3.2 portfolio. Luvsansambuu Luvsansambuu continuity in architecture BA3 17101416 2019 / 2020.
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3.1 synthesis. Located within ‘‘The Quarry’’ and adjacent to the grade 1 listed St. Chad’s Church in Shrewsbury is my proposal for a library which aims to become the new cultural hub for the town.
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To theoretically break down the presence of the old wall in the existing level change. Colin town Rowe &ROODJH &LW\
Masterplan 1:1000 on A1
To implement existing historical structures, such The masterplan for the new library is composed out of several small HOHPHQWV WKH VTXDUH WKH QHZ EXLOGLQJ WKH SXEOLF URXWH WKURXJK WKH as the church and town wall in to the new deSDUN DQG WKH FKXUFK ZKLFK FRPELQHG WRJHWKHU FUHDWH D FROODJH RI sign, a seamless collage between both the thus past andcreating future. the old and new.
First oor/street level plan 1:200 on A1
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Increasing the threshold.
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I felt as if the physical presence of the wall was still there and there was a QHHG WR EUHDN SDUW RI LW GRZQ LQ RUGHU WR FRQQHFW WKH WZR WRJHWKHU My initial ideas were that it would be interesting to utilise the change in levConceptual diagrams illustrating the increase in threshold 7KH QHZ OLEUDU\ DV WKH PLVVLQJ SLHFH OLQNLQJ WKH WUDQVLWLRQ els to honour the wall whilst smoothening out the transition between city and SDUN
Metaphysical image
Programme The building is composed of two masses, adjoined at the ground oor encompassing several programmatic elements. The larger mass holds the main library, administration ofďŹ ces for the town council and mayors parlour. Whilst, the art gallery, cafe and theatre hall encompass the other. Entrance into these buildings are from the newly proposed town square which has emerged from the pedestrianisation of St. Chad’s Terrace.
Metaphysical image
(All images above took from my own 3.1 studio portfolio).
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Programme analysis
library precedent / Kingston University Town House, Grafton Architects.
Circulation analysis
plant rooms
toilets and locker room
courtyard
Section analysis
staff entrance
theatre main entrance
cafe
cafe entrance
changing rooms
dance studio
Entrance
library
group rooms
technology rooms
Entrance
library
Key: Circulation
Main rooms
Ancillary spaces
Line of sight The atrium space houses the central circulation route and encourages a visual connection of people across the entire building. The staggered mezzanine floors and double height spaces throughout the interior help produce this connectivity.
staff room
information point book sorting room
project space
archive special collections library
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plan development. Iteration one
Mayors parlour
Secondfloor
first floor
Ground floor
Iteration two
Enlarged in size to fit structural grid from below and included a lift for disabled access.
Spaces reordered according to the grid.
Separate entrance for access to parlour. Angled windows looking onto square from art gallery.
Placement of structural grid onto plan.
Iteration three
Further developed later on in the portfolio.
Mezzanine floor added to art gallery. Meeting room and cafe added to office floor.
Entrance into art gallery from street level. Library entrance enhanced providing threshold space.
Cafe entrance angled to provide threshold and outdoor seating. Private study rooms and toilets enlarged to fit along the grid. Placement of furniture distinguishes provides spatial feel.
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1:500 form model. In this sketch model, light timber was used for the new massing to contrast against the existing structures which are made out of mahogany. Clear acrylic was applied to the tower and atrium space to symbolise their transparent and glazed nature.
From this model I concluded that the mayors tower was too large in comparison to the rest of the building and the church. Additionally, the timber produced a heavy feeling to the mass inuencing a change in my initial choice of structure from steel to concrete.
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the big pebble.
1 Ramp leads up to the square through a crack inbetween the pair of converginging masses, which also frames the church.
Diagrammatic journey through the change in levels and different entrances.
2 Entrance into the building from the square indicated by the indent and cantilever on the edge.
3 Reception space opens up to views of the square and church beside the main staircase. [2] [3]
4 Entrance from park level into cafe. [5]
[1]
5 [4]
Reach main stairs through enclosed threshold space beneath the exterior ramp .
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environmental precedent / GSW HQ Berlin. The implementation of a double skin facade and operable louvres system in this building was to significantly reduce energy useage on additional heating, cooling and artifical lighting. In addition, its bright colour and movement of the louvre’s make for a dynamic and exciting facade option.
Application Having referred back to the solar path site analysis and analysed its effects on my current building, a similar shading strategy was deemed appropiate for the library and office spaces to provide a comfortable working environment with minimal glare and ambient temperature. In addition, due to the oncoming direction of the prevailing wind a double skin facade system would allow for passive ventilation and also contribute towards lowering heating costs in the winter.
Environmental analysis and strategy ideas
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library facade development. Louvre’s implementation The addition of louvre’s required for alterations to the slabs on each floor, dependant on how the louvre was positioned. In turn, this also influenced the design of the rest of the facade, including the cladding and parapet .
Iteration one
1:50 plan
The slabs cantilever past the columns and contain two different sets of louvre’s. Did not look imposing enough for its purpose.
1:50 section
1:50 elevation
Iteration two Just one set of louvre’s used to span across both floors. Materiality altered to corten and made wider.
1:50 section
Yet, remaining extruding slab breaks uniformity of the glazing.
Glazing now sits flush extruded behind the cladding. Secondary structure required to support louvre’s from the bottom.
1:50 elevation
Iteration three
1:50 section
1:50 elevation
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double skin facade analysis. A double skin facade usually has a mechanical opening at the top to release hot air which has built up. However, due to my design choice of recessing the glazing behind the parapet it made this a problem as the stale air had nowhere to go. I did not want to change the overall design so went about solving it another way.
1:20 sections of library
Iteration one
Iteration two
Iteration three
Operable internal windows allow air in to the interior.
Mechanical vents built into oor slabs allow air intake through grills.
Plenum system installed with motorised fans to remove hot air.
Sketches focusing on detailing
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1:20 detailed sectional isometric. I focused on developing my studio project facade for the Technologies Part B assignment and this is part of the final output.
Intergrated wall section (1:20)
Green roof with vegetation to utilise rainwater collected on the roof and promote the local ecology. 50mm gravel to support the vegetation above 5mm waterproof membrane layer 150mm mineral wool insulation 300mm geopolymer concrete structure Suspended ceiling made out of timber slats to promote well-being and aesthetics Services concealed within the suspended ceiling
Plenum, motorised fans which remove built-up hot air from within the buffer zone. Corten rainscreen cladding and steel supports Interior double glazing Aluminium vertical louvers for shading
‘Stick-in’ curtain walling composed of single glazed glass panels fit into a steel secondary frame.
‘Multi-storey’ - double skin facade system Smooth screed flooring with integrated underfloor heating.
Built in vents which allow for cool air to pass through into the interior Mechanically operated shutter system which opens and closes depending on the exterior temperature to control the air inside the double skin facade
External view of library facade in context.
Steel grid flooring built on the interior of the double skin facade and on the exterior to allow for the passage of cool air in
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daylighting and shading perspectives. It was important to test how the louvre system performed in shading for the library and ofďŹ ce spaces. These perspectives demonstrate its qualities. Internal library views.
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environmental strategy. Heating The primary structure of the building is reinforced concrete which has a high thermal mass and retains heat which dissipates when cooler. Pipes cast within the concrete screed underneath the floors provide additional heating. Double skin acts as additional insulation, creating a buffer between the cold air outside by closing vents. Glazed facade allows for natural solar heating in the winter. Cooling Mechanically operated vents intake cool air through the double skin facade and ventilate the interior. Open plan floors provide for well ventilated spaces, reducing build up of stale air. Atrium space acts as a chimney, removing the build up of hot air through a pressure difference. Underfloor pipes also able to run cold water through and to cool. Lighting
Sustainability strategies shown through short section
Floor to ceiling glazing provides the optimum amount of daylighting to enter the interior, reducing the need for artificial lighting. Operable louvre’s reduce glare to create well lit spaces, suitable for a working environment. High ceilings allow for a deeper penetration of sunlight into the interior.
Floor to ceiling glazing strategy
Double skin facade heating and cooling strategy Luvsansambuu Luvsansambuu
art gallery development. Addition of mezzanine floor Double height gallery space is complimented with an additional mezzanine floor which is now able to house more artwork and create a dynamic viewing experience.
Section illustrating the visual relationship created by the mezzanine floor. Addition of double height tinted glazing The recessed upper floor allows for the addition of tinted glazing to bring in controlled daylighting to both floors, reducing need for artificial lighting.
Section illustrating the effects of the glazing.
1:200 sketch model of art gallery testing out the spatial effects of the mezzanine floor and glazing.
Perspective sketch. Luvsansambuu Luvsansambuu
art gallery roof form development. Iteration one Current at roof, not very dynamic and lacking excitement.
Iteration two Diagonal roof was too linear and oversized in its context.
Iteration three Gable roof was interesting and the change in angle between the two parts was interesting. However, may be too high similarly to (2).
Iteration four This iteration consisted of the roof sloping from all the different edges of the building and joining centrally. Creating a shallow angle on both sides, this was most suitable.
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facade precedent / Villa Vauban, Luxembourg City. PhilIipee Schmidt combines a mix of both transparency and privacy with the perforated copper cladding for the art gallery. Each vertical panel has been bent into a V shape which provides a strong sense of verticality when shadows are cast during the day. At night, the tinted glazing behind the perforated facade glows softly, revealing itself in a way that is light and warm.
Application. In a similar method, I have tried to replicate the translucent nature of the perforated facade by applying corrugated cardboard to the facade of a test model. Through this I aimed to achieve similar levels of privacy but also daylighting within. I tested during both day and night time instances to observe how the glazing lit up and revealed itself, similar to the precedent. It was interesting to see how the facade transformed during different times of the day.
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facade layout. To apply the perforated cladding to the facade, the elevations had to be ordered into a 1000mm vertical grid. Each 1000mm strip consisted of a V shaped perforated corten cladding that was bent at the middle. This created the consistent array of shadows on one side contributing to its sense of verticality. Some elements of the facade had to be slightly resized as a result of this exercise, to ensure the cladding was uniform throughout.
West elevation
East elevation
Analytical sketches of the Villa Vauban’s facade build up
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envelope, art gallery. 2mm perforated corten sheet 30/35 mm corten channel stainless steel distancers waterproof membrane layer 130 mm mineral wool insulation 300 mm reinforced concrete wall
double glazing with room-side etched for controlled lighting into gallery 20 mm oak parquet 60 mm concrete screed 10 mm sound insulation 300 mm reinforced concrete slab
suspended wooden slat ceiling with services concealed
1:50 elevation of art gallery
1:50 plan
1:50 section
1.5 mm perforated corten sheet post and rail facade 30/35 mm corten channel on distancer waterproof membrane layer 130 mm mineral wool insulation 300 mm reinforced concrete wall 5 mm plasterboarding
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mayor’s parlour precedents. House 77 by DIONISI LAB, Portugal. This project features an alumunium facade perforated with local symbols which hold cultural significance to the small sea side community. Playing with the theme of transparency, at night the perforated symbols glow up and during the day cast dynmic shadows inside. Tudor Houses in Shrewsbury Tudor architecture is significant within Shrewsbury and the timber patters on their facades hold a lot of value to the town and culture.
Application. I have extracted the various patterns from the Tudor buildings within Shrewsbury and applied them as perforations on to the Mayor’s parlour. This follows the same concept as House 77, aiming to highlight the cultural significance of Shrewsbury and its identity. It also creates a special and different skin for the mayor’s parlour from the rest of the building. This further highlights his importance and role.
Extracted patterns
Placed on to a grid
Elevation of the mayor’s parlour 1:20, sittiing above the main library. Luvsansambuu Luvsansambuu
mayor’s parlour test model. This model was made to test the interior and night time lighting effects of the perforated facade following on from my previous analysis.
Shutter system opening and closing
This perspective sketch illustrates all of the design developments I have made up till this point. Interior daylighting qualities
Night time visual
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mayor’s parlour form. Throughout the design process, the form of the mayor’s tower has constantly changed by responding to developments within the rest of the building and the context.
First iteration Initial idea of a two floor tower extruding out from the library.
Second iteration Facade developments, form unchanged.
Third iteration Cantilevered upper floor for shade and more exciting space.
Fourth iteration Decreased to one floor as proportions with rest of the building were too large and competed with church.
Fifth iteration Angled roof to create a visual link with the change of the art gallery form.
Sixth iteration Flipped vertically to carry on with the angle of the internal stairs.
Seventh iteration
Sketches for the seventh iteration
Moved back to initial position to become more autonomous.
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the new square. The elevations of all of the structures surrounding the new ‘square’ have been attened and diagrammatically placed together.
“The whole is more important than the individual parts� . Aldo Rossi (The structure of urban artefacts)
Whilst working on the forms of the mayor’s parlour and art gallery, I placed each new iteration of the elevation on here to observe its relationship with the existing structures and context to see how they all work together.
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By reanalysing the inner workings of a public square from my study trip to London, I was ďŹ lled with more knowledge for the design of the landscape.
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landscaping precedents. Barcelona Pavillions Having already analysed this in 3.1, I revisited it again for how they use a hard metal to border up the ground when there is a change in level. The combination of soft and hard landscaping work well together as there is a consistent choice of materiality which is earth-like.
Scottish Parliament building The existing change in levels has been broken and smoothed out by a natural and subdued approach. The implementation of contoured seating grounds help bring it down to human scale and one that can be utilised too.
Reanalysis of landscape The landscaping developed in 3.1 was not effective nor adequate for disabled users or with the building and the existing land. Thus, I began to reanalyse the site and look for other design opportunities with the help of the above precedents.
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Topography map of existing park landscape.
Circulation analysis and routes which were required. Luvsansambuu Luvsansambuu
landscaping development. With the site being located in The Quarry and the historical relevance of the dingle as a former stone quarry itself, this idea of a sunken land is echoed in this landscaping and helps form a relationship with its immediate context.
Iteration 1: Sunken areas in front of buildings too formal and steps not necessary on main ramp.
Iteration 2: Ramp inserted but changes in level too hard and still rather uniform.
Iteration 3: Contoured seating landscape which extends to smoothen out the change in levels gradually.
a
iteration 4: Geometric form applied and war memorial relocated central to new plan. Corten metal panels applied as barriers for the ground during level changes. Flower display occupies the open space in front of the library.
Perspective view from (a) illustrating the ramps and materiality, as well as the activity happening down below.
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1:50 corner model, process. The aim of this sectional model was to show how the building deals with the existing change of levels on the site, this is done through the landscaping and staircase atrium which overlooks onto the new square and church - constantly maintaining the visual relationship through the curtain wall. Additionally, it was important to see how the old town wall fit within the new structure and its prominence. [ Use of basic equipment and materials due to being home-made.] The preparations for the model first consisted of creating a 3D model on Sketchup to visualise the final outcome. process:
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[2]
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[4]
After cutting the facade components out of greyboard, they were coated with copper spray paint to emulate the corten cladding.
I layered several pieces of corrugated cardboard together to represent the stacked stone effect of the old town wall.
A hollow base was constructed out of greyboard, with several stacks of cardboard helping to raise and support the structure.
Build-up of a floor slab: greyboard for screed flooring, foamboard for R.C. and ribbed cardboard for wooden slat ceiling.
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[6]
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The ground floor slab being placed above the cardboard supports.
Balsa strips were used for the columns, which were inserted through the cut-outs in the floor slabs.
The landscaping and roof was then added.
Styrene strips were stuck onto acetate to represent the curtain walling steel structure and glazing.
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1:50 corner model.
West elevation
Long section
East elevation
Short section
Isometric view of model
Location of the model in plan
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1:50 corner model.
Exterior views
Interior views
Staircase atrium offering views to the square and church
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500 / 50 / 5 / 0.5.
1:0.5 detail of perforated corten cladding
1:5 detail of the corten sheet roof and cladding junction
1:50 section facing towards the park
1:500 long section of the arts gallery in context
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Offering 360 degree scenic views, a roof to cover against the elements and sufďŹ cient space inside, it is ideal for an outpost element of the library.
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site - existing victorian bandstall within The Quarry
Precedent
Process
These offer examples of a street library archetype, where you are able to ďŹ nd, exchange or deposit books as well as being able to sit down and read them.
In order to utilise the views and the circle nature of the existing structure, I aimed to have a central core which houses the books and seats that follow it around to give each person an uninterupted view and enough personal space.
Through this simple act, it contributes to the unity and sense of community in the area.
plan view showing how the inner circle will be used for the new structure, whilst the outer perimeter can be used for circulation
elevation of existing bandstand structure
Predominantly made out of steel, it will feature corten sheets in some parts to relate to the library facade and wooden seats.
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outpost.
1:5 detail section of base 1) reinforced concrete base 2) weather coated timber slats for bench seat and back rest
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3) Vertical steel structure 4) nut and bolt system to fix the steel to the r.c.
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1
elevation 1:50
existing bandstand structure
corten sheet fixed over steel structure relating to the library’s cladding steel structure indented to act as bookshelves timber slat seating reinforced concrete base
section 1:50
plan 1:50 Luvsansambuu Luvsansambuu
cast iron factory / the Foundry, Halifax. (Reference, from humanities professional studies submission). Process of casting:
After its required useage, the cast iron can be melted down again to be recycled for another object.
Melting
The pig and scrap iron, along with steel are all melted together at 1,350 °C. Slag and waste products are also produced which must be disposed of safely.
Sourcing iron
Product
The earths crust has a large source of iron ores and minerals which are refined in blast furnaces to produce ‘pig iron’. Recycled cast iron, mainly from the brakes of old cars are also used to create the metal.
Casting A cavity is created which the molten iron is then poured into, to take the place of the mould inside.
The finished lamp post is placed on site and lasts a long time due to the hard wearing properties of iron.
Cooling and cleaning Any excess iron cast, e.g. from the cavity when pouring is removed and the object is painted / finished off.
Designing
Pattern making
Mould making
The designer/client must hand in a detailed set of drawings which show clear understanding of the use and appearance of the artefact. If no drawings are available, photos of the original can be used for measurements.
Patterns are produced which are an exact replica of the object, ready for sand moulding. Usually made out of wood or fibreglass, they are placed in a box and lined with talcum powder for ease of mould release later on. If the object is symmetrical, only half of it needs to be patterned.
The pattern is packed with a sand and resin mix which when set, is removed and has the shape for the casting. This is done twice to create two moulds which are placed face to face, one on top of the other.
The sand-resin moulds are reused several times and finally recycled for a different then finally recycled for a different mould to repeat the process.
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the handshake. Precedent Visiting the Foundry inspired me to design something out of cast iron as I now understood and respected the process and what type of objects could be made. Referring back into the portfolio, I wanted to utilise the extracted patterns from Shrewsbury’s tudor architecture and develop it into something much more personal and useful. Cast iron door handle
Application
Initial design sketches
(Reference to 3.2 portfolio page 18, Tudor buildings within Shrewsbury. )
Final design (top elevation, bottom plan)
I decided to utilise the extracted patterns which have local importance onto a design for a cast iron door handle. Similar to greeting and parting with someone with a handshake, the door handle is the ďŹ rst point of contact when one enters and leaves a space and is a detail which is often overlooked. This door handle will serve the private reading rooms within the main library space.
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the handshake. Final product:
Elevation and plan, 1:1 scale on A1
Isometric view rendered
Rendered view on a wooden door of a private study room
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structure strategy. 1 Shear reinforced concrete walls provide structural support for some aspects of the building. 2 Grid of reinforced concrete columns maintain an open floor plan and support slabs above. 3 Curtain walls fit within a separate steel structure and are none load bearing. 4 Reinforced concrete slab joining the two buildings together is supported by a combination of columns and shear wall. 3
5 Internal partition walls are none load bearing and adjustable for future change in programme.
Key:
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6 Precast concrete lift shafts provide structural rigidity.
primary structure (reinforced concrete)
7 Old town wall left untouched and none load bearing.
lift core (primary structure)
4
secondary structure
7 3
curtain walling (secondary structure) 2
existing old stone town wall
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Construction process
Existing site with a level change of 2000mm from the street to park level.
Site is dug an extra 2000mm down to produce an overall of 4000mm of change in levels.
Careful excavation back to the street level reveals the old town wall. Need to ensure it is structurally sound before continuing.
Reinforced concrete primary structure is constructed beside the excavated town wall, using pad foundations.
The stairs, internal walls and glazing are installed as the first stages of the secondary structure.
The steel frame structures for the curtain walls are installed ‘stick’ curtain wall type.
The louvre’s are installed and then the glazing is fit within the steel frame in modules. Making the building watertight.
The outer skin can now be added and suspended ceiling installed to conceal services.
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service strategy.
The central lift shaft acts as a vertical riser to distribute the electrical and ventilation services horizontally to all of the floors. These services are located behind the suspended ceiling to conceal them to the user.
The central lift shaft also distributes hot water to the underfloor heating pipes on all floors, from the boiler in the plant room. Heat is distributed more evenly than normal radiators so water used is at a lower temperature and more efficient.
The plumbing leads directly down the lift shafts adjacent to the toilets, all of which are located in the same position on each floor for maximum efficiency.
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interior perspectives.
Art gallery (Left) View of the first floor public gallery space. The tinted glazing and mezzanine floor spaces are shown. (Right) The second floor exhibition space with views out to the square from the angled windows.
Library (Left) View of the reception space with the stairs and curtain wall revealing the square outside. (Right) Office meeting room on the second floor.
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exterior approach perspectives.
‘Note that the smallest deviation in alignment and quite small variations in projections or setbacks on plan have a disproportionally powerful effect in the third dimension’. Gordan Cullen
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(The Concise Townscape)
Approach from within the Quarry to the library.
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e spire of the church is visible from atop the roofs of the houses and helps act as a point of navigation and co-ordination.
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(Reference - studio 3.1 serial vision drawings ) RXUQH\ IURP WKH WRZQ FHQWUH EHJLQV IURP WKH EXV\ SHGHVWULDQLVHG VWUHHW JRLQJ GRZQ 3ULGH +LOO ZKHUH WKH FORFN WRZHU DQG FKXUFK GRPH FDQ EH VHHQ LQ WKH GLVWDQFH which influenced these perspectives, highlightJ WKH VN\OLQH RI WKH WRZQ 7KH URXWH FRQWLQXHV SDVW D VPDOO VTXDUH DQG XS D VOLJKW VORSH LQWR D UHVLGHQWLDO DUHD WKH TXLHWHU SDUW RI WRZQ 7XUQLQJ LQWR D VPDOO VWUHHW D GHDG HQG WKH YLVLWRU ZLOO DSSURDFK RQH RI WKH JDWHV LQWR WKH SDUN ZKHUH WKH VPDOO HQWUDQFH TXLHWO\ LQYLWHV WKH YLVLWRU LQWR WKH VLWH VKDGHG E\ PDQ\ WUHHV ing the importance of having control over the pre-existing and emerging view to building up a town.
the roofs of the houses and helps act as a point of navigation and co-ordination.
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Turning past the church corner and onto the square.
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isometric in context.
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location plan 1:1250
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site plan 1:200
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ground oor / park level plan 1:100
key: 1 2 3 4 5 6 7 8 9 10 11
11
Cafe Kitchen Outdoor seating and entrance Theatre hall Bookshop Old town wall Main library Reading room Private study rooms Book sorting room Plant room
10
8
9
7 6
2
5
St. Chad’s Terra
ce
1 4 3
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first floor / street level plan 1:100
key: 1 2 3 4 5 6 7 8
4
Main library entrance Library reception Library space Mayors entrance and fire exit Storage room Gallery entrance Gallery reception Public gallery
5
1
6
St. Chad’s Terra
ce
2
3
7
8
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second floor level plan 1:100
key: 1 2 3 4 5 6
Office Meeting room Breakout space Staff cafe Changing rooms Exhibition gallery
5 4
3
2
1
St. Chad’s Terra
ce 6
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third floor plan 1:100
key: 1
Mayors parlour
1
St. Chad’s Terra
ce
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roof plan 1:100
St. Chad’s Terra
ce
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long section 1:200
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short section 1:200
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west elevation 1:200
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east elevation 1:200
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five point reflection. 1) Through intensive site and historical analysis of the site and Shrewsbury in general has led to a design which is highly sensitive of its surroundings and include / compliment several pre-existing structures on the site. For example, the addition of the new square in front of St. Chad’s has reinvigorated the once dull car park into a central meeting point, the old town wall which was buried underneath the street has been excavated and repurposed as a historical monument and the war memorial has been relocated central to the new landscape. 2) The environmental strategies implemented within the building have been heavily influenced by the coinciding technologies module throughout the year. Especially, the double skin facade which I analysed for Part B of my technologies assignment was actually influenced by the case study I conducted on a building with a similar approach for Part A of the technologies assignments. This strategy towards a more efficient facade build-up was eventually an important part of the overall design. 3) The professional studies lectures throughout the year highlighted the importance of maintaining good communication with your client for a more sucessful overall project. We had the opportunity to discuss our project ideas with our ‘clients’, Shrewsbury Town Council and listened to their opinions / needs which led to the addition of a lot of the programme and layout. 4) The cladding for this project consists of corten metal, which has a decayed/weathered aesthetic to it from the beginning. The reasoning was so it fit in more with the historical context by creating a new building with a ‘pre-used’ envelope. This is a type of design irony which was infuenced by my post modernism module in humanities. 5) A lot of the texts I read for my post modernism module actually overlapped with the readings carried out in CIA, all of which were influential during the initial design process and concept theory. Most notably were Aldo Rossi’s theory on urban artefacts and Colin Rowe’s Collage City. Part of the reasoning for the split up and vast design of this building was for it to act as a monument for the public, more than just a building and its merging of old and new with the town walls acts as a type of bricolage.
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