S T U D I O 0 4
U N L I V A B L E C I T Y B E R L I N
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S T U D I O 0 4
EDITED AND AUTHORED BY TOMMY HENG
D E S I G N P R O C E S S P O R T F O L I O
U N L I V E A B L E C I T Y B E R L I N SUPERVISED BY MICHAEL ROPER AND CATHERINE DUGGAN
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2015
STUDIO 04 MELBOURNE SCHOOL OF DESIGN U N I V E R S I T Y O F M E L B O U R N E , PA R K V I L L E STUDENT ID - 516673 2
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TA B L E O F C O N T E N T S
C H A P T E R S P A G E
I N T R O D U C T I O N 5 WEEK 1 - S T U D I O T H E O R Y 7 - 1 9 WEEK 2 - B E R L I N H I S T O R Y 2 0 - 3 5 WEEK 3 - K U L T U R F O R U M 3 7 - 4 7 WEEK 4 - B E R L I N I N F I L M 4 8 - 6 3 WEEK 5 - C U L T U R E M A P 6 5 - 7 7
WEEK6 - M I D S E M E S T E R I N T E R I M 7 8 - 9 5
W E E K 7 - 8
B E R L I N ( A N C B ) _ M I D W E E K P R E S E N T A T I O N S 9 6 - 1 0 5 WEEK 9 - 10 B E R L I N ( A N C B ) _ F I N A L C R I T 1 0 6 - 1 2 3
WEEK 11 - 14
M E L B O U R N E F I N A L P R E S E N T A T I O N 1 2 5 - 1 5 2
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INTRODUCTION
Unliveable Berlin is a University of Melbourne design studio, organised and run by Melbourne based architects, Michael Roper (Director, Architecture Architecture) & Catherine Duggan (Senior Associate, Peter Elliott Architects).This studio proposes taking a group of architecture, landscape and urban design students to the ANCB Metropolitan Laboratory in Berlin where they will investigate and respond to a range of architectural and urbanconditions. The city of Berlin has undergone several periods of significant trauma and transformation. Growing out of two world wars, living through three decades of east west division followed by reunification, rebuilding and more recent bankruptcy,Berlin is riddled with the scars of its history:abandoned trenches, unfinished infrastructure, bullet ridden buildings, unrealised grandeur. Politically it is caught between socialism and capitalism. Physically, between the destruction of war and urban regrowth. Culturally, between division and unity. This is a city still coming to terms with its physical and cultural territories yet revelling in the uncertainty of its future. More than most, Berlin has a pronounced history of social exclusion and ideological seclusion. In this context we ask, how does a city express its hostilities and how, as architects, can we foster cities of inclusion?
Over three consecutive years, Unliveable Berlin will explore three distinct historical periods: 1920’s pre Nazi Berlin,1970’s divided Berlin,and 2020’s liberated Berlin. With the German capital as our ever willing laboratory rat, students will be asked consider what it means to accommodate the excluded, and to redress cultural hostilities through architecture and urban thinking.The travelling studio encourages students to explore urban opportunities with fresh eyes. Stripped of well worn reference points, the foreign cityis laid bare.They come to sense the city’s unconscious – its undercurrents – developing instincts for the manifold cultural forces that drive a place. Through the travelling studio, we aim to foster broad, global thinking problem solvers. At the conclusion of the semester, we expect our students to be versed and agile in the physical mechanisms (infrastructural, geographical) and cultural forces (political and social) that underpin urban existence, training them to look both to their subjective experience as well as outside themselves, to challenge the urban systems within which they operate.
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WEEK 1 STUDIO THEORY
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W E E K 1
STUDIO THEORY
RESEARCHED TEXT :
SPACES OF UNCERTAINTY
AUTHOR: KENNY CUPERS PUBLISHED: JANUARY 2002
RESEARCH AND DESIGN NOTES - TA B U L A R A S A
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B L A N K S L AT E
- B e r l i n h a s a s e l e c t i v e h i s t o r y
A d e s i r e t o r e m e m b e r, a d e s i r e t o f o r g e t . . .
- A r c h i t e c t u r e t a k e s p a s s i o n o f t h e v o i d s i n B e r l i n . N E G AT I V E S PA C E . - B E R L I N I S A C I T Y I N F L AT E D W I T H H I S T O R Y B U T A B S E N T W I T H T R A D I T I O N . - UNCONTROLLED BURSTS OF DEVELOPMENT IN FOCUS AREAS. - S Y M B O L I S M O F R E B U I L D I N G T H E C I T Y O V E R T H E E X I S T I N G C I T Y. - A U R B A N D I A L E C T I C I S T H E A R T O F I N V E S T I G AT I N G O R D I S C U S S I N G T H E T R U T H O F O P I O N I O N S . - TRUMMERAUFSCHUTTUNGEN
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Artificial mountains of accumulated rubble from WWII
- A R C H I T E C T U R E O F F O U N D AT I O N A N D R E F O U N D AT I O N - A CITY OF TEMPORARY ARCHITECTURES
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easily swayed, responds to mainstream influences and trends.
- Understanding the city becomes better during the night. W ithout having to see the built form, the heterogenous experiences starts to make more sense at night. - THE VOID is something that is never possessed but always available. It longs for colonization
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W E E K 1
STUDIO THEORY
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W E E K 1
STUDIO THEORY
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W E E K 1
STUDIO THEORY
SPACE PLACE VOID I
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W E E K 1
STUDIO THEORY
SPACE PLACE VOID I
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WEEK 1
I
STUDIO THEORY
PRE WAR
WW II
POST WAR
POST BERLIN WALL
CONTEMPORARY BERLIN
HEGEMONIC TENDENCIES I - PLACE | SPACE | VOID 14
WEEK 1
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STUDIO THEORY
BERLIN HISTORY THROUGH LINES 1. PRE WAR
DURING THE TIMES LEADING UP TO THE WAR, GERMANY (BERLIN) WAS IN AN UNSETTLING STATE OF AFFAIRS IN BOTH ITS ECONOMY AND SOCIAL IDENTITY. HOWEVER, DURING HITLER’S REGIME IN THE THIRD REICH, GERMANY PROSPERED AND RAPIDLY GREW. THIS PORTION OF THE DIAGRAM SHOWCASES THAT PERIOD OF STABILITY. THE LINEARITY AND REGULARITY OF THE LINES REPRESENT ORDER, UNIFICATION, DISCIPLINE AND GROWTH. 2. WW II AFTER THE WAR WHICH Occurred BETWEEN 1939 AND 1945, 75% OF BERLIN WAS LEVELED AND THE CITY WAS LEFT IN A STATE OF UTTER DISMAY AND DESPAIR. THE ABSENCE OF LINES IN THIS PORTION OF THE DIAGRAM SYMBOLISES THAT BREAK AND GAP WHERE ALL ADVANCEMENTS AND PROGRESS IN SOCIETY CEASED TO EXIST. 3. POST WAR IN AN ATTEMPT TO REBUILD BERLIN AND RESTORE ITS PRESENCE, THE ALLIES DIVIDED THE CITY INTO THE EAST AND THE WEST (GDR AND DDR). OCCUPIED AND OPERATED UNDER THE SUPERVISION OF THE AMERICANS, BRITISH, FRENCH AND SOVIETS, THE CITY HAD FOUR PRECINCTS. EVIDENCE OF THIS IS STILL OBSERVABLE TODAY THROUGH THE TYPE OF ARCHITECTURE AND VARIOUS COMMUNITIES THAT OCCUPY AREA OF BERLIN. THE LINES IN THIS PORTION OF THE DIAGRAM REFLECT THE FOUR QUADRANTS AND THEIR GROWTH; THE SPROUTING OF VARIOUS CULTURES AND COMMUNITIES. 4. POST BERLIN WALL THE BERLIN WALL WAS TAKEN DOWN IN 1989 AND THIS WAS THE FIRST TIME THAT EAST AND WEST CULTURES WERE GIVEN THE OPPORTUNITY TO COEXIST AND MERGE TOGETHER. THE LINES IN THIS PORTION ILLUSTRATE THE CONVERGENCE AND AT THE SAME TIME THE STRUGGLES OF COEXISTING TOGETHER. 5. CONTEMPORARY BERLIN BERLIN TODAY IS A MELTING POT OF CULTURES AND THE ARTS. BECAUSE OF ITS UNIQUE AND RICH HISTORY, THE CITY THRIVES ON THE LOCALITY OF A NUMBER OF DISTRICTS AND PRECINCTS. THESE AREAS HAVE DEVELOPED AND BECOME CENTRES OF ACTIVITY FOR THE CITY IN WHICH WE IDENTIFY BERLIN WITH. THE LINES HERE ILLUSTRATE THE GROWTH OF THESE COMMUNITIES. THOUGH SOMEWHAT DISTINCT, BERLIN IS UNDERGOING A PROCESS OF UNIFICATION.
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WEEK 1
I
STUDIO THEORY
A CULTURAL SPACE OF HISTORY TAKING INSPIRATION FROM THE VECTOR DIAGRAM, A 3D MODEL FOR A CULTURAL SPACE WAS DEVELOPED TO REPRESENT THE IDEA OF HISTORY THROUGH A PHYSICAL EXPERIENCE OF ARCHITECTURE. THE BUILDING CONSISTS OF FOUR SECTIONS OR FLOORS WHICH IDENTIFY WITH ONE ASPECT OF GERMANY/BERLIN’S HISTORY BETWEEN 1900 - TODAY.
PREWAR BERLIN
WORLD WAR II | POST WAR BERLIN
TRANSITION
MODERNISM | PRESENT
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WEEK 1
I
STUDIO THEORY
1. PREWAR BERLIN
ELEVATION
2. WORLD WAR II
3. POST WAR BERLIN
BUILDING PERSPECTIVE
4. TRANSITIONAL
5. MODERNISM
6. PRESENT
OBJECT PERSPECTIVE
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WEEK 1
I
STUDIO THEORY
LEVEL 1 PRE WAR
LEVEL 2 WW II
LEVEL 3 POST WAR
LEVEL 4 TRANSITIONAL
LEVEL 5 MODERNIST
LEVEL 6 PRESENT DAY
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THE THIRD REICH 1933 - 1945
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WEEK 2 BERLIN HISTORY
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WEEK 2
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BERLIN HISTORY
THE THIRD REICH 1933-1945 - FASCIST TOTALITARIAN STATE - ETHNIC CLEANSING
- DICTATORSHIP - RACIAL BIOLOGY
- PROPAGANDA - RACISM
HITLER BLAMES THE SOCIALIST PARTY AND MAKES USE OF A LOOPHOLE IN THE LEGAL SYSTEM TO OBTAIN POWER.
HITLER BUILDS THE GERMAN ARMY THROUGH CONSCRIPTION LAWS
THE FIRST CONCENTRATION CAMP IS OPENED.
1934
GREAT DEPRESSION CAUSED GERMANY TO STRUGGLE WITH MORE THAN 4 MILLION PEOPLE UNEMPLOYED
1935
THE NSDAP PASSES THE NUREMBERG LAWS. THESE LAWS WERE ANTISEMITIC AND LEGALISED THE DISCRIMINATION OF THE JEWISH PEOPLE.
1936
HITLER COMMITS SUICIDE ON APRIL 30 1945. GERMAN MILITARY FORCES PROGRESSIVELY SURRENDER DURING MAY 1945
FROM 1939 - 41 GERMANY INVADED CZECHOSLOVAKIA, POLAND, DENMARK, NORWAY, FRANCE, BELGIUM, USSR, YUGOSLAVIA AND BOMBED VARIOUS PARTS OF ENGLAND.
BERLIN HOSTS THE OLYMPIC GAMES IN 1936
HITLER BECOMES CHANCELLOR OF GERMANY IN 1933.
1933
- NOTION OF THE SUPREME RACE (ARYAN RACE)
1937
1938
9TH OF NOV 1938 - CRYSTAL NIGHT OCCURED WHERE A VIOLENT ATTACK ON THE JEWISH COMMUNITY TAKES PLACE. OVER 400 SYNAGOGUES WERE BURNT DOWN AND 7500 JEWISH SHOPS WERE DESTROYED.
1940
1945
ITHE AUSCHWITZ CONCENTRATION CAMPS OPENS IN MAY 1940
IN 1939 BRITAIN AND FRANCE DECLARE WAR ON GERMANY
HITLER DESPERATELY CONSCRIPTS ALL MEN BETWEEN THE AGES OF 16-60 FOR SERVICE IN THE GERMAN MILITARY IN SEPTEMBER 1945.
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WEEK 2
I
BERLIN HISTORY
ALBERT SPEER 1905-1981
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WEEK 2
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BERLIN HISTORY
THE NATURE OF INCLUSION AND EXCLUSION 1. ONE FEELS INCLUDED OR EXCLUDED BASED ON THEIR STATE OF MIND. - IT IS THEIR OWN MENTAL PROJECTION OF THEIR INNER WELLBEING ON THE EXTERNAL ENVIRONMENT.
2. RELATES TO A SENSE OF BELONGING - INCLUSION AND EXLUSION RELIES ON SHARED COMMON INTEREST.
3. SCALE - MANY SCALES OF INCLUSION AND INCLUSION. MEANING OF THE IDEA IS LOST AS SCALE INCREASES TOWARDS AN INFINITE VALUE.
4. THE CONCEPT IS RELATIVE
- IT IS SIMPLY A MATTER OF PERSPECTIVE. THE SUBJECT AND THE INDIVIDUAL REGARD FOR AUTONOMY GENERATES THE DISTINCTION IN WHETHER ONE FEELS INCLUDED OR EXCLUDED.
SELF
INTERROGATION OF IDENTITY THE IMAGE ON THE ADJACENT PAGE IS PART OF A MEANS TO VISUALISE THE CONDITION OF IDENTITY. THE PREMISE IS THAT IDENTITY MANIFESTS ITSELF FROM TWO ENVIRONMENTS, THAT IS THE EXTERNAL REALM OF FORMS AND THE INDIVIDUALS INNER STATE OF MIND. THE EXTERNAL REALM OF FORMS IS SOMETHING THAT THE INDIVIDUAL/WE HAVE NO CONTROL OVER. THE INNER CIRCLE HOWEVER IS DETERMINED BY HOW STRONGLY WE IDENTIFY OURSELVES IN CHARACTER OR QUALITIES. THE RELATIONSHIP ESTABLISHED BETWEEN THESE TWO SPHERES IS WHAT CREATES THESE IDENTITIES. THE MORE WE IDENTIFY OURSELVES WITH THE EXTERNAL EVNIRONMENT, THE MORE CONVOLUTED THE MATRIX BECOMES. IF WE REALISE THERE IS NO NEED TO IDENTIFY AND COME THE THE REVELATION THAT THERE IS NO IDENTITY, THE MATRIX BECOMES A VOID OF NOTHINGNESS.
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WEEK 2
I
BERLIN HISTORY
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WEEK 2
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BERLIN HISTORY
ITERATION 1.1
ITERATION 1.2
ITERATION 1.3
EXTERNAL: 50 INTERNAL: 12
EXTERNAL: 10 INTERNAL: 12
EXTERNAL: 20 INTERNAL: 12
ITERATION 2.1
ITERATION 2.2
ITERATION 2.3
EXTERNAL: 50 INTERNAL: 12
EXTERNAL: 10 INTERNAL: 12
EXTERNAL: 20 INTERNAL: 12
TOTAL INCLUSIVENESS
ITERATION 3.2
ITERATION 3.3
EXTERNAL: 10 INTERNAL: 0
EXTERNAL: 10 INTERNAL: 2
EXTERNAL: 20 INTERNAL: 2
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WEEK 2
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BERLIN HISTORY
ITERATION 1.4
ITERATION 1.5
ITERATION 1.6
EXTERNAL: 30 INTERNAL: 12
EXTERNAL: 40 INTERNAL: 12
EXTERNAL: 50 INTERNAL: 12
ITERATION 2.4
ITERATION 2.5
ITERATION 2.6
EXTERNAL: 30 INTERNAL: 12
EXTERNAL: 40 INTERNAL: 12
EXTERNAL: 50 INTERNAL: 12
ITERATION 3.4
ITERATION 3.5
ITERATION 3.6
EXTERNAL: 30 INTERNAL: 2
EXTERNAL: 40 INTERNAL: 2
EXTERNAL: 50 INTERNAL: 2
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WEEK 2
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BERLIN HISTORY
SCALE AT 1
SCALE AT 100
SCALE AT 1000
SCALE AT 10000
SCALE AT 1000000
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WEEK 2
I
BERLIN HISTORY
DESIGN JOURNAL
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WEEK 2
I
BERLIN HISTORY
DESIGN JOURNAL
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WEEK 2
I
BERLIN HISTORY
DESIGN JOURNAL
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WEEK 2
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BERLIN HISTORY
VARIOUS CONFIGURATIONS OF SEATS, BENCHES AND TABLES CAN BE ARRANGED TO PROVIDE FLEXIBILITY IN THE ARRANGEMENT.
PUBLIC SEATING AND PUBLIC STAGE
SQUATTING CABINS CAN BE SET UP BY THE HOMELESS TO STAY. THESE NODES CAN BE A SOURCE OF ACTIVITY FOR REFUGEES AND SQUATTERS IN THE CITY.
SQUATTING CABIN
NODES CAN BE TRANSFORMED INTO VERTIAL GREEN WALLS AND GARDENS FOR THE COMMUNITY TO PLANT THEIR OWN PLANTS AND FOOD.
CAFES CAN BE SET UP AT ANY SPCIFIC NODE. CAFE OWNERS CAN PATENT THEIR OWN PLAN AND CONFIGURATION SO THAT THEY CAN SHIFT BETWEEN NODES Across THE CITY.
COMMUNITY GARDEN
SMALL COMMUNITY LIBRARIES WHERE BOOKS ARE DONATED OR EXCHANGED CAN BE ESTABLISHED. THE STRUCTURE CAN BE MODIFIED SO THAT IT BECOMES WEATHERPROOF TO SHELTER AND PROTECT THE BOOKS FROM RAIN.
COMMUNITY LIBRARY
POP-UP CAFE
LARGER PROGRAMS SUCH AS MARKETS CAN BE SET UP. ADDITIONAL ELEMENTS MAY BE REQUESTIED BY THE COUNCIL FOR EVENTS SUCH AS THESE SO THAT LARGER STRUCTURES CAN BE ERECTED.
COMMUNITY MARKET
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WEEK 2
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BERLIN HISTORY
“... Enlightenment Architecture is consistent with the new ideological role it had assumed. In order to become part of the structure of the bourgeois city, architecture had to REDIMENSION itself, dissolving into the uniformity ensured by preconstituted formal systems” - Manfredo Tafuri
“Order must reign but in a kind of confusion...’and from a multitude of regular parts the whole must give a certain idea of irregularity and chaos, which is so fitting to great cities” - Milizia
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ITERATION 1.1
EXTERNAL: 50 INTERNAL: 20
EXTERNAL: 50 INTERNAL: 12
ITERATION 2
ITERATION 3
EXTERNAL: 50 INTERNAL: 2
ARCHITECTURE OF SCALE Through my investigations and exploration of inclusion/exclusion, I deduced that “scale” was the only means in which I could converse about identity through a means of formal expression.
THE BIG VOID
ITERATION 3
VISTA OF LIGHT EXTERNAL: 40 INTERNAL: 20
EXTERNAL: 40 INTERNAL: 12
SCALE at 1000000
As we decrease the resolution of focus, the notion of being excluded ceases to exist.
16000
ITERATION 1.2
ITERATION 2
SCALE at 10000
EXTERNAL: 40 INTERNAL: 2
OBSERVATORY PLATFORM ITERATION 1.3
ITERATION 2
ITERATION 3
LIFT UP
EXTERNAL: 30 INTERNAL: 12
ITERATION 1.4
ITERATION 2
EXTERNAL: 20 INTERNAL: 20
EXTERNAL: 20 INTERNAL: 12
ITERATION 1.5
ITERATION 2.5
EXTERNAL: 30 INTERNAL: 2
ITERATION 3
EXTERNAL: 20 INTERNAL: 2
Only one person at any given time is to go up onto the patform. Once up there, the person diminishes and becomes the “subject”. They feel empowered with height and vistas of the city but yet succumb to nervousness as they become the centre of attention.
SCALE at 1000
75000
EXTERNAL: 30 INTERNAL: 20
TOWER OF SCALE The tower of scale is a space which interrogates how scale and its perception of it is received its visitors.
SCALE at 100
ITERATION 3.5
LIFT DOWN
EXTERNAL: 10 INTERNAL: 20
EXTERNAL: 10 INTERNAL: 12
ITERATION 1.6
ITERATION 2.6
From above, the crowd becomes the mob, however, as one of the many down below, one loses their identity amidst the mass of bodies. This dialogue between the sovereign and the subject becomes indistinguishable thus commenting that scale is simply a matter of perspective and becomes irrelevant as the scale approaches infinity.
EXTERNAL: 10 INTERNAL: 2
ENTRANCE TOTAL INCLUSIVENESS
SCALE at 1 LOBBY/GROUND FLOOR
EXTERNAL: 0 INTERNAL: 20
EXTERNAL: 50 INTERNAL: 12
EXTERNAL: 0 INTERNAL: 0
DIAGRAM - SOCIAL EXPERIMENT WITH SCALE
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NODE OF OPPORTUNITY. DEVELOPMENT. EXHANGE NODE
PLANTER BOXES
COUNTER TOP STORAGE AND BAR TABLE
THE NODE WAS IMAGINED AND DESIGNED FROM THE NEED TO PROVIDE USERS WITH ACCESS TO BASIC AMENITIES, SERVICES AND INFRASTRUCTURE. THE NODE IS REFERRED TO AS AN URBAN TOOLKIT TO BE USED TO FOSTER BETTER COMMUNAL ACTIVITIES AND INTERACTIONS AS WELL AS ACTIVATE SPACES AND VOIDS WITHIN AN URBAN ENVIRONMENT. THE NODE ALSO SERVES A FRAMEWORK FOR BUSINESSES, IDEAS AND EVENTS WHICH MAY BE TRANSLATED ACROSS THE CITY WHERE OTHER NODES ARE LOCATED, THUS ACTING AS A DIGITAL ANCHOR IN THE BUILT ENVIRONMENT. WE OFTEN THINK TOO BIG AND TRY TO REALISE CHANGE IN THE GRANDEST OF SCALES. PERHAPS IT IS TIME TO INCREASE THE SCALE OF RESOLUTION AND LOOK AT SPACES AND HOW THE SMALLEST URBAN INTERVENTION MIGHT SPARK A BIG CHANGE.
CASCADING PLANTER BOXES
LOWER COUNTER
COMMUNITY GARDEN
m
0m
SERVES AS A STREET LIGHT AND POINT OF REFERENCE FOR PEDESTRIANS,
POP-UP CAFE
LOWER COUNTER
30
300mm
NODE
NODE MODULE THE STANDARD NODE MODULE IS A 300x300 CUBE. THE DIMENSIONS CAN BE MODIFIED ACCORDING TO THE USERS NEEDS. THESE WILL HAVE TO BE ORDERED. EACH SIDE CAN BE CUSTOMISED WITH PANELS FROM A WIDE RANGE OF MATERIALS AND DESIGNS.
VARYING LENGTHS OF ELEMENTS CAN BE REQUESTED FROM NODE. THESE MAY HAVE TO BE BOUGHT BY THE USER.
SERVES AS A WIFI HOTSPOT WHICH INVITES PASSERBYS AND OTHER USERS TO ENGAGE WITH THE NODE.
NODE
NODE
POTENTIAL FOR LIGHTS TO BE INSTALLED
PLATFORM BENCHES
CONTAINS POWER SOCKETS THAT MAY BE USED FOR STORES, BARS ETC. CAN ALSO BE RENTED TO CHARGE MOBILE PHONE DEVICES.
SEATING BENCH
THE NODE AND THE SERVICES/ INFRASTRUCTURE IT PROVIDES IS RENTED. A PANEL ALLOWS THE USER TO USE THE VARIOUS SERVICES AT A MINIMAL COST.
STANDARD SEATS BOOK SHELVES
NODE CONNECTORS SIMPLE DESIGN WHICH USERS ARE TO TWIST AND LOCK THE ELEMENTS TO ONE ANOTHER.
TABLES
PUBLIC SEATING - PERFORMANCE
COMMUNITY LIBRARY
NODE RIG FOR LIGHTING
RAIL SYSTEM FOR WATERPROOFING COVER TO BE INSTALLED
NODE
SHELVES
CONNECTORS AND NODE ELEMENTS ARE STORED AT THE BASE OF THE NODE AND CAN BE RETRIEVED ONCE THE SERVICE IS RENTED. ADDITIONAL ELEMENTS OR SPECIALISED EXTENSIONS CAN BE ORDERED AND DELIVERED FOR USE.
STORAGE SPACE
STORE STANDS
SLEEPING CABIN
SQUATTING CABINS
COMMUNITY MARKET
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WEEK 3 K U LT U R F O R U M
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WEEK 3
I K U L T U R F O R U M
KULTURFORUM RESEARCH
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WEEK 3
I K U L T U R F O R U M
BERLIN STATE LIBRARY
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HANS SCHAROUN
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WEEK 3
I K U L T U R F O R U M
DESIGN JOURNAL
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WEEK 3
I K U L T U R F O R U M
CONDITION 1
IN LIGHT OF INCLUSION/EXCLUSION CONDITION 10
THE DIAGRAM MAPS OUT THE ANALYSIS OF LIGHT AND ITS ABILITY TO CONJURE EXPERIENCES OF INCLUSIVENESS AND EXCLUSIVENESS. THE CONDITIONS WERE SET AS SUCH THAT TWO MOMENTS ARE REQUIRED TO DETERMINE WHETHER THE VIEWER OR THE VIEWED IS IN A STATE OF BEING INCLUDED OR EXCLUDED. THE CONDITIONS ARE ALSO CATEGORISED INTO 3 AREAS:
CONDITION 2
1. THE PERCEIVERS PERCEPTION OF WHETHER THEY ARE INCLUDED OR EXCLUDED. 2. THE PHYSICAL DIFFERENCE OR SIMILAR CONDITION IN WHICH TWO SPACES ARE IN LIGHT OR DARKNESS. 3. THE SIMPLE STATE IN WHICH A SPACE IS LIT OR IN DARKNESS.
CONDITION 9
THE DIAGRAM MAPS THE 10 CONDITIONS IN WHICH THE COLOURS EXPLAIN THE LEVEL OF INCLUSIVENESS OR EXCLUSIVENESS OF THAT PARTICULAR EXPERIENCE.
CONDITION 3
CONDITION 8 CONDITION 4
CONDITION 7 CONDITION 5
CONDITION 6
VISIBLE
“INVISIBLE”
LIGHT
DARK
MENTAL
RELATIONSHIP
LIGHT/DARK
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WEEK 3
I K U L T U R F O R U M
PLAN - TUNNELS AND CHAMBERS
SITE PLAN - KULTURFORUM
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WEEK 3
I K U L T U R F O R U M
AN INTERVENTION OF LIGHT THE ARCHITECTURAL PROPOSITION HERE IS A STRUCTURE THAT CONTAINS A CHAMBER AND A SERIES OF CORRIDORS WHICH HAVE BEEN DESIGNED TO TEST THE TEN CONDITIONS OF LIGHT THAT WAS PREVIOUSLY EXLPLORED. THE MAIN CHAMBER WHICH IS LOCATED UNDERGROUND IS ACCESSED VIA A SERIES OF TUNNELS. THE TUNNELS CROSS THE SITE AND ARE MEANT TO DISORIENTATE THE VISITOR SO THAT WHEN THEY ENTER THE CHAMBER THEY ARE COMPLETELY UNAWARE OF THEIR LOCALITY IN RELATION TO THE GROUND ABOVE. THE CHAMBER IS VERY DARK AND ONLY HAS RAYS OF LIGHT WHICH PENETRATE FROM THE SKYLIGHTS ABOVE. AS PEOPLE BEGIN TO POPULATE THE CHAMBER, SILHOUETTES APPEAR AND DISAPPEAR AS BODIES COME IN AND OUT OF THE LIGHT. THE TWO CORRIDORS ABOVE THE THE CHAMBER EVOKES A SIMILAR EXPERIENCE BUT IS HOWEVER MORE VISUAL AND INTIMATE IN THE SENSE THAT VISITORS CONFRONT EACH OTHER THROUGH A SERIES OF WINDOWS. THESE WINDOWS ARE SET UP IN A WAY THAT THE VISITOR MAY BE IN LIGHT OR DARKNESS.
LONG SECTION
SHORT SECTION
AXONOMETRIC OF CHAMBER
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WEEK 3
I K U L T U R F O R U M
PERSPECTIVE RENDERS INSPIRED BY PETER ZUMTHORS ATMOSPHERIC RENDERS OF LIGHT, THESE IMAGES DEPICT THE SPATIAL QUALITIES OF A CHAMBER WITH LIGHT ONLY BEING PENETRATED FROM SKYLIGHTS AND DOORWAYS. THIS SPACE EMBODIES THE 10 CONDITIONS THAT WERE HYPOTHESISED IN THE ANALYSIS SEEN ON THE PREVIOUS PAGES.
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WEEK 3
I K U L T U R F O R U M
SAMPLES OF EXPERIENCES AND CONDITIONS OF LIGHTNESS AND DARKNESS
PERSON VIEWING A DARK SPACE FROM A POSITION OF LIGHT
PERSON VIEWING A DARK SPACE WHILST IN DARKNESS
WHEN A PERSON ENCOUNTERS ANOTHER BODY IN LIGHT
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ENTRANCES
TRENCH TRENCH STAIRS
STAIR WALLS
PERSPECTIVE
SKYLIGHT SKYLIGHT
MAIN HALL TUNNEL ENTRANCES
EXPLODED PERSPECTIVE
LONG SECTION
MAIN HALL SHORT SECTION
PLAN
SITE PLAN
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CONDITION 1
INCLUDED - INCLUDED
CONDITION 1 CONDITION 10
INCLUDED - INCLUDED
CONDITION 2
EXCLUDED - EXLUDED
EXCLUDED - INCLUDED
CONDITION 2
EXLUDED - EXCLUDED EXLUDED - INCLUDED
EXCLUDED - EXCLUDED
CONDITION 3
INCLUDED - INCLUDED
CONDITION 9
INCLUDED - INCLUDED
EXCLUDED - EXCLUDED
CONDITION 4
CONDITION 3
EXCLUDED - EXCLUDED INCLUDED - EXCLUDED
EXCLUDED - EXCLUDED
CONDITION 5
EXCLUDED - EXCLUDED INCLUDED - EXCLUDED
INCLUDED - INCLUDED
CONDITION 6
INCLUDED - INCLUDED
CONDITION 8
EXCLUDED - INCLUDED
EXLUDED - EXCLUDED
CONDITION 7
CONDITION 4
INCLUDED - INCLUDED INCLUDED - INCLUDED
EXLUDED - INCLUDED
CONDITION 8
EXCLUDED - EXCLUDED INCLUDED - INCLUDED
INCLUDED - INCLUDED
CONDITION 9 CONDITION 7 CONDITION 5
INCLUDED - INCLUDED INCLUDED - INCLUDED
EXCLUDED - EXCLUDED
CONDITION 10 CONDITION 6
INCLUDED - INCLUDED INCLUDED - INCLUDED
VISIBLE
“INVISIBLE”
LIGHT
DARK
MENTAL
RELATIONSHIP
LIGHT/DARK
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WEEK 4 BERLIN IN FILM
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WEEK 4
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BERLIN IN FILM
DESIGN JOURNAL
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WEEK 4
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BERLIN IN FILM
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WEEK 4
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BERLIN IN FILM
1. THE SCENE IS SET FOR A METROPOLIS IN THE FUTURE.
2. ROTWANG REVEALS HIS LATEST INVENTION TO FREDERSEN (THE CITY’S MASTER).
3. FREDER (FREDERSON’S SON) MEETS MARIA AND IS FASCINATED WITH HER AGENDA TO SAVE AND PROTECT THE CHILDREN OF METROPOLIS.
4. BENEATH THE BUSTLING CITY, A GIANT MACHINE IS OPERATED BY AN ARMY OF SLAVES. THE CITY DEPENDS ON IT.
5. ROTWANG UNLEASHES HIS INVENTION TO SUPRESS THE UPRISING REBELS LED BY FREDER AND MARIA.
6. THE MACHINE IS DESTROYED BY THE SLAVES BUT THEY EVENTUALLY DISCOVER THAT THE METROPOLIS AND WORLD AND LIVE IN COLLAPSES WITHOUT IT.
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WEEK 4
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BERLIN IN FILM
DESIGN JOURNAL
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WEEK 4
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BERLIN IN FILM
LINE DRAWING OF COGS AND THE MACHINE
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WEEK 4
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BERLIN IN FILM
DEPENDECY MAN | MACHINE
- A machine’s function determines its value, novelty and virtue. -
“Between the brain that plans and the hands that build, these must be a mediator. It is the heart that must bring about an understanding between them” - Maria -
DEPENDENCY + IGNORANCE = MACHINE (OF PARTS)
(CONSCIOUSNESS)
DEPENDENCY + WISDOM = MAN (PURPOSE)
(CONSCIOUSNESS) (KNOWLDDGE)
55
WEEK 4
I
BERLIN IN FILM
ARCHITECTURE AS MACHINE DRAWING INSPIRATION FROM FRITZ LANG’S METROPOLIS, THE DESIGN THIS WEEK EXPLORES THE RELATIONSHIP BETWEEN THE USER AND THE BUILDING IN THE WAY THAT WE MIGHT OPERATE IT. THE FORM AND PLANNING OF THE GALLERY TAKES FROM MIES’ NEUE NATIONALEGALERIE, HOWEVER, IT HAS THE AESTHETIC OF A MACHINE IN THAT ITS SERVICES ARE MECHANICAL AND REQUIRE THE USER TO OEPRATE THEM. THE DOORS, WALL PANELS AND WINDOWS MAY ALL BE OPERATED BY LEVERS, WHEELS OR PULLEYS. I HAVE CHOSEN TO DEVELOP SUCH A DESIGN TO COMMENT ON THE WAY IN WHICH WE HAVE RELIED TOO MUCH ON TECHNOLOGY TO CONTROL ASPECTS OF OUR LIVES. AS SUCH IT HAS BECOME DETRIMENTAL IN THE WAY THAT WE HAVE REGARDED ARCHITECTURE AND DESIGN. THE RELATIONSHIP BETWEEN THE USER AND THE BUILDING MUST BE ONE THAT ALLOWS US TO UNDERSTAND HOW A BUILDING WORKS AND ALLOW US TO APPRECIATE ARCHITECTURE IN THAT WAY. THIS SENSE OF TRANSPARENCY, I BELIEVE IS DEMOCRATIC AND BECOMES ACCESSIBLE TO THE GREATER COMMUNITY.
56
WEEK 4
I
BERLIN IN FILM
SITE PLAN
57
WEEK 4
I
BERLIN IN FILM
ELEVATION
SECTION DETAIL
SECTION
SECTION DETAIL
ELEVATION
58
WEEK 4
I
BERLIN IN FILM
FLOOR PLAN
EXPLODED AXONOMETRIC
59
PHILHARMONIC
COUNTERWEIGHT STRUCTURAL FRAME
KUNSTGEWERBMUSEUM
COUNTERWEIGHTS INTERIROR PERSPECTIVE
BERLIN STATE LIBRARY
KUNSTBIBLIOTHEK
ROOF
ENTRANCE DOORWAYS
NEW NATIONAL GALLERY
INTERIROR PERSPECTIVE
SITE PLAN
VERTICAL EXTERNAL WALLS STRUCTURAL COLUMNS
GROUND FLOOR OPERABLE SLIDING WALLS
OPENED WALLS
LONG SECTION
CLOSED WALLS
SHORT SECTION
EAST ELEVATION
60
61
INTERIOR PERSPECTIVE
62
INTERIOR PERSPECTIVE
63
64
WEEK 5 C U LT U R E M A P
65
WEEK 5
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C U LT U R E M A P
EAST SIDE GALLERY THE EAST SIDE GALLERY IS A 1.3KM STRETCH OF THE REMAINS OF THE BERLIN WALL AND IS NOW COMMEMORATED AS A MEMORIAL OF FREEDOM. THE WALL CONSISTS OF OVER 105 PAINTINGS AND ART PIECES FROM BOTH LOCAL AND INTERNATIONAL ARTISTS. TODAY, IT IS CONSIDERED TO BE THE LARGEST AND LONGEST-LASTING OPEN AIR GALLERY IN THE WORLD WHICH DOCUMENTS AND EXPRESSES EUPHORIA AND FREEDOM. SINCE 1989, A NUMBER OF RESTORATION PROJECTS HAVE BEEN UNDERTAKEN TO RESTORE MANY OF THE SIGNIFICANT MURALS WHICH HAVE SINCE BEEN VANDALISED. THE GALLERY HAS BEEN PROTECTED BY THE ARTISTS AND INDIVIDUAL SPONSORS/SUPPORTERS. IT IS UNFORTUNATE THAT IT HAS BEEN BECOMING MORE AND MORE NEGLECTED AND FORGOTTEN. THE FINE LINE BETWEEN WHAT IS PUBLIC AND PRIVATE IS WHAT INTERESTS ME AND EVENTUALLY LED ME TO THE DEVELOPMENT OF MY CONCEPT FOR MY FINAL DESIGN PROPOSAL - CONVERSATION. THE EAST SIDE GALLERY SITS ON A FINE LINE BEING A PLACE THAT IS NEITHER OVERTLY CONTROLLED AND DICTATED SUCH AS A GOVERNMENT BUILDING OR IS IT TOTALLY DISREGARDED. THIS QUALITY PROVOKES CONVERSATION FROM THE PUBLIC AND THE COMMUNITY. CONVERSATION IS KEY HERE IN CREATING CULTURE AND I FEEL IS VITAL IN GENERATING A MORE INTEGRATED CITY THAT IS PARTICULARLY APPROPRIATE TO THE STUDIO’S THEME OF INCLUSION/EXCLUSION.
66
WEEK 5
I
C U LT U R E M A P
1.3KM M端hlenstrasse (Mill Street)
ESTABLISHED 1990
POSSIBLY THE LARGEST AND LONGEST-LASTING OPEN AIR GALLERY IN THE WORLD RESTORED SEVERAL TIMES - 2009 PROTECTED BY ARTISTS AND INDIVIDUAL SPONSORS
OVER 105 PAINTINGS EXPRESSES EUPHORIA AND FREEDOM
DAMAGED BY WEATHERING
67
WEEK 5
I
C U LT U R E M A P
68
WEEK 5
I
C U LT U R E M A P
69
WEEK 5
I
C U LT U R E M A P
ARCHITECTURE OF CONVERSATION - A DIAGRAM THAT MAPS CURATED VS PUBLIC ART
70
WEEK 5
I
C U LT U R E M A P
AXONOMETRIC LINE DRAWING OF STAIRS AS A POSSIBLE ARCHITECTURE FOR CONVERSATION TO OCCUR.
71
WEEK 5
I
C U LT U R E M A P
SOUTH ELEVATION - STAIRS FOR CONVERSATION
NORTH ELEVATION - STAIRS FOR CONVERSATION
72
WEEK 5
I
C U LT U R E M A P
THEATRE
CONVENTION HALL
ARTIST RESIDENCE
STAIRS AND SHAFTS
LIFTS AND SHAFTS
OPEN GALLERY
73
WEEK 5
I
C U LT U R E M A P
1.3KM M端hlenstrasse (Mill Street)
ESTABLISHED 1990
POSSIBLY THE LARGEST AND LONGEST-LASTING OPEN AIR GALLERY IN THE WORLD RESTORED SEVERAL TIMES - 2009 PROTECTED BY ARTISTS AND INDIVIDUAL SPONSORS
OVER 105 PAINTINGS EXPRESSES EUPHORIA AND FREEDOM
DAMAGED BY WEATHERING
74
HIGH ART
CONTROVERSIAL
DEGENERATE (SOCIAL)
POLICIES (GOVERNMENT)
WEATHERING (NATURE)
- HIGHLY CURATED - WELL MAINTAINED - PRIVATELY OWNED - ELISTIST - EXCLUSIVE - RARE
- CURATED - MAINTAINED - MOSTLY PRIVATELY OWNED - PAY TO VIEW - LIMITED/RARE
- SEMII PUBLIC/PRIVATE - SELDOM MAINTAINED - ACCESSIBLE - CONTROVERSIAL - COMMON - CONSTANTLY CHANGING
- PUBLIC - NO MAINTENANCE - UNRECOGNISABLE - DEGENERATE - DIRTY - UNPLEASANT
75
THEATRE
CONVENTION HALL
ARTIST RESIDENCE
STAIRS AND SHAFTS
CIRCULATION
GALLERY
AXIS OF INGRESS AND EGRESS FROM SITE TRUSS STRUCTURE STAIRS/RAMPS SKYLIGHTS FROM GALLERY BELOW MAIN ENTRY OPEN AIR GALLERY ST MATTHEW’S CHURCH
PERSPECTIVE/RENDER - PUBLIC SPACE
SITE PLAN | GROUND FLOOR
STAIRS/RAMP
UPPER FLOOR TO ACCESS MODULES
EAST ELEVATION
TO UPPER FLOORS
MODULAR WALLS SYSTEM
EXAMPLE OF GREEN WALL AND PUBLIC GARDEN SYSTEMS WEST ELEVATION
76
WEEK 5
I
C U LT U R E M A P
THE HEAVY, FLOATING OBJECT 1ST FLOOR GROUND FLOOR
SPACE | PLACE | VOID
THE STAIRS
THE ELEVATOR SHAFT
- TO THAT OTHER PLACE - INCLUSION/EXCLUSION - TAKES YOU PLACES
- NO ACCESS FROM THE STREET - EXCLUSIVE ARCHITECTURE
SYMBOLISM | DIAGRAM
SITE CONTEXT
ADDING PROGRAM
77
WEEK 6 MID SEMESTER INTERIM
78
WEEK 6
I
MID SEMESTER INTERIM
INCLUSION/EXCLUSION Our existential condition as human beings is constantly defined and redefined in a continuous state of flux. We Breathe. We Eat. We love. We hate. We feel. We live. We relate. We associate. We connect. We think. We do. We Exist. These are the traits that formulate the human psyche and determines our instinctive nature as well as humanistic desires. It is here and on this basis in which the conditions of inclusion and exclusion are fundamentally built upon. I use the term condition to describe inclusion and exclusion as it is to me a concept that is not deterministically bound by any specific form or idea but rather one that is subjectively constructed and constituted between the perceived and the perceiver. This middle ground. This state and sense of becoming.
REFLECTION Through the first 6 weeks of design esquisses and exercises, I explored a wide range of ideas which ranged from architectural scale, dependency and so on. However what really stuck with me and became useful were my interrogation of IDENTITY and SPACE. PLACE. VOID. 1. Identity is the way in which I explored inclusion and exclusion as a mental construct. The perspective of the perceiver and how it gives rise to whether we feel included or excluded. a. There are two conditions here – the inner identity of the self and the external environment. b. Illustrate simple parametric experiment defining the number of internal and external identities and how it gives rise to chaos. 2. Space. Place. Void. This area of exploration relates to the perceived and interrogates how the object/ architecture plays a role in formulating identities. Emphasise that I am not associating or valuing any space, place or void to have inclusive or exclusive characteristics. At this point I am merely exploring the idea as I believe that there is this duality in which architecture speaks about inclusion/exclusion. It was in week 5 when I was assigned to research the East Side Gallery that these two ideas started to come together. How? Well naturally art is a very pure form of individual expression that relates very well to identity and secondly it is manifested or created through a medium/form – usually in spaces.
79
WEEK 6
I
MID SEMESTER INTERIM
DESIG N B R I E F
KULTURFORUM = CULTURE + FORUM PROGRAM: TO DESIGN/CREATE A PLACE WHICH GENERATES BOTH PUBLIC AND PRIVATE INTERESTS, WHICH ENCOURAGES ACTIVE CONVERSATION AND DEVELOPMENT IN CULTURE (ARTS, CRAFT, MUSIC, LITERATURE, CULLINARY). AN INCLUSIVE PROGRAM THAT SOCIALLY, ECONOMICALLY AND POLITCALLY CHALLENGES THE CONVENTIONS OF CULTURAL PRACTICES IN THE FIELD OF THE DESIGN, ARTS AND CRAFT. ONE THAT CHALLENGES CAPITAL COMMODITIZATION AND THE INSTITUTIONALISATION OF THE ARTS. ONE THAT PROMOTES AND ENDORSES THE FREEDOM OF ARTISTIC EXPRESSION AND DESIGN INNOVATIVITY. “If the argument against institutionalisation in art is not to merge with the conservative defence of art as a minority culture of permanent values threatened by the masses and dumbing down, then it must engage with the specifics of the social system that art is gripped by in the process of institutionalisation.” - Dave Beech, 2006 “I don’t think it is the function of art to be pleasing. Art is not democratic. It is not for the people.” - Richard Serra
“the arts and other manifestations of human intellectual achievement regarded collectively.” “the ideas, customs, and social behaviour of a particular people or society.” Arts, Craft, Design, Cullinary, Music, Literature.
“a meeting or medium where ideas and views on a particular issue can be exchanged.” A space for open conversation and freedom of expression. A public community.
Local and International. Past and Present.
80
CULTURAL HUB PROGRAM (UNESCO) CREATIVE CITIES NETWORK
GOVERNMENT
BERLIN
Saint-Etienne
Helsinki
Nagoya
ART
Beijing
MUSIC
Graz
Artist/Designer’s Residency
Integrated Gallery
INNOVATION STOPS
Montreal
Curitiba
CRAFT
Seoul
Shenzhen
Bibao
CULLINARY
Design/ Cultural Archive
Artist/Designer Studio
THE ARKHIVE
Buenos Aires
LITERATURE
Shanghai
GLOBAL MOBILITY
VISION & OBJECTIVES
ARTISTIC CURRENCY
CULTURAL EXCHANGE
THREAT
UTOPIA & DYSTOPIA
CHECK & BALANCE
CORPORATISATION
CAPITALIST REFORMATION FREEDOM OF ARTISTIC EXPRESSION
NETWORKING
GLOBAL EXCHANGE
ECONOMY
DEMOCRACY
INTELLECTUAL & INFORMATINAL CAPITAL
WAR
CONFLICT
COLLAPSE OF GOVERNMENT
81
V
WEEK 6
I
MID SEMESTER INTERIM VOID SPACE PLACE PLACE
PLACE VOID
SPACE
- A continuous expanse which is free, available or unoccupied.
PLACE
SPACE
PLACE
- Place is a space that has meaning and value to someone.
- Void is a vacuum. - In between space and place.
- Dimensions of height, depth and width within which all things exist and move.
- Place is an extension of space through cultural, social, bilogical value.
- A position at a distance from which one measure from.
- A field of Humanistic Geography
- Does not have a proram or function. - The fabric in which space and place are created from.
- It is multilayered and subjective. -It is one dimensional and is only a physica location. - it is bound by time. - Suggests movement of COMING and GOING.
- Has no spcific boundary. - It is created when the physical attributes, emotional connections and psychological perceptions are combined to impact individual meaning and value.
- Ambiguous.
- It has both OBJECTIVE and SUBJECTIVE qualities.
- Possesses only OBJECTIVE qualities.
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WEEK 6
I
MID SEMESTER INTERIM
ELEVATION
EXPLODED ISOMETRIC
83
WEEK 6
I
MID SEMESTER INTERIM
VECTOR LINEWORK - SPACE PLACE VOID
84
WEEK 6
I
MID SEMESTER INTERIM
DESIGN JOURNAL
85
CO-ORDINATES
LOCATION
TIME
MOVEMENT
BOUNDARY
EMOTIONS
IDENTITY
MEMORY 86
SPACE
PLACE
VOID
PLACE
SPACE
PLACE
VOID SPACE
SPACE
CO-ORDINATES
PLACE
LOCATION
VOID
VOID
TIME
MOVEMENT
BOUNDARY
EMOTIONS
IDENTITY
MEMORY
87
WEEK 6
I
MID SEMESTER INTERIM
ELEVATION
SECTION
SECTION
88
WEEK 6
I
MID SEMESTER INTERIM
SECTION
FACADE
89
WEEK 6
I
MID SEMESTER INTERIM
AXONOMETRIC
AXONOMETRIC
90
WEEK 6
I
MID SEMESTER INTERIM
91
WEEK 6
I
MID SEMESTER INTERIM
SITE PLAN
92
ARK HIVE SECTION
CIRCULATION
SOUTH EEVATION
SITE PLAN
CRANE STRUCTURE
EAST ELEVATION
ARK HIVE GROUND FLOOR
LOWER LEVELS
CRANE STRUCTURE
EXPLODED AXONOMETRIC
AERIAL PERSPECTIVE
GROUND FLOOR PLAN
93
COMMUNITY SPACE
ARTIST STUDIO
CUSTOMISABLE MODULAR INSERTIONS
MUSICIOAN/RECORDING STUDIO
SUPER STRUCTURE
FLOOR OPENINGS COMMUNITY GARDEN MODULE
DESIGN STUDIO
SECTION - MODULE CONFIGURATION
SINGLE MODULE LITERATURE
SUPERSTRUCTURE
DESIGN STUDIO
CRANE STRUCTURE
2 GRID MODULAR EXTENSION
3 GRID MODULAR EXPANSION
MODULAR INSERTIONS
12M MOAT TO SERVICE LOWER MODULES
CRANE INSTALLS/REMOVES MODULES FACADE POPULATION - MODULES
94
ARTIST STUDIO
CEILING CAVITY FOR SERVICES
SINGLE STUDIO - POET, WRITER, JOURNALIST
SUPER STRUCTURE
CIRCULATION
MULTI DORMITORY RESIDENCE
TOILETS
PANTRY
PERFORATED CORRIDOR
95
96
WEEK 7 - 8
BERLIN 14.09.15 - 4.10.15
97
WEEK 7 - 8
I
BERLIN ANCB
DESIGN JOURNAL
98
WEEK 7 - 8
I
BERLIN ANCB
DESIGN JOURNAL
99
WEEK 7 - 8
I
BERLIN ANCB
D E SIG N BR I E F
KULTURFORUM = CULTURE + FORUM
MAIN SITE ISSUES OBSERVED 1. VEHICULAR TRAFFIC DISRUPTING SITE LEGIBILITY.
“the arts and other manifestations of human intellectual achievement regarded collectively.”
“a meeting or medium where ideas and views on a particular issue can be exchanged.”
“the ideas, customs, and social behaviour of a particular people or society.”
A space for open conversation and freedom of expression.
Arts, Craft, Design, Cullinary, Music, Literature.
A public community.
2. A LACK OF VISUAL CONNECTIVITY. 3. INCONSISTENT SITE LEVELS 4. CAR PARKING IMPEDING ON SITE PHYSICAL CONNECTIVITY
Local and International. Past and Present.
DESIGN OBJECTIVE TO GENERATE CONVERSATION 100
KEY DESIGN STRATEGIES 1. IMPROVE SITE LEGIBILITY BY REMOVING/REDUCING VEHICULAR TRAFFIC 2. INTRODUCING LANDSCAPE TO IMPROVE VISUAL CONNECTIVITY 3. SINKING POSTDAMER STRASSE 4. RELOCATING CAR PARK TO THE LOWER LEVELS OF THE BUILDING COMPLEX
PROPOSED CAR PARK ENTRANCE
D. E.
A.
B.
C.
CONNECTION TO POSTDAMER PLATZ
REROUTING TRAFFIC IN RESPONSE TO POSTDAMER STRASSE SINKING OF POSTDAMER STRASSE
LEGEND A. ANCB BLOCK B. ARTIST/DESIGN RESIDENCE C. CAFE (F&B) D. STUDIOS E. GALLERY
PROPOSED DESIGN - ANCB METROPOLITAN DESIGN LAB - ART GALLERY - BLACK BOX THEATRE - DESIGN/ARTIST RESIDENCE
101
WEEK 7 - 8
I
BERLIN ANCB
MODES OF GENERATING CONVERSATION -
CROSS SITE LINKAGE BETWEEN F&B
CROSS SITE LINKAGE BETWEEN RESIDENCE AND DESIGN STUDIOS
VOID OF CONVERSATION AS THE CENTRAL CIRCULATION BETWEEN ALL PROGRAMS
PROGRAM | CIRCULATION | RELATIONSHIP F&B GALLERY
CORRIDORS OF CONVERSATION
FULL PROGRAM & CIRCULATION
ARTIST/DESIGN RESIDENCES
BLACK BOX THEATRE
SPACES OF CONVERSATION -
VOID OF CONVERSTAION OPEN AMPHITEATRE
CORRIDOR OF CONVERSATION
RESIDENCE AND COURTYARD
ROOFTOP LANDSCAPE
102
LEGEND 1. VOID OF CONVERSATION 2. BLACKBOX THEATRE 3. F&B OPEN AREA 4. RESIDENCE BLOCK 5. ANCB BLOCK 6. OPEN AMPHITEATRE 7. STUDIO COURTYARDS 8. ST. MATTHEW FORECOURT
7.
PEDESTRIAN AND CYCLIST ROUTE
1.
8.
3.
2.
6.
5.
SITE PLAN - 1:1000
4.
CONNECTION TO NEW NATIONALE GALLERY
103
WEEK 7 - 8
I
BERLIN ANCB
DESIGN JOURNAL
104
WEEK 7 - 8
I
BERLIN ANCB
DESIGN JOURNAL
105
106
WEEK 9 -10 K U LT U R F O R U M A SITE FOR CONVERSATION BERLIN FINAL CRIT 02.10.15
107
7.
1.
6. 5. 2.
3.
4.
KULTURFORUM BUILDINGS 1. BERLIN PHILHARMONIE 2. BERLIN STATE LIBRARY 3. NEUE NATIONALE GALERIE 4. WISSENSCHAFTSZENTRUM
5. KUNSTBIBLIOTHEK 6. GEMALDEGALERIE 7. KUNSTGEWERBEMUSEUM 8 ST MATTHEW’S CHURCH
FRAGMENTED SITE
SITES OF CONCERN
- VEHICULAR AND TRAFFIC OBSTRUCTIONS - SITE LEVEL INCONSISTENCIES - VISUAL OBSTRUCTIONS
- OPEN CAR PARKS DISRUPT THE SITE’S LEGIBILITY - FRONT OF STATE LIBRRAY IN BAD CONDITION - OVERALL NON COHESIVE
NEW PLANNING PROPOSITION
A SINGLE LANDMASS
A LEVELED SITE
1. SINK POSTDAMER STRASSE 2. REROUTE TRAFFIC ROUTES 3. ELIMINATE VEHICULAR ACCESS TO SITE
- PHYSICALLY CONENCTED SITE - PEDESTRIAN AND CYCLIST ACCESS ONLY
- LEVEL INCONSISTENCIES RESOLVED - PUBLIC SPACE AND COURTYARD CREATED - COHERENT AND LEGIBLE SITE
108
THE COURTYARD
CROSS-SITE LINKAGE
A.
A.
A.
B.
B. E.
1. CROSS-SITE LINKAGE AND MOVEMENT
2. AN INCLUSIVE SPACE
F.
B.
D.
THE LANDSCAPE
4. A BUILDING TYPOLOGY FOR CONVERSATION
5. PERMITTANCE OF NATURAL LIGHT
6. PUBLIC AND PRIVATE SPACES
D.
E. C.
3. FLEXIBLE PROGRAMMING
E. C.
D.
A. BERLIN PHILHARMONIE B. STATE LIBRARY C. NEUE NATIONALEGALERIE D. ST MATTHEW’S E. GEMALDEGALERIE
A. TIER GARDEN B. POSTDAMER PLATZ C. SPREE RIVER D. NEUE NATIONALEGALERIE E. WISSENSCHAFTSZENTRUM
A. STUDIO B. CAFE C. PUBLIC THEATRE D. GALLERY E. BLACK BOX THEATRE F. ANCB
1. LINKING THE EXISTING KULTURFORUM BUILDINGS. TWO MAJOR AXES GENERATED FROM GREATEST SPANNING DISTANCES.
2. DETERMINANT AXES VIA TRAFFIC ANALYSIS AND OBSERVATIONS
3. DESIGN PROGRAMMING LOGIC AND RESULTANT AXES OF CONVERSATION.
OPENESS PHYSICAL CONNECTION HAN SCHAROUN PLAN (LANDSCAPE) VISUAL CONNECTIVITY
109
W E E K 9 - 1 0 I
BERLIN ANCB
LANDSCAPE PROPOSAL - MASTER PLAN 110
W E E K 9 - 1 0 I
BERLIN ANCB
OPENESS PHYSICAL CONNECTION HANS SCHAURON PLAN (LANDSCAPE) VISUAL CONNECTIVITY
THE LANDSCAPE STRATEGY 111
W E E K 9 - 1 0 I
BERLIN ANCB
112
W E E K 9 - 1 0 I
BERLIN ANCB
113
W E E K 9 - 1 0 I
BERLIN ANCB
SITE PLAN - DESIGN PROPOSAL 114
W E E K 9 - 1 0 I
BERLIN ANCB
LEGEND 1. VOID 2. STUDIO COURTYARD 3. CAFE 4. RESIDENCES 5. OPEN THEATRE 6. OPEN GALLERY 7. GALLERY CAFE 8. CORRIDOR
2. 3.
8. 7.
1.
6.
4. 5.
FIRST FLOOR PLAN | 1:500
115
W E E K 9 - 1 0 I
BERLIN ANCB
LEGEND 1. VOID 2. GALLERY 3. GALLERY CAFE 4. BLACK BOX THEATRE 5. BLACK BOX LOBBY 6. OPEN GALLERY 7. ANCB LOBBY 8. CAFE 9. RESIDENCES
8.
7.
1. 7.
6.
4.
5.
2. 7. 9.
GROUND FLOOR PLAN | 1:500
116
W E E K 9 - 1 0 I
BERLIN ANCB
LEGEND 1. VOID 2. GALLERY 3. GALLERY SHOP 4. BLACK BOX THEATRE 5. BACK OF HOUSE 6. STUDIO 7. CORRIDOR
6.
3.
1.
7.
4.
5.
2.
BASEMENT PLAN | 1:500
117
W E E K 9 - 1 0 I
LONG SECTION
BERLIN ANCB
118
W E E K 9 - 1 0 I
SHORT SECTION
BERLIN ANCB
119
W E E K 9 - 1 0 I
BERLIN ANCB
AXONOMETRIC DIAGRAM - PROGRAM
120
W E E K 9 - 1 0 I
BERLIN ANCB
AXONOMETRIC DIAGRAM - DESIGN STRATEGY
121
W E E K 9 - 1 0 I
BERLIN ANCB
122
PERSPECTIVE - VOID
123
PERSPECTIVE - CORRIDOR
124
WEEK 11 - 14 MSD FINAL PRESENTATION 06.11.15
125
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
126
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
BERLIN’S ACTIVE CORRIDORS
BERLIN AS AN ARCHIPELAGO
BERLIN’S TENEMENT TYPOLOGY
BERLIN AS A LANDSCAPE 127
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
BERLIN URBAN SITE ANALYSIS 128
7.
1.
6. 5. 2.
3.
4.
KULTURFORUM BUILDINGS -
FRAGMENTED SITE
SITES OF CONCERN
- VEHICULAR AND TRAFFIC OBSTRUCTIONS - SITE LEVEL INCONSISTENCIES - VISUAL OBSTRUCTIONS
- OPEN CAR PARKS DISRUPT THE SITE’S LEGIBILITY - FRONT OF STATE LIBRRAY IN BAD CONDITION - OVERALL NON COHESIVE
NEW PLANNING PROPOSITION
A SINGLE LANDMASS
A LEVELED SITE
1. SINK POSTDAMER STRASSE 2. REROUTE TRAFFIC ROUTES 3. ELIMINATE VEHICULAR ACCESS TO SITE
- PHYSICALLY CONENCTED SITE - PEDESTRIAN AND CYCLIST ACCESS ONLY
- LEVEL INCONSISTENCIES RESOLVED - PUBLIC SPACE AND COURTYARD CREATED - COHERENT AND LEGIBLE SITE
1. BERLIN PHILHARMONIE 2. BERLIN STATE LIBRARY 3. NEUE NATIONALE GALERIE 4. WISSENSCHAFTSZENTRUM
5. KUNSTBIBLIOTHEK 6. GEMALDEGALERIE 7. KUNSTGEWERBEMUSEUM 8 ST MATTHEW’S CHURCH
129
THE COURTYARD
CROSS-SITE LINKAGE
A.
A.
A.
B.
B. E.
1. CROSS-SITE LINKAGE AND MOVEMENT
2. AN INCLUSIVE SPACE
F.
B.
D.
THE LANDSCAPE
4. A BUILDING TYPOLOGY FOR CONVERSATION
5. PERMITTANCE OF NATURAL LIGHT
6. PUBLIC AND PRIVATE SPACES
D.
E. C.
3. FLEXIBLE PROGRAMMING
E. C.
D.
A. BERLIN PHILHARMONIE B. STATE LIBRARY C. NEUE NATIONALEGALERIE D. ST MATTHEW’S E. GEMALDEGALERIE
A. TIER GARDEN B. POSTDAMER PLATZ C. SPREE RIVER D. NEUE NATIONALEGALERIE E. WISSENSCHAFTSZENTRUM
A. STUDIO B. CAFE C. PUBLIC THEATRE D. GALLERY E. BLACK BOX THEATRE F. ANCB
1. LINKING THE EXISTING KULTURFORUM BUILDINGS. TWO MAJOR AXES GENERATED FROM GREATEST SPANNING DISTANCES.
2. DETERMINANT AXES VIA TRAFFIC ANALYSIS AND OBSERVATIONS
3. DESIGN PROGRAMMING LOGIC AND RESULTANT AXES OF CONVERSATION.
OPENESS PHYSICAL CONNECTION HAN SCHAROUN PLAN (LANDSCAPE) VISUAL CONNECTIVITY
130
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
DESIGN STRATEGY - CORRIDORS
DESIGN STRATEGY - BUILDING INTERFACE
DESIGN STRATEGY - LANDSCAPE
DESIGN STRATEGY - RESPONDING TO THE CONTEXT 131
132
EXPLODED AXONOMETRIC
133
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
SITE PLAN LINEWORK 134
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
SITE PLAN 135
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
EXPLODED ISOMETRIC - PROGRAM 136
137
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
SHORT SECTION
LONG SECTION 138
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
139
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
140
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
141
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
FLOOR PLANS - LINEWORK 142
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
143
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
SECTIONAL PERSPECTIVE - LINEWORK
144
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
145
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
PERSPECTIVE - FROM STATE LIBRARY
146
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
PERSPECTIVE - ST MATTHEW’S FORECOURT
147
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
PERSPECTIVE - BLACK BOX THEATRE (VIEWING GALLERY)
148
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
PERSPECTIVE - VOID OF CONVERSATION
149
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
PERSPECTIVE - BLACK BOX THEATRE (IN SESSION)
150
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
PERSPECTIVE - CORRIDOR OF CONVERSATION
151
WEEK 11 - 14
I
M S D P R E S E N TAT I O N
PERSPECTIVE -ANCB OBSERVATION FLOOR
152
DESIGN JOURNAL CONCLUSION
T O M M Y H E N G 5 1 6 6 7 3
153
154