich existing.
A strong relationship between two opposites is developed, and an understanding of how a new design can alter an existing to add depth was invaluable. The interface with the existing created a powerful tool that was applied as a rule. Programmatically, the space has a strong link with what was, becoming a place of community that once was, but in a new form. Through design, spaces now evidence the family that once was.
– 65 –
Conclusions & Critical Reflections
Distinguishing elements to be from the same architectural family but with different meanings proved difficult, with the courtyard intervention lacking the strong forceful nature the rest of the
Figure 8.1 & 8.2: Sketch to intervention endpoint
intervention. A core aim was around the link with existing, but read as a narrative of old and new. In places the design is claustrophobic and can be difficult to read as having a strong relationships with each other.
– 66 –
Conclusions & Critical Reflections
Additionally, an application of a more in depth narrative to help fully understand the emotions of the process of transition could have been beneficial. This would help inform a higher level of detail and reference in the design. Constraints of the project may be to tell and draw from an account of being released through a literal experience. This is important to developing the building not just as a space about the building and the people who were within it, but about real people and their true emotions and actions. In the future the design could be taken into more detail with more connections between elements. Also the hotel rooms could be integrated into the intervention as an auxiliary element, bringing unity and completing the design. At a basic level, the project can be used as a study in boundaries, and applied
to situations that involve change, bordering a point between past and future. It is a group of initial experiments that can be used to set constraints for a project. The less explored consequence of leaving prison is that comradeship and community is abandoned. A life of structure and formalities is manufactured then taken away. Comfort is found within the objectification of being a prisoner. The mind and body are separate. The duality between inside and out becomes highlighted, with opposites of empathy and objectivity arising. The Ones Who Walk Away creates a new point in the history of a key building in Dunedin’s heritage. It aims to provide a new chapter of life that is sympathetic to what is has been, but hopeful to what it can become.
“Night falls; the traveler must pass down village streets, between the houses with yellow- lit windows, and on out into the darkness of the fields. Each alone, they go west or north, towards the mountains. They go on.” The Ones Who Walk Away From Omelas, Ursula K. Le Guin, Pg. 7
– 67 –
–9– References
– 68 –
References Ardener, Shirley. “The Partition of Space.” Preston, Julieanna and Mark Taylor. Intimus: Interior Design Theory Reader. Chicester: John Wiley & Son, 2006. 15-21. Bachelard, Gaston. “The Dialectics of Outside and Inside.” Taylor, Mark and Julieanna Preston. Intimus: Interior Design Theory Reader. Chichester: John Wiley & Sons Ltd, 2006. 22-25. Berrizbeitia, Anita & Linda Pollak. Inside/outside : between architecture and landscape. London: Hi Marketing, 1999. Borden, Iain. “Thick Edge: Architectural Boundaries and Spatial Flows.” Preston, Julieanna Preston and Mark Taylor. Intimus: Interior Design Reader. Chichester: John Wiley & Son, 2006. 49-55. Brooker, Graeme and Sally Stone. ReReadings: Interior Architecture and the Design Principals of Remodelling the Existing Buildings. Cambridge: Steven Cross, 2004. Callender, DeChiara &. Time-Saver Standards for Building Types . New York: McGraw-Hill, 1973. Ching, Francis D.K. Achitecture: Form, Space and Order. 3rd Edition. Hoboken: John Wiley & Sons, Inc., 2007. Europa Concorsi. Progetto di recupero della Torre di Porta Nuova. - Arsenale di Venezia. 01 10 2010. 10 07 2014 <http://europaconcorsi.com/projects/140570-Map-studio-Magnani-Pelzel-Architetti-Associati-FrancescoMagnani-Progetto-di-recupero-della-Torre-di-Porta-Nuova-Arsenale-di-Venezia>. Evans, Robin. “Figures, Doors and Passages.” Evans, Robin. Translations from drawing to building and other essays. London: Architectural Association, 1997. 55-91. Dunedin City Council. Visit Dunedin Home. 2014. 21 07 2014 <http://www.dunedinnz.com/visit/home>. Dunedin Prison Charitable Trust. Dunedin Prison Conservation Plan. Dunedin, 28 05 2014. Ganoe, Cathy. “Design as Narritave: A Theory of Inhabiting Interior Space.” Journal of Interior design 25.2 (1999): 1-15. Heritage New Zealand. Dunedin Prison (Former). 2014. 23 07 2014 <http://www.heritage.org.nz/the-list/ details/4035>. Littlefield, David. Metrc Handbook. Oxford: Architectural Press, 2008. Met Service. Met Service: Dunedin Weather. 2014. 25 07 2014 <http://www.metservice.com/towns-cities/ dunedin#historical>. Parafianowicz, Lydia. 25hours Hotel Hafencity. 09 11 2011. 22 07 2014 <http://www.frameweb.com/ news/25hours-hotel-hafencity>.
– 69 –
References Scott, Fred. On Altering Architecture. Abingdon : Routledge , 2008. Statistics New Zealand. “2013 Census QuickStats about a place: Dunedin City.” 2013. Statistics New Zealand. 22 07 2014 <http://www.stats.govt.nz/Census/2013-census/profile-and-summary-reports/quickstatsabout-a-place.aspx?request_value=15022&tabname=#15022>. Rieter, Wellington. Vessels & Fields. New York: Princeton Architectural Press, 1999. Tutt, P. & Adler, D. New Metric Handbook . London: Architectural Press, 1979 .
– 70 –
Sources of Figures Figure 1.1: Author Figure 1.2: Author Figure 2.1: Dunedin Prison Charitable Trust. Dunedin Prison Conservation Plan. Dunedin, 28 05 2014. 74. Pg.1 Figure 2.2: Dunedin Prison Charitable Trust. Dunedin Prison Conservation Plan. Dunedin, 28 05 2014. 74. Figure 2.3, 2.4 & 2.5: Opus Facilities Management. Dunedin Prison As-Built Plans. Dunedin, 13 11 2009. Figures 2.6 & 2.7: Google Inc. Dunedin City. 01 08 2014. 01 08 2014 <https://www.google.com/maps/place/ Dunedin,+New+Zealand/@-45.8726937,170.5271188,12z/data=!3m1!4b1!4m2!3m1!1s0xa82be4e00f5f513d:0x 500ef8684799941>. Figures 2.8: Author Figure 3.1: Author Figure 3.2: Himomura, Yasunori. Room 211 Hotel T’Point / Mifune Design Studio. 04 03 2014. 30 06 2014 <http://www.archdaily.com/482257/room-211-hotel-t-point-mifune-design-studio/>. Figure 3.3: Dezeen. The Souk, Abu Dhabi Central Market by Foster + Partners. 06 05 2011. 11 07 2014 <http://www.dezeen.com/2011/05/06/the-souk-abu-dhabi-central-market-byfoster-partners/>. Figure 3.4: ArchDaily. Jaffa Port Market / Jacobs-Yaniv Architects. 07 11 2011. 11 07 2014 <http://www. archdaily.com/290487/jaffa-port-market-jacobs-yaniv-architects/>. Figure 3.5: Author Figure 4.1, 4.2 & 4.3: Author Figure 5.1 & 5.2: MAP Studio. Renovation of the “Torre fi Porta Nuove” as a cultural centre. 03 04 2008. 05 09 2014 <http://www.architecture-page.com/go/projects/renovations-torre-di-porta-nuova-cultural-centre>. Figure 5.3, 5.4 & 5.5: Europa Concorsi. Progetto di recupero della Torre di Porta Nuova. - Arsenale di Venezia. 01 10 2010. 10 07 2014 <http://europaconcorsi.com/projects/140570-Map-studio-Magnani-Pelzel-Architetti-Associati-Francesco-Magnani-Progetto-di-recupero-della-Torre-di-Porta-Nuova-Arsenale-di-Venezia>. Figure 5.6, 5.7, 5.8 & 5.9: Prafianowicz, Lydia. 25hours Hotel Hafencity. 09 11 2011. 22 07 2014 <http:// www.frameweb.com/news/25hours-hotel-hafencity>. Figure 5.11: Author Figire 6.1 - 6.20: Author Figure 7.1 - 7.18: Author Figure 7.19: Coruse Resources – 71 –
Sources of Figures
Figure 7.20 - Author Figure 8.1 - 8.2: Author
– 72 –
– 73 –
– 10 – Appendices
– 74 –
Appendix 2: Restaurant (Metric Handbook Ch. 17)
Restaurant Functional Relationships
Time Saving Standards for Building Types p. 758
â&#x20AC;&#x201C; 75 â&#x20AC;&#x201C;
Appendices
Time Saving Standards for Building Types p. 759 â&#x20AC;&#x201C; 76 â&#x20AC;&#x201C;
Appendices Appendix 1: Hotel (Metric Handbook Ch. 11)
Circulation Rationalisation
Room Area for class (m2)
Service Area according to guest rooms numbers
Circulation Diagram
â&#x20AC;&#x201C; 77 â&#x20AC;&#x201C;
Appendices Typical floor Area Calculation for 100 Room Hotel (Time Saving Standards for Building Types p. 897-898)
2369 m2 947 m2
3994 m2
2211m2 5368 m2
– 78 –
Appendices Escape means from hotel rooms
– 79 –
Appendices Appendix 3: Retail (Metric Handbook Ch. 13)
Bakery
Butcher
– 80 –
Appendices
Bakery
Bakery Barber
Florist
– 81 –
Appendix 4: Met Service Historical Data
Appendices
Temperature: Monthly Highest and Lowest 30 30 29 24
0
-2
-4
23
29
18 18 19
-6 -7 -6
-3 -2
0
3
Jan Feb Mr Apr May Jun Jul Aug Sept Oct Nov Dec
3 3
22
25 26
Historic Temperature, Dunedin Airport
Rainfall: monthly totals (mm)
Appendix 5: Statistics New Zealand Data Jan Feb Mr Apr May Jun Jul Aug Sept Oct Nov Dec
69 43 41 57 36 43 48 45 34 53 51 70
– 82 –
Appendices Appendix 6: Dunedin Prison Plan for Spaces
â&#x20AC;&#x201C; 83 â&#x20AC;&#x201C;
Appendices
– 84 –
Appendices Appendix 7: New Zealand Building Code Compliance
NZMBIE. New Zealand Building Code. Web. 03.08.2014 ,2014 < http://www.dbh.govt.nz/compliancedocuments#handbooks >
– 85 –
Appendices Appendix 8: Material Selection
– 86 –
Appendices Appendix 9: Furniture Selection
– 87 –
– 88 –
End
– 89 –