Stage 3 Architecture Portfolio Newcastle University 2018/2019 by Victoria Haslam

P O RT FO L I O Victoria Haslam BA Architecture Newcastle University 2018 // 2019

Arc3001 Academic Portfolio Victoria Haslam // 160132737 // N e wc a s t l e U n i v e r s i t y / / BA ( h o n s ) A r c h i t e c t u r e / / S tag e 3 Palace of Ecologies // 2018 // 2019

Contents

Re f l e c t ive Re p o r t

Charrette

Studio Introduction

Pr i m e r

Study trip

Staging

T h i n k i n g T h r o u g h M a k i n g We e k

Realisation and Refinement

140

T h i n k i n g T h r o u g h M a k i n g Wo r k s h o p s

144

Cu l t u ra l B i b l i o g ra p hy

146

References

147

Appendices

Reflective report

Upon reflection, it is evident that throughout the course of my final year of undergraduate study I have not only developed my representational, technical, and design skills but have developed as a designer, both in outlook and ability. Most notably, this year has deepened my interest in ecological design and in experimental architecture. I have always believed as a designer it is important to create projects which are not just ‘eco friendly’, but actively serve to benefit the surrounding natural environment and support non-human species, but until this year I have not had the tools to do so. This is most evident through my Graduation Project, in which I adopted an anti-anthrocentric approach, taking the focus away from human users. My Graduation Project is based in Venice, and focuses on the co-habitation between humanity and aves, exploring how the two can create an ecosystem which not only mutually benefits bird and man, but also enhances the natural surrounding natural environment and the building. I have also developed a keen interest in materiality, following my study trip to Venice. This is most noticeable in my thinking through making week project, where I created an experimental model of a wall detail. The model explored the phenomenon of eroding statues located on the site for my graduation project. I was intrigued by how the climate along the Venice lagoon had manipulated the materials to deform the statues. Through my modelling I investigated the matter of the eroded material with the concept of supporting the nonhuman, creating a model which represents a timber wall with a plaster cladding, which erodes over time, creating small cracks and crevasses encouraging birds to inhabit. Over a few years, the birds begin to nest within the structure of the wall, and after many years the cladding will completely erode, revealing a facade re-clad in birds and birds nests. Essentially, the birds will become part of the building fabric. I regard thinking through making week to have been extremely beneficial to the development of my design project, as it helped to transform my initial ideas and interests into a realised concept which could be applied to the design of my building. 6/

Through writing my theory into practice essay I continued to investigate this theme, exploring the relationship between Venice’s climate and the materiality of the city. Within this essay I explored the work of Herzog and De Meuron and Carlos Scarpa, two architects which I feel have been greatly influential to not only my Graduation Project but my development as a designer. I have looked to Herzog and De Meuron as a key influence throughout my project, not only has their work informed the theoretical strategy, but has greatly shaped the material choices and strategies within my design. Throughout the technical feasibility study I took many systems and ideas from Herzog and De Meuron’s buildings and applied them to the environmental strategy of my own project. I found the process of integrating the feasibility study into my process to be incredibly beneficial to the evolution of my design. By incorporating the construction and technology into my design at an earlier stage, my project was developed from something two dimensional and conceptual into a rational and realised three dimensional design. Over the previous two years of my time on the course I have found the technology modules to be arduous, however this year I have actually thoroughly enjoyed integrating the technology module into my design and feel that I now have a firm understanding of the structure and environmental strategies incorporated into my design. In regards to my professional practice report, I have found this module engaging, and think it has been an important experience to learn about the wider construction and design industry. With an increase in environmental concern and numerous species on the brink of extinction, the notion of stewardship and ecological design is paramount for architects, and I hope to keep producing and supporting work which coincides with my beliefs and interests as I continue my journey into the workplace.

Charette

Charette is a week long project which is held at the beginning of the academic y e a r. T h e p r o j e c t a l l o w s s t u d e n t s i n architecture and art to work together to create an installation which will be exhibited at the end of the week. The charrette group Tipping point is i n f l u e n c e d b y A l e x a n d e r C a l d e r â&#x20AC;&#x2122;s w o r k and explores the boundaries between spectacle and failure. By using trial and error as a group we created an instillation which embodies these themes. 8/

Studio Introduction

T h e s t u d i o Pa l a ce o f e co l o g i es ex p l o re s experimental architecture, focusing o n t h e c o n c e p t o f Pa l a c e a s a s p a c e o f social interaction and understanding t h e d e f i n i t i o n o f e c o l o g y, a l o n g s i d e t h i s t h e s t u d i o a l s o i nve s t i ga te s t i m e based changes in materiality and s t r u c t u r e . To i n t e r r o g a t e t h e s e t h e m e s the studio took a study trip to the City o f Ve n i c e , I t a l y, w h e r e w e i n v e s t i g a t e d the sites for the graduation project. As a studio it was meaningful to experiment and create a conceptual approach in which to develop the project from. Studio members were encouraged to do so on site by creating experiential and automatic sketches, recording sounds and collecting p a r t s o f t h e e nv i ro n m e nt ra t h e r t h a n focus on typical architectural site readings. Fo l l o w i n g t h e s t u d y t r i p i n d iv i d u a l l y the studio members explored extraordinary concepts and approaches to architecture, therefore it was important to practice containing our thinking into a â&#x20AC;&#x2DC;storyâ&#x20AC;&#x2122; which supported the development of the graduation project. Ve n i c e i s a c i t y w e r e t h e e n v i r o n m e n t a l co n d i t i o n s h ave g re at e f f e c t o n t h e architecture, the climate exposes elements of the walls, wears down materials and dictates them to be rebuilt, forcing the city to be in a state of flux, hence being the perfect city to inspect the notions of ecology and time based design.

10 /

New work

Amended work

Group work Original versions of some amended work w i l l b e ava i l a b l e i n t h e appendix Indication of new/ amended work are displayed at the bottom of the page around the p a g e n u m b e r. eg. 10/

/ 11

Primer

During the Primer phase the focus project was to design architecture for a non-human species after a site visit to a local nature reserve, Rainton Meadows. During this project I was able to design a nesting box for a Mallard duck and install it on site.

12 /

Before visiting Rainton meadows nature reserve, I created a viewing device that would allow me to experience the site from a d i f f e re nt p e rs p e c t ive . The viewing device works like a periscope, h oweve r u s i n g co nvex mirrors to allow a greater range of view f ro m a h e i g ht, to g ive the view of a flying bird.

Photographs of viewing device

/ 13

N e w c a s t l e U p o n Ty n e

Rainton Meadows

14 /

Map to show location of Rainton Meadows

Photographs of Rainton Meadows through viewing device.

/ 15

16 /

Photographs

Rainton

meadows

Rainton Meadows analysis During the visit to Rainton Meadows it was important to analyse the site to be able to design a bird box that wo u l d s u i t t h e n a t u ra l e nv i ro n m e nt. The explorations that were made at the nature reserve include: Photographs Photographs taken at Rainton Meadows help to remember the different sites. S k e t c h e s a n d Pa i n t i n g s Sketches are a more personal form of analysis they represent a more s u b j e c t ive v i ew o f t h e s i te . Au t o m a t i c d raw i n g s These drawings represent the sounds and atmosphere of the site. They are made by closing the eyes and drawing from listening and other senses to get a different more experiential analysis. Ru b b i n gs Rubbings are made by placing thin paper on a surface and rubbing a medium such as charcoal over the paper to reveal the texture of the surface the paper is lay on. The rubbings provide better analysis of the textural qualities of the site. Natural collection A collection of natural materials from the site, which includes: feathers, tw i gs , f a l l e n l e ave s , s to n e s a n d o t h e r plants.

/ 17

P h oNt ao t ou fr anl actoul rl eacl t ci oonl efcr toim o nR a i n t o n M e a d o w s

Client // Mallard Duck Length

510 -620mm

Wi n g s p a n 810 -980mm

Weight 750 -1500g

Habitat Fa r m l a n d Grassland Marine Ur b a n Suburban Intertidal We t l a n d

20 /

Nesting Preferences and nesting box precedents // -Near water -We l l c o v e r e d ( w i t h v e g e t a t i o n ) -Mallards like to be able to see out of the nesting box to look for predators - Entrance hole must be at least 76.2 x 101.6mm -Box is best to be small and cosy inside to prevent heat loss and provide protection

Photographs of existing nesting boxes (10,000 Birds. 2019) (Birdfood.co.uk. 2019) (Colchester Wildfowling and Conservation Club. 2019) (Mears, S. 2019)

-A l a d d e r o r m a t e r i a l w h i c h a l l o w s the ducklings to climb out of the box when ready

/ 21

Initial sketches 22 /

The initial idea was to i nve s t i ga te t h e f l o ra o n site to inspire the form of the mallard nesting box. / 23

24 /

Duck nesting box concept art

The design uses strips of wood, curved to mimic the s h a p e s f o u n d i n n a t u r e . To create this design it would require the wood to be steam bent. I chose to use m a h o ga ny to c re ate t h e box as it is a hardwood and can withstand weathering and the movement of the d u c k . H o w e v e r, m a h o g a n y is not the best wood for steam bending, despite this I experimented with the material to discover that it can be bent if the strips are thin enough.

/ 25

1 //

2 //

3 //

Drill hole into the wood and then cut into thin strips.

Place wooden strips into the steam bag and turn on the s t e a m e r. T h e b a g needs to be checked every 30 minutes for punctures. After 5-7 hours the wooden strips are removed.

A former must be made to shape the wooden strips. This former has n e gat ive a n d p o s i t ive p a r t s and is made from 7mm thick mdf. Once the wooden s t r i p s h ave b e e n taken out of the steamer they must be bent straight away whilst wet. To b e n d t h e s t r i p s they are placed on the former and pushed into the p o s i t ive p a r t o f t h e f o r m e r.

26 /

4 //

5 //

6 //

O n ce t h e s t r i p s h ave been pushed into p l a ce t h e n e gat ive part of the former is pushed against the strips and drilled into place. This allows the strips to stay in the curved f o r m a n d d r y.

Strips must stay in the former until t h e y a r e d r y. W h e n the strips are taken out they will be bent.

T h e i n d iv i d u a l b e nt strips can then be joined together to form the spherical box using the holes that were drilled in step one.

/ 27

Experimenting with ways of fixing the strips together to create the mallard nesting box. 28 /

Once the box was tied together I began exploring ways of covering the box to prevent predators from viewing the nesting mallards. After visiting the ducks and being interested in the patterns caused in the water by the d u c k â&#x20AC;&#x2122;s m o v e m e n t I b e g a n t o experiment with mimicking these patterns with melted plastic. / 29

T h e i n i t i a l i d e a wa s to we ave these plastic pieces between the strips of wood on the box. I soon realised that the sharp edges of the melted plastic would cause hazards to the nesting mallards so instead I experimented with plastic b a gs . I we ave d t h e m b e twe e n the wooden strips using random movement to reflect the chaos of nature. It was important that I left gaps for the duck to look out from. / 31

Curating the exhibition

Primer

manifesto // Ecologies Opulence

A palace can be considered as an impressive building, exhibiting elaborate details, combined with ecology should create a space which reflects the elaborate details, complex structures and patterns found in nature. The contemporary palace should boast impressive manipulation of materials and use of modern materiality to embody these intricacies of nature. 34 /

The exhibition

/ 35

36 /

My Mallard nesting box in the exhibition

The collage embodies the experimental themes of primer and the studio as a whole. I t i nve s t i ga te s t h e d i f f e re nt outcomes of the primer project e x p r e s s e d a s a s p a c e . Ta k i n g the site analysis and directly transforming it into something which can b understood as architectural. / 37

D u c k n e s t i n g b o xP ihnost toaglrlaepdh aotf Ri nasi tnatloe nd m Maelal adrodw s nesting box

Study Trip

The study trip for the studio w a s t o Ve n i c e I t a l y. As a s t u d i o w e v i s i t e d t h e Ve n i c e Beinnale, conducted case studies of buildings by the architect Carlos Scarpa and visited the site for the G ra d u at i o n Pro j e c t.

40 /

Fa c a d e s t u d y / / A Fa c a d e s t u d y o f Pa l a z z o Grimani di San Luca was drawn before the study trip t o Ve n i c e . T h e f a c a d e s t u d y allowed me to understand the typical appearance and characteristics of the Ve n e t i a n p a l a c e s . When v i s i t i n g Ve n i c e I f o u n d t h e palaces more interesting and was able to find more details within the palace facade h av i n g already s t u d i e d Pa l a z z o G r i m a n i d i R u b b i n g s o f f a c a d e s a r o u n d Ve n i c e

Palazzo Grimani Di San Luca

D ra w i n g o f Pa l a z zo G r i m a n i d i Scale, 1: 100 san Luca

/ 41

Nordic Pav i l i o n

Danish Pav i l i o n

Au s t ra l i a n Pa v i l i o n

“Ano t he r G enero s i t y”

“Possible spaces”

“Repair”

A no t he r Ge n e ro si ty a i ms to e m bo dy t h e relat io n s h i p be twe en t he bu il t e nv i ro n ment a nd n at u re by c re at ing a me mb ra n e st r u c t ure wh ic h con si st o f o n l y a i r a n d wate r.

Th e exh ibition with in th e Danish Pavilion explore s th e four topics of: h ousin g, m obility, ide ntity an d n ew tools.

T he Au st ral ian pavil ion was f i l l ed w i t h a l iv i n g i n s t al l at i o n o f over 6 0 s p eci es o f So ut h E as t Au s t ral i a’s Wes ter n Pl ai n s G ras s l an ds , to i nves t i gate t he rel at i o n s hi p between archi tect u re an d en dan gered p l ant s .

42 /

Argentinian Pa v i l i o n

Arsenale

“ H o r i z o n t a l Ve r t i g o ”

Dorte Mandrup

PROAP / GLOBAL

H orizo nt a l Ve r t igo f oc u se s o n t h e t hemes of te r r i to r y m a pp ing by i nte g rat i n g the co n cep t o f hu m a nity a n d d e mo c ra cy wit h ge o g ra p hy a nd a rc hi te c t u re .

“ Conditions Icefiord Centre , Ilulissat , Greenland” by th e arch itect Dorte Man drup, is a pie ce of work wh ich reflects h abitable space with in extre m e clim ate s.

“T he prac t ice of t e ach in g’ was t he i n s t i l l at i o n ex hi bi ted by t he archi tect s PROAP / G LOBAL. T he p i ece i s made u p o f s t u dent an d teachers wo r k w hi ch i s s how n s i de my s i de ex p l o r i n g t he t hemes o f s har i n g i deas an d l ear n i n g f ro m o n e an o t her.

( Ve n e z i a , L . 2 0 1 8 ) .

/ 43

Ve n e z u a l a n p a v i l l i o n // Carlos Scarpa Mesh doors allow nature to be seen from the interior of the design even when the doors are closed. The change in height from the exhibition spaces to this door softens the threshold between man-made and nature. Exhibition room is left vast with large vertical windows to allow the sky and nature to be visible from the inside of the building. These windows also allow the white interior to be visible on the e x t e r i o r. The combination of materiality enhances the notion of assembly and establishment, asserting the design as a place which is timeless. Scarpa does this with his use of rough visible concrete and polished wall against the brick Sw i s s p av i l i o n .

44 /

P h o t o g r a p h s o f t h e Ve n e z u a l a n p a v i l l i o n

Scarpa designed long concrete stairs which aim to allow people to slow down from the busy giardini to t h e r hy t h m o f t h e p av i l i o n .

SECTI

CONCEPT AND DESIGN DEVELOPMENT CONCEPT FOOTNOTES:

THE COMBINATION OF MATERIALITY ENHANCES THE NOTION OF ASSEMBLY AND ESTABLISHMENT, ASSERTING THE DESIGN AS A PLACE WHICH IS TIMELESS.

Henry Vicente, “VENEZUELAN PAVILION - Common Pavilions”, Commonpavilions.Com <http://commonpavilions.com/pavilion-venezuela.html> [Accessed 12 December 2018]. Robert McCarter, “Carlos Scarpa”,Phaidon Press, London, 2013

HE DOES THIS WITH HIS USE OF ROUGH VISIBLE CONCRETE AND POLISHED WALL AGAINST THE BRICK SWISS PAVILION.

VICTORIA HASLAM

MESH DOORS ALLOW NATURE TO BE SEEN FROM THE INTERIOR OF THE DESIGN EVEN WHEN THE DOORS ARE CLOSED. THE CHANGE IN HEIGHT FROM THE EXHIBITION SPACES TO THIS DOOR SOFTENS THE THRESHOLD BETWEEN MAN-MADE AND NATURE.

S c a r p a ’s first design, when looked at from plan, included a collection of interlocking triangles and hexagons. In this design, h e b u i l d i n g a p p e a rs to h ave a SCARPA DESIGNEDtLONG CONCRETE STAIRS WHICH AIM TO ALLOW PEOPLE t e tTOr a h e d r a l r o o f , w h i c h r i s e s a b o v e SLOW DOWN FROM THE BUSY GIARDINI TO a THE h o r i z o n t a l r o o f b e l o w. RHYTHM OF THE PAVILION

EXHIBITION ROOM IS LEFT VAST WITH LARGE VERTICAL WINDOWS TO ALLOW THE SKY AND NATURE TO BE VISIBLE FROM THE INSIDE OF THE BUILDING. THESE WINDOWS ALSO ALLOW THE WHITE INTERIOR TO BE VISIBLE ON THE EXTERIOR

His second design includes a group of rectangular volumes grouped around a large courtyard. SECTION E

CONCEPT AND DESIGN DEVELOPMENT DESIGN DEVELOPMENT FOOTNOTES:

Robert McCarter, “Carlos Scarpa”,Phaidon Press, London, 2013

Scarpa developed this plan by t a k i n g away a vo l u m e , l e av i n g t h re e rectangular volumes around an L shaped central space. In the plan two volumes run perpendicularly to t h e ave nu e a n d o n e r u n s p a ra l l e l to it.

SCARPA’S FIRST DESIGN, WHEN LOOKED AT FROM PLAN, INCLUDED A COLLECTION OF INTERLOCKING TRIANGLES AND HEXAGONS. IN THIS DESIGN, THE BUILDING APPEARS TO HAVE A TETRAHEDRAL ROOF, WHICH RISES ABOVE A HORIZONTAL ROOF BELOW. HIS SECOND DESIGN INCLUDES A GROUP OF RECTANGULAR VOLUMES GROUPED AROUND A LARGE COURTYARD. SCARPA’S SECOND SCHEME BEGAN TO CLOSELY RELATE TO THE DUTCH PAVILION, DESIGNED BY RIETVELD. HE DEVELOPED A SQUARE PLAN WHICH ENCOMPASSED A COURTYARD IN THE CENTRE OF FOUR RECTANGULAR VOLUMES. SCARPA DEVELOPED THIS PLAN BY TAKING AWAY A VOLUME, LEAVING THREE RECTANGULAR VOLUMES AROUND AN L SHAPED CENTRAL SPACE. IN THE PLAN TWO VOLUMES RUN PERPENDICULARLY TO THE AVENUE AND ONE RUNS PARALLEL TO IT.

In this design, in elevation, scarpa includes vertical windows which run along the top of a solid wall.

IN THIS DESIGN, IN ELEVATION, SCARPA INCLUDES VERTICAL WINDOWS WHICH RUN ALONG THE TOP OF A SOLID WALL. THE FINAL DESIGN INCLUDES TWO LARGE RECTANGULAR VOLUMES SAT PERPENDICULAR TO THE AVENUE, WITH THREE SOLID WALL. THE TWO VOLUMES ARE SEPARATED BY A CORRIDOR WHICH HAS NO WALLS, BUT INSTEAD A ROOF WHICH APPEARS TO FLOAT. THE THIRD VOLUME SITS PARALLEL TO THE AVENUE AT THE BACK OF THE PLAN.

VICTORIA HASLAM

Top Right: Diagram to show development Bottom Right: Scarpa’s development sketches

Concept and development diagrams (text and images from arc3001 casestudy - attached as a seperate document)

S c a r p a ’s s e c o n d s c h e m e b e g a n t o c l o s e l y re l ate to t h e D utc h p av i l i o n , designed by Rietveld. He developed a square plan which encompassed a courtyard in the centre of four rectangular volumes.

The final design includes two large rectangular volumes sat p e r p e n d i c u l a r to t h e ave nu e , w i t h three solid wall. The two volumes are separated by a corridor which has no walls, but instead a roof which appears to float. The third vo l u m e s i t s p a ra l l e l to t h e ave nu e at the back of the plan. (Henry Vicente. 2018) (Robert McCarter. 2013)

/ 45

Staging

The project Staging resembles the first phase o f t h e G ra d u at i o n Pro j e c t, following the study trip to Ve n i c e . T h e s i t e c h o s e n f o r the project is situated within Ve n i c e G i a r d i n i , t h e r e f o r e the study trip has directly informed the project; the exploration and experience o f t h e Ve n e t i a n c i t y. D u r i n g staging I conducted site analysis, developed a brief f o r t h e G ra d u at i o n Pro j e c t and estabished concepts to evolve into a realised design project.

46 /

P h o t o g r a p h s o f Ve n i c e

/ 47

48 /

L o c a t i o n o f Ve n i c e , I t a l y i n r e l a t i o n t o N e w c a s t l e , E n g l a n d

/ 49

Murano

50 /

M a p o f Ve n i c e 1 : 2 5 0 0 0

Murano glass

Flooding in st marks square

1:6 residents to tourists (monthly)

Mediterranean Flyway

Migratory birds take incredible journeys twice a ye a r a n d m a ny t a ke t h e s e trips in one go. Birds which take the Mediterranean f l y w a y o v e r Ve n i c e i n c l u d e t h e : B a r n S w a l l o w, C o m m o n Swift, Common Cuckoo, White Stork and European B e e E a t e r. Ve n i c e only has a population of 270,884 residents, however has an annual tourist population of 20 million.

Residntial area of venice

/ 51

52 /

P h o t o g r a p h s o f m a t e r i a l s a r o u n d Ve n i c e

The site

I n Ve n i c e I w a s i n t e r e s t e d in the intimate textural q u a l i t i e s a r o u n d t h e c i t y. The site is located within one of Ve n i c e â&#x20AC;&#x2122;s few public green spaces, The Giardini Publici. On site I photographed the natural and man made textures of the Giardini. I was mostly interested in the texture of the eroding statues on the site, because I could see h o w Ve n i c e â&#x20AC;&#x2122;s c l i m a t e h a d influenced a material. / 53

54 /

/ 55

S i t e / / G i a r d i n i P u b l i c i , Ve n i c e

56 /

Photographs of site

/ 57

The site, highlighted in pink, is located on the lagoon front within the Giardini Publici. The Giardini is used annually f o r t h e Ve n i c e B e i n n a l e , the Beinnale includes co u nt r y p av i l i o n s f o r t h e annual exhibitions. There are three of the Beinnale p av i l i o n s v i s b l e f ro m t h e s i t e : T h e S w i s s , Ve n e z u e l a n and Russian p av i l i o n s . The site has a lot of noise pollution from the lagoon and Beinnale, however also has a lot of natural sounds such as bird song a n d r u s t l i n g o f l e ave s f ro m the wind. Wi t h t h e s i t e b e i n g l o c a t e d on the lagoon front, lends opportunities for exciting views from the building, and plenty of natural light and ventilation.

58 /

Roof plan 1/1000

/ 59

Site analysis

Noise pollution from boats

60 /

Sw i s s p av i l i o n

Ve n e z u e l a n p a v i l i o n

Ru s s i a n p av i l i o n

Noise pollution from Beinnale

S i t e a n a l ys i s ( Us e d a s p a r t o f a r c 3 0 13 co u r s e w o rk )

Key features

Sun path

Access to site

Views of site

Wi n d

Routes

S i t e a n a l ys i s ( Us e d a s p a r t o f a r c 3 0 13 co u r s e w o rk )

/ 61

62 /

Brief

// Strategic Brief // Garden and Cultivation

Providing elements of garden within the design to provide homes for local wildlife.

// Project Brief // Headquarters for the organisation Bird Life International

/ / Pa v i l i o n

// Responds to and incorporates the existing e nv i ro n m e nt o n a n d a ro u n d the site.

// Ecosystem

/ / Prov i d e s a h o m e f o r o r g a n i s m s w h i c h a r e nâ&#x20AC;&#x2122; t human .

A space for locals to relax within the Giardini, listen to the birds and the lagoon. Providing homes for birds which create an ecosystem where their excrement can be collected and used to benefit the building and surrounding landscape.

// Communal living

A space where bird and man co-inhabit.

// Includes natural mechanisms which improves the qualities of a building / / Prov i d e s a ce nt re f o r t h e l o c a l s to e n ga ge i n p o s i t ive r e c r e a t i o n a l a c t i v t y. ( R e p e a t visit).

/ 63

Initial ideas

Pa l a z z o D e g l i Ucce l l i / /

Being a natural garden it is apparent that the site is h o m e t o m a ny b i rd s . Fro m my f i rs t ex p e r i e n ce o f t h e site it became paramount to me to create a design which would not only respect the wildlife but benefit the local birds.

Centre for the locals //

A s Ve n i c e i s b e c o m i n g increasingly dominated by tourism the residential population is decreasing. I believe that it would be important to create a centre which focuses on serving the locals and encouraging t h e l o c a l s to s t ay a n d t h r ive w i t h i n t h e i r c i t y.

Bird Life International// Bird Life International is widely recognised as the world leader in bird conservation. The organisation researches over 11,000 different species of birds and their migratory flyways, to understand the best method of conservation a n d i n n ovat ive ways to provide it. Currently the organisation has 6 coordination offices around the Globe and one head office in Cambridge, UK. I wanted to create a h e a d o f f i c e i n Ve n i c e

64 /

B i r d L i f e I n t e r n a t i o n a l l o g o ( International, B. 2019)

because the city is situated directly under the M e d i t e r r a n e a n f l y w a y, a n d to acknowledge the cities understated wildlife and improve protection of it. The headquarters will also improve the local c o m m u n i t y i n Ve n i c e a s Bird Life International currently runs the science project Spring alive, which encourages children to learn about the incredible journeys that migratory birds undertake.

Natural systems // The e nv i ro n m e nt a l strategy for the project has been considered since the staging phases. The initial idea was to h a r m o n i s e c u l t ivat i o n w i t h the technical strategies. This diagram illustrates a system before the project was realised: The gardener of the Giardini caring for the garden, encouraging thick and lush plant growth around the building, which in return filters the air entering the building and improving air quality within the building.

/ 65

At o n e w i t h n a t u r e / / Fo l l o w i n g t h e s t u d y t r i p , I was influenced by C a r l o s S c a r p a â&#x20AC;&#x2122;s Ve n e z u e l a n p av i l i o n , w h i c h i s s i t u ate d next to the site. I was d r a w n t o S c a r p a â&#x20AC;&#x2122;s i n t e r e s t in allowing nature to enter a n d i nva d e t h e b u i l d i n g . Incorporating this theme i nto my ow n d e s i g n wa s helpful as I wanted to blur the line between interior a n d e x t e r i o r, c r e a t i n g a space where the visitor would experience a feeling of being outside in the Giardini whilst inside the building. 66 /

Precedent Study // VTN Architects

Vo Tr o n g N g h i a a r c h i t e c t s i s a l e a d i n g a r c h i t e c t u r a l p r a c t i s e i n V i e t e m a m . â&#x20AC;&#x153; B y e x p e r i m e n t i n g w i t h l i g h t , w i n d a n d w a t e r, a n d b y u s i n g n a t u r a l a n d l o c a l materials, VTN Architects employ a contemporary design vocabulary to explore n e w w a y s t o c r e a t e g r e e n a r c h i t e c t u r e f o r t h e 2 1 s t c e n t u r y, w h i l s t m a i n t a i n i n g t h e e s s e n c e o f A s i a n a r c h i t e c t u r a l e x p r e s s i o n . â&#x20AC;? - Vo Tr o n g N g h i a Hotel Babylon, 2015 Vietnam The building uses green facades, vines growing on 5x15 precast concrete screens. The green facades provide natural crross ventilation and reduces heat gain by filtering direct sunlight into the building. T h e co n c re te s c re e n s h ave a t i m b e r text u re , m o re n at u ra l a n d co m p l e m e nt s surrounding natural landscape. The use of plants, natural stone and bamboo create a calming atmosphere. These materials were used to create an atmosphere where guests would recieve maximum mind purification and mental wellbeing.

(ArchDaily. 2019)

Photographs of Hotel Babylon(ArchDaily. 2019)

/ 67

Developing natural systems // I n i t i a l e nv i r o n m e n t a l s t ra t e d gy

My i n i t i a l e nv i ro n m e nt a l strategy included using plants in the design to provide solar gain. In the summer the plants would provide shading and in the winter they would l o o s e t h e i r l e ave s a n d allow more light to enter the building. I was also influenced by Herzog and D e M e u r o nâ&#x20AC;&#x2122;s PA M M , w h e r e hanging plants are watered internally to provide a natural cooling system.

68 /

Precedent Study // Herzog and De Meuron Pe r e z a r t m e u s e u m M i a m i , 2 0 1 3 Miami, Florida 2013 South Florida has a harsh climate, with the building being situated on Biscayne Bay the architects had to consider the salt in the air and the risk of flooding. T h e s e a r e s i m i l a r c o n d i t i o n s t o m y c h o s e n s i t e i n Ve n i c e . Herzog and De Meuron had to choose plants with a high tolerence to salt water due t o t h e l o c a t i o n . T h e p l a n t s a r e w a t e r e d u s i n g c a p t u r e d r a i n w a t e r. The architects chose to include the plants, vines and grasses to add a contrast to t h e h a rs h e d ge s o f t h e b u i l d i n g a n d to p rov i d e a n at ive h a b i t at f o r l o c a l w i l d l i f e , through doing this the building exhibits these ecosystems to the public. The building is elevated above flood level. This space under the building not o n l y a c t s a s a c a r p a r k b u t a l s o a m e c h a n i s m t o c a p t u r e a n d s t o r e r a i n w a t e r. T h e carpark has a pourous floor and rain gardens, which are designed to capture water and direct it into the ground water system. This reduces flooding in the local area. M a t e r i a l l y, t h e b u i l d i n g i s d e s i g n e d t o e x h i b i t t h e r a w m a t e r i a l o f c o n c r e t e a n d t h e raw m ate r i a l o f t h e n at ive l a n d s c a p e ( t h ro u g h t h e c h o s e n p l a nt s ) . T h e p l a nt s contrast the geometric architecture. T h e b u i d i n g i s d e s i g n e d to l i m i t t h e u s e o f p re c i o u s re co u rce s . T h e a rc h i te c t s h ave m a d e m a ny o f t h e te c h n i c a l a s p e c t s i nv i s a b l e to t h e p u b l i c . â&#x20AC;&#x153;d e s i g n e d t o p r o v i d e a b e a u t i f u l a n d s e r e n e l o c a t i o n a l o n g t h e w a t e r f r o n t explore art.â&#x20AC;?

(Landezine.com. 2019)

P h o t o g r a p h s o f PA M M ( L a n d e z i n e . c o m . 2 0 1 9 )

/ 69

Programme

Initial programme diagram

70 /

Site Approach // Massing

Initial massing started as a single rectangular volume which sat on the lagoon f r o n t m i m i c k i n g Ve n i c e â&#x20AC;&#x2122;s heritage of opulent palaces which line the grand canal. As I wanted to respect the Giardini I changed the mass to two separate volumes to include a courtyard aiming to reduce the building footprint. The third iteration included a third mass which bridges between the two ground floor masses, this was to increase roof area, which would be used as gardens to replace the natural Giardini used by the building footprint. Massing models

/ 71

Fa c a d e d e v e l o p m e n t

The initial intent was to design a facade that would be permeable to allow natural light to access the garden and to soften the threshold between the Giardini and the building. The facade experiment paintings allowed me to ex p l o re h ow my i n i t i a l massing and concepts might develop into an elevation. 72 /

Developing an ecosystem // Cohabitation and cultivation

Fo l l o w i n g the decision to create habitats for birds within the building I wanted to develop this concept further by utilising the birds to create an ecosystem within the building which would benefit both bird and man. Guano (bird excrement) is extremely high in phosphorous and nitrate, therefore can be added to a compost heap and used to fertilise the Giardini to provide an enhanced e nv i ro n m e nt f o r t h e b i rd s and for the people who use the building. / 73

Developing ecosystem // Cohabitation, cultivation and sustainable energy

Straw L e ave s Guano Lawn Clippings The intention to use guano to fertilise the garden was developed further to strengthen the initial e n v i r o n m e n t a l s t r a t e g y. The compost heap can be used to create a source of heat. By placing polythene tubes around the compost and connecting to a water source, the water will heat up as it passes through the compost. The compost water heater is a sustainable source of hot water which if the heap is large enough (1.5x1.5m) can b e u s e d to h e at t h e ave ra ge house.

74 /

Straw Lawn Clippings Hot water (Out)

Guano Straw

Cold water (in)

Newspaper Guano

Diagram of compost water heater

Photograph of compost water heater (Onestraw.wordpress.com. 2010)

Photograph of compost being taken to garden (Econation. 2019)

Photograph of the Giardini

/ 75

Thinking Through Making Week Throughout thinking through making week I developed the concept of co-habitation between birds and humans. During this week I designed a model which responds t o t h e s i t e â&#x20AC;&#x2122;s h a r s h c l i m a t e and capability to corrode materials. After combining the nature of the site with co-habitation, I created a prototype to represent a wall, which as it erodes creates crevasses and holes, aiming to encourage birds to nest within the supporting structure of the wall.

76 /

The eroding statues which exist on the site became the i n s p i rat i o n f o r my t h i n k i n g through making project. / 77

1 //

2 //

3//

Concept image for bird co-habitation wall.

I created the prototype out of mdf. I began by cutting the mdf pieces needed to create the border of the model and gluing and pinning t h e p i e c e s t o g e t h e r.

After the border was made I cut the pieces of mdf which would act as the bird homes/supporting structure. These pieces slotted together and created a strong joint without relying on glue and pins.

78 /

4 //

5 //

6 //

The supporting structure could then be pinned into the b o r d e r.

I created tiles out o f p l a s t e r, w h i c h would represent the eroding material. The tiles were made by creating moulds out of clay then pouring the plaster into the mould.

Once the plaster w a s d r y, I r e m o v e d the clay and washed the tile. I made sure the tiles were able to slot into the grid and hold their place stably without the need for glue.

/ 79

80 /

Thinking through making week outcome

Concept image to show how the model would apply to the building design. / 81

Realisation and Refinement

The proposal is to construct a head quarters for the organisation Bird Life International, which provides a s a f e e nv i ro n m e nt f o r t h e n at ive b i rd s a n d e n co u ra ge s inhabitation. Besides this the programme aims to restore the sense of community for the permanent residents o f Ve n i c e b y p r o v i d i n g a space for locals to engage in p o s i t ive recreational a c t iv i ty w h i c h w i l l b e n e f i t the Giardini and wildlife of Ve n i c e . The programme focuses around three masonry pigeon towers which accommodate local pigeons and allow for the harvesting of Guano.

82 /

Developed programme diagram (used as part of the arc3013 coursework)

/ 83

Designing through experiments // This is an initial model which explores the themes of permeability a n d t r a n s p a r e n c y. A s t h e building intends to create a n at m o s p h e re f o r ave s to t h r ive , i t i s c r u c i a l to ensure transparent and re f l e c t ive m ate r i a l s d o n o t pose as hazardous to the birds. To r e s o l v e t h i s I experimented with etching onto transparent material after being influenced by H e r z o g a n d D e M e u r o nâ&#x20AC;&#x2122;s Ricola storage building. The etchings will make the material more visible to birds and prevent them from flying into glazed surfaces. 84 /

/ 85

86 /

Designing through atmosphere // During the realisation phases I found it beneficial to imagine the atmosphere and e nv i ro n m e nt of the project along side the development of the plans. To i l l u s t r a t e t h e e nv i ro n m e nt I p ro d u ce d co n ce p t p e rs p e c t ive s a n d collages to explain the materiality and ambience of the space. / 87

Development of plans // The development of the plan at realisation phase. Fo c u s i n g o n p e r m e a b i l i t y and harmonising the design into the Giardini.

88 /

Development of initial plans

Proposed plans at the realisation review (see appendix for plans in larger scale)

/ 89

90 /

Realisation phase: Side section

Realisation phase: Axonometric

Realisation phase: Side elevation

Realisation phase: Massing

Realisation phase: Front section

After the realisation review the concern was that the horizontal planes would cause too much shading within the Giardini and with the focus on towers and wall materiality I began to develop the plan into a building which emphasised vertical elements rather than horizontal.

Post realisation review sketches to improve plans and building form

/ 91

Massing for the improved form which is made up of a series of towers, mimicking the pigeon towers. The towers are connected by walk ways, some which cantilever and some which are the top of thick ground floor walls. The improved form allows for more light to reach the Giardini, along with reinforcing the concept of harmonising the project into the garden and encouraging the two to become one.

92 /

Improved massing

Plan development

/ 93

Photographs of Iranian pigeon towers (Amusing Planet. 2014). (Pinterest. 2019). (profile, V. 2012).

Traditional Iranian pigeon towers // The proposed design includes three towers, designed to encourage pigeons to inhabit the space and allow for theharvesting of guano. Pigeon towers are not unprecedented, they are common in Iran, for the same purpose of collecting guano. I looked at the Iranian pigeon towers to provide information about function, construction and initial form inspiration. 94 /

Pigeon tower concept image

/ 95

Development of pigeon tower materiality // Development of tower materiality moved from a cast in situ concrete pigeon hole structure to perforated brickwork. This was to separate the materiality between humanity and ave s . A l s o t h e p e r f o rate d brick is structurally reliable whilst creating t h e d e s i re d e nv i ro n m e nt for the pigeons. Models to experiment with materiallity and light 96 /

Precedent Study // Herzog and de Meuron Ta t e m o d e r n S w i t c h h o u s e T h e s w i t c h h o u s e r e i n t e r p r e t s t h e p o w e r s t a t i o nâ&#x20AC;&#x2122;s b r i c k w o r k i n a n i n t e r e s t i n g p y r a m i d s h a p e d t o w e r. T h e b r i c k w o r k i s p e r f o r a t e d a n d c o n s i s t s o f 3 3 6 , 0 0 0 b r i c k s , w h i c h a l l o w s l i g h t t o f i l t e r i n during the day and out on a night. (Dezeen.2019). Ricola Storage building The front elevation of the Ricola storage building in Mulhouse, has a transparent polycarbonate facade situated between two solid concrete volumes. The transparency of the Ricola storage hall is obscured by organic motifs. (Mack . G .1997).

Photographs of Tate modern (Dezeen. 2019) (GRAND TOUR. 2019). (Herzogdemeuron.com. (2016).

Photographs of Rocola storage hall (AFASIAARCHZINE.COM. 2019). (Herzogdemeuron.com. 2019). (Pinterest. 2019).

/ 97

98 /

Experimental model to illustrate materiality of pigeon towers

Guano Harvesting // The Guano is collected by h a n d b y t h e g a r d e n e r. T h e gardener will be secured to a harness which is attached to a trellis structure which hovers o v e r t h e t o p o f t h e t o w e r. T h e gardener will then climb the ladder which can move around the tower on a roller system. The gardener will remove the Guano from the brick by using a scraping tool to loosen the guano. The Guano will then be placed into a bucket which is suspended on a pulley system that can be moved up a n d d o w n t h e t o w e r. / 99

A d ay i n t h e l i f e / / The gardener The gardener wakes up and gets ready to start the day

Moves compost from the heap to a wheelbarrow and sets off into the Giardini

3 Composts and gardens the Giardini 100 /

After a hard days work the gardener goes back home makes dinner and relaxes.

1 4

The guano is then taken to the compost pit and will begin to be rebuilt over the next week. After lunch the gardener begins to harvest Guano from the bird towers

3 2

Isometric diagram to show the gardenerâ&#x20AC;&#x2122;s day / 101

/ 101

102 /

Fr o n t s e c t i o n 1 /1 0 0

/ 103

104 /

Si d e se c t i o n ( No r t h ) 1 / 1 0 0 t o s h o w m a t e r i a l l i t y

Rammed Earth // Rammed earth has been used where possible to replace concrete panels as a more sustainable option. The rammed earth walls are mostly used on the front facade of the building to provide the facade with a more luxurious and grand appearance when approaching the building from the lagoon.

Pe r f o r a t e d b r i c k / /

Concrete // Concrete has been chosen to g ive t h e b u i l d i n g a raw a n d t e x t u r a l q u a l i t y. O v e r t i m e the harsh conditions of the lagoon front will erode the material and create cracks and textures which reflect the unkempt back faĂ§ades o f t h e Ve n e t i a n p a l a c e s , a n d t h e c l i m a t e â&#x20AC;&#x2122;s a b i l i t y t o manipulate materials. The concrete also provides a barrier between bird and man separating the human centred, heated, interior spaces from the bird centred, unheated, exterior spaces.

Where there is brick there a r e b i r d s . Pe r f o r a t e d b r i c k makes up the bird towers but also clads some areas around the building. The brick is perforated to provide sheltered spaces for birds to inhabit. The perforated brick which clads the building is positioned in front of a solid concrete panel, therefore birds can not access the interior spaces of the building. The aim is that they nest within the brick cladding of the exterior leaf and can be heard and experienced from within the building without direct contact.

/ 105

New Build //

Pigeon zone

Pigeon / human cohabitation

Human zone

After 40 years //

Pigeons nests become building fabric 106 /

Sheltered concrete walls will not be as eroded

Diagram to show materiality with building use and change over time

Concrete exposed to the lagoon becomes weathered & textured

Headquarters // Office facilities for the organisation Bird Life International.

G a r d e n e r â&#x20AC;&#x2122;s accommodation //

Pu b l i c p av i l i o n / / Space for locals to use, to watch and listen to the birds, and to learn about local birds.

As the building is situated within the Giardini and incorporates elements of landscaping within the design, the project includes a home for the gardener to reside alongside the garden and birds.

Po s i t i v e r e c r e a t i o n a l a c t iv i ty w h i c h encourages locals to ge t i nvo l ve d w i t h wildlife and gardening.

Programme isometric

/ 107

108 /

Perspective of enterence

Researches local and migratory birds o v e r Ve n i c e t o deterine correct ways of protection and conservation.

Pro d u ce s G u a n o for the gardener to collect and use in the compost.

Arranges conservation projects for locals to get i nvo l ve d i n a n d shares information a b o u t Ve n i c e a n d i t â&#x20AC;&#x2122;s local wildlife Prov i d e s a c t iv i t i t i e s where the locals c a n ge t i nvo l ve d with gardening and protecting the Giardini.

Us e i s o m e t r i c d i a g ra m

/ 109

Pigeon tower 1 Pigeon tower 2 Pa v i l i o n

Exhibition space E n t r a n c e t o g a r d e n e r â&#x20AC;&#x2122;s accommodation Information center Pigeon tower 3

Pu b l i c toilets

Garden

110 /

Pu b l i c s p a ce

Interior space (Heated & bird free zones)

Bird towers

G r o u n d f l o o r p l a n 1 /2 0 0

/ 111 /111

Headquarters Fo y e r

Pr ivate o f f i ce / conference space Pr ivate O f f i ce

Pu b l i c to i l e t s

Pu b l i c te r ra ce Cafe G a r d e n e r ’s accommodation Master bedroom

Garden

112 /

G a r d e n e r ’s accommodation - L iv i n g a re a G a r d e n e r ’s accommodation - Bedroom

G a r d e n e r ’s accommodation - Bathroom

Pu b l i c s p a ce

Interior space (Heated & bird free zones)

Bird towers

F i rs t f l o o r p l a n 1 /2 0 0

/113 / 113

Conference room

Pr ivate O f f i ce

Head quarters foyer (double height)

Pr ivate O f f i ce

Pu b l i c te r ra ce

G a r d e n e r ’s accommodation - L iv i n g a re a (double height)

G a r d e n e r ’s accommodation - Kitchen

Garden

114 /

G a r d e n e r ’s accommodation - Te r r a c e

Pu b l i c s p a ce

Interior space (Heated & bird free zones)

Bird towers

S e co n d f l o o r p l a n 1 /2 0 0

115 / /115

Pr ivate te r ra ce

Research lab

Bird towers

116 /

Pu b l i c s p a ce

Interior space (Heated & bird free zones)

Garden

T h i rd f l o o r p l a n 1 /2 0 0

117 / /117

118 /

Roof plan 1/1000

/ 119

120 /

Fr o n t s e c t i o n s 1 /2 0 0

/ 121

122 /

Pe r s p e c t i v e f r o n t e l e v a t i o n 1 / 1 0 0

//123 123

Pigeon tower 2

Pigeon tower 1

S i d e e l evat i o n ( No r t h ) 1 /2 0 0 Pigeon tower 2

Pigeon tower 3

S i d e e l evat i o n ( S o ut h ) 1 /2 0 0

124 /

Pigeon tower 2

Pigeon tower 3

B a c k e l evat i o n 1 /2 0 0

Perspective of elevation from lagoon

Pigeon tower 1

/ 125

126 126/ /

Perspective of Courtyard showing seating built into wall.

Details // There are details in the project which support the inhabitation of birds. These include planters, bird baths and feeding tables which are built into the walkways and window sills. The perforated brick has a plaster tile, i n f l u e n ce d by my T h i n k i n g Through Making model, which covers the perforation on the lower levels to prevent predators from climbing or e n t e r i n g t h e t o w e r. The building also has seats built into the thick walls, providing spaces for visitors to relax, experience the space and watch the lagoon.

/ 127

128 128/ /

Perspective of inside office

Details // The office spaces h ave perforated brick detailing which can be seen through the windows. This allows the birds to be seen and heard from inside the room without the birds entering the interior space. The windows are also designed to reflect the concept of verticality mimicking the walls and bird towers along with reflecting Ve n i c e â&#x20AC;&#x2122;s culture through a modernised adaptation of the traditional Ve n e t i a n p a l a c e w i n d o w.

Detail section through office wall 1 /75

/ 129

130 /

Perspective of pavilon space

/ 131

Precast concrete panel with steel reinforcement

Perforacted brick cladding, fixed to floor slab with mortar

Concrete floor slab: steel reinforcement and voids

Steel angle anchor rod

Concrete roof slab with green roof Concrete floor slab

Masonry ‘bird house’ load bearing wall

Concrete load bearing wall

Concrete sheer wall

Concrete roof slab with green roof Concrete floor slab Rammed earth lead bearing wall

Concrete core Concrete sheer wall Masonry ‘bird house’ cladding Masonry ‘bird house’ load bearing wall

132 /

Structural diagrams ( from arc3013)

Structure // The project uses cross wall construction with pre-cast concrete panels and floor slabs. The concrete walls are load bearing and provide the lateral bracing of the design. The rammed earth walls are built up on site using formers. T h e ra m m e d e a r t h wa l l s h ave the same structural properties as the pre cast concrete panels. The timber trellis roof which appears to float above the building is supported by four concrete collumns which e x t e n d f r o m t h e g r o u n d f l o o r, situated among the concrete walls and seating.

Side section (South) 1 /100 to show the system: Pigeon- compost- plants -heating

/ 133

Wa t e r r e u s e a n d r u n - o f f p r e v e n t i o n ( f r o m a r c 3 0 1 3 )

E nv i r o n m e n t a l strategy // As the project aims to respect the existing Giardini, it is important to ensure that daylight can reach all the plants. The form and orientation of the project allows all areas of the project t o b e l i t n a t u r a l l y. By splitting the building into separate volumes connected by walkways ensures daylight can penetrate the scheme and reach the site vegetation.

Compost water heater ( from arc3013)

134 /

The timber trellis not only acts as a structure to support the hanging plants, but also provides shading to prevent over exposure of direct sunlight to the garden. The trellis is more dense on the south side and less dense on the north side to allow more light to the naturally more shaded north side and shading for the south side which is hit by direct sunlight.

Plants which hang from the suspended timber trellis structure provide shading from direct sunlight in the s u m m e r.

The hanging plants are watered internally acting as a cooling system, which, d u r i n g t h e s u m m e r, c o o l s the warm air as it enters the building.

Section showing ventillation, cooling and daylighting in summer ( from arc3013)

Tr e l l i s p r o v i d e s s h a d i n g

Section showing ventillation, heating and daylighting in winter ( from arc3013)

Mixed mode ventillation

/ 135

136 /

Exterior perspective

/ 137

A p i g e o nâ&#x20AC;&#x2122;s p e r s p e c t i v e I u s e d my k n ow l e d ge and use of viewing device from the primer phase to inform this image which aims to capture the essence of the design through the eyes of a pigeon about to take flight. 138 /

/ 139

Thinking Through Making Workshops

The Thinking Through Making workshops enabled me to discover new ways creating work and allowed me to develop new skills such as joint making and plaster casting.

140 /

The first workshop I went to was Encoding Material Process. In this workshop I l e a r n e d h ow to co nve r t a piece of writing into a three dimensional symbolic model.

/ 141

In the second workshop I attended I was able to learn how to create a dovetail joint.

142 /

My f avo u r i te workshop out of the three I attended was the plaster casting workshop. Here I learned how to make a former out of clay and pour the plaster to crate a model. I used the skills I learned in this workshop to create my T h i n k i n g t h ro u g h m a k i n g week model.

/ 143

Cu l t u ra l B i b l i o g ra p hy Buildings visited // B a r c e l o n a Pa v i l i o n , B a r c e l o n a / Mies van der Rohe Visited : Sept 2018

S a g r a d a Fa m i l i a r & Pa r k G u e l l , Barcelona / Antoni Gaudi Visited : Sept 2018

I g u l a d a C e m e t e r r y, I g u l a d a / Enric Miralles & Carme Pinos Visited : Sept 2018

V& A M u s e u m , D u n d e e / K e n g o Ku m a Visited : Oct 2018

144 /

Extra curricular hobbies//

L e c t u r e s /eve n t s attended//

Throughout this y e a r, a l o n gs i d e my co u rs e , I h ave been practising watercolour painting, particularly focusing on animal portraiture.

Big Capital: Who is the city f o r ? / L e c t u re by Pro f e s s o r Anna Minton Oct 2018

Colour in Architecture: Association and Experience / Lecture by Pro f f e s s o r F i o n a Mc L a c h l a n Nov 2018

A r c h i t e c t u r e B e i n n a l e Ve n i c e Nov 2018

/ 145

B i b l i o g ra p hy ArchDaily. (2019). Gallery of Naman Retreat the Babylon / VTN Architects - 18. [online] Available at: https://www.archdaily.com/771271/naman-retreat-the-babylon-vo-trong-nghia-architects/55bfcf98e58ece81f00000dc-naman-retreat-the-babylon-vo-trong-nghia-architects-photo Armstrong, R and Campbell, A (2018), Palace of Ecologies studio brief

Landezine.com. (2019). PAMM – Perez Art Museum Miami by ArquitectonicaGEO and Herzog & de Meuron « Landscape Architecture Platform | Landezine. [online] Available at: http://www.landezine.com/index.php/2014/07/pamm-perez/

Dezeen. (2019). Tate Modern Switch House by Herzog & de Meuron opens. [online] Available at: https://www.dezeen.com/2016/06/20/tatemodern-switch-house-herzog-de-meuron-london-opens-to-the-publicjim-stephenson/

Page 75 - Compost In wheelbarrow & compost water heater

Henry Vicente, “VENEZUELAN PAVILION - Common Pavilions”, Commonpavilions.Com <http://commonpavilions.com/pavilion-venezuela. html>

Onestraw.wordpress.com. (2010). compost | One Straw: Be The Change. [online] Available at: https://onestraw.wordpress.com/category/compost/

Page 94 - Iranian pigeon towers

Mack. G. (1997). Herzog & De Meuron the complete works Volume 3. Birkhauser Verlag GmbH. Basel. p29 Robert McCarter, “Carlos Scarpa”,Phaidon Press, London, 2013 Venezia, L. (2018). Biennale Architettura 2018 | Participants. [online] La Biennale di Venezia. Available at: https://www.labiennale.org/en/architecture/2018/participants

List of Illustrations All images are authors own unless stated below. Page 21 - Images of existing duck nesting boxes 10,000 Birds. (2019). Think Outside Of The Nest Box - 10,000 Birds. [online] Available at: http://www.10000birds.com/think-outside-of-thenest-box.htm Birdfood.co.uk. (2019). Round Duck Basket. [online] Available at: https:// www.birdfood.co.uk/round-duck-basket.html? Colchester Wildfowling and Conservation Club. (2019). Conservation. [online] Available at: https://www.colchesterwildfowlers.org.uk/conservation.html Mears, S. (2019). Blog -National Nest Box Week. [online] Wildlifeworld. co.uk. Available at: https://www.wildlifeworld.co.uk/national-nest-boxweek-2-2/ Page 64 - Bird Life International logo International, B. (2019). BirdLife | Partnership for nature and people. [online] Birdlife.org. Available at: https://www.birdlife.org [Accessed 23 May 2019]. Page 67 - VNT Architects, Hotel Babylon

146 /

Page 69 - Herzog & De Meuron, PAMM

ArchDaily. (2019). Gallery of Naman Retreat the Babylon / VTN Architects - 18. [online] Available at: https://www.archdaily.com/771271/naman-retreat-the-babylon-vo-trong-nghia-architects/55bfcf98e58ece81f00000dc-naman-retreat-the-babylon-vo-trong-nghia-architects-photo

Econation. (2019). Composting, Beginners guide to composting. [online] Available at: https://econation.co.nz/composting/

Amusing Planet. (2014). The Pigeon Towers of Iran. [online] Available at: https://www.amusingplanet.com/2014/11/the-pigeon-towers-of-iran.html Pinterest. (2019). Pigeon tower. [online] Available at: https:// www.pinterest.co.uk/pin/182606959863594857/ profile, V. (2012). Pigeon Towers. [online] Historicaliran. blogspot.com. Available at: http://historicaliran.blogspot. com/2012/02/pigeon-towers.html Page 97 - Herzog & De Meuron, Tate Modern Dezeen. (2019). Tate Modern Switch House by Herzog & de Meuron opens. [online] Available at: https://www.dezeen. com/2016/06/20/tate-modern-switch-house-herzog-de-meuron-london-opens-to-the-public-jim-stephenson/ GRAND TOUR. (2019). Magic in brick – new Tate Modern extension - GRAND TOUR. [online] Available at: https://www. grandtourmagazine.com/magic-brick-new-tate-modern-extension/ Herzogdemeuron.com. (2016). 263 THE TATE MODERN PROJECT - HERZOG & DE MEURON. [online] Available at: https://www.herzogdemeuron.com/index/projects/completeworks/251-275/263-the-tate-modern-project.html Page 97 - Herzog & De Meuron, Ricola storage hall AFASIAARCHZINE.COM. (2019). Herzog & de Meuron . Ricola Production and Storage Building . Mulhouse (11). [online] Available at: https://afasiaarchzine.com/2016/04/ herzog-de-meuron-85/herzog-de-meuron-ricola-production-and-storage-building-mulhouse-11/ Herzogdemeuron.com. (2019). 094 RICOLA-EUROPE SA, PRODUCTION AND STORAGE BUILDING - HERZOG & DE MEURON. [online] Available at: https://www.herzogdemeuron.com/index/projects/complete-works/076-100/094-ricola-europe-production-and-storage-building.html Pinterest. (2019). Ricola-Europe SA, Production and Storage Building Mulhouse-Brunstatt, France Project 1992, realization 1993 | Herzog & de Meuron | Architecture, Design, Brick facade. [online] Available at: https://www.pinterest.co.uk/ pin/552465079278191260/

Appendix A -Primer & Staging

Painting from Rainton Meadows site analysis Mallard nesting box information - links to page 20

Initial ideas from staging

/ 147

Appendix B - Realisation plans

GROUND FLOOR PLAN

1/200

1 3 5

8 12 9

1 Pigeon tower 1 2 Giardini 3 Bird tower- public 4 Pavilion 5 (Bird life International HQ) Exhibition space 6 Courtyard Giardini 7 (Bird life International HQ)Information desk 8 (Bird life International HQ)Kitchen 9 Toilets 10 Gardenerâ&#x20AC;&#x2122;s accommodation entrance 11 Bird tower- private 12 Pigeon tower 2

148 / Floor plans which were shown in the realisation review - links to page 89

FIRST FLOOR PLAN

1/200

18 21

23 17

13 Bird life International HQ reception 14 Bird life International HQ public terrace/ waiting area 15 Bird life International HQ Meeting room 16 Garden Terrace 17 Bird life International HQ Meeting room 18 Public circulation/ terrace 19 Bird life International HQ Staff Toilets 20 Gardener’s accommodation Entrance/ reception/ living area 21 Gardener’s accommodation Bedroom 22 Gardener’s accommodation Bathroom 23Gardener’s accommodation Garden terrace

SECOND FLOOR PLAN

1/200

31 24

29 32

28 25

33 27

24 Bird life International HQ- Staff toilets 25 Bird life International HQ- Achieves 26 Bird life International HQ- Garden Terrace 27 Bird life International HQ- Private offices 28 Publice bird viewing platform 29 Bird life International HQ- Research ‘lab’ 30 Public Rooftop Giardini 31 Gardener’s accommodation living area 32 Gardener’s accommodation toilet 33 Gardener’s accommodation Kitchen 34Gardener’s accommodation Garden terrace

/ 149

Appendix C - Refinement work before ammend-

150 /

Plans and section shown in refinement review

Elevation shown in refinement review

/ 151

SECTION E

Appendix D - My contribution to arc3001 case study CONCEPT AND DESIGN DEVELOPMENT CONCEPT FOOTNOTES:

THE COMBINATION OF MATERIALITY ENHANCES THE NOTION OF ASSEMBLY AND ESTABLISHMENT, ASSERTING THE DESIGN AS A PLACE WHICH IS TIMELESS.

HE DOES THIS WITH HIS USE OF ROUGH VISIBLE CONCRETE AND POLISHED WALL AGAINST THE BRICK SWISS PAVILION.

SCARPA DESIGNED LONG CONCRETE STAIRS WHICH AIM TO ALLOW PEOPLE TO SLOW DOWN FROM THE BUSY GIARDINI TO THE RHYTHM OF THE PAVILION

SECTION E

VICTORIA HASLAM

CONCEPT AND DESIGN DEVELOPMENT DESIGN DEVELOPMENT FOOTNOTES:

Robert McCarter, “Carlos Scarpa”,Phaidon Press, London, 2013

1 SCARPA’S FIRST DESIGN, WHEN LOOKED AT FROM PLAN, INCLUDED A COLLECTION OF INTERLOCKING TRIANGLES AND HEXAGONS. IN THIS DESIGN, THE BUILDING APPEARS TO HAVE A TETRAHEDRAL ROOF, WHICH RISES ABOVE A HORIZONTAL ROOF BELOW. HIS SECOND DESIGN INCLUDES A GROUP OF RECTANGULAR VOLUMES GROUPED AROUND A LARGE COURTYARD. SCARPA’S SECOND SCHEME BEGAN TO CLOSELY RELATE TO THE DUTCH PAVILION, DESIGNED BY RIETVELD. HE DEVELOPED A SQUARE PLAN WHICH ENCOMPASSED A COURTYARD IN THE CENTRE OF FOUR RECTANGULAR VOLUMES. SCARPA DEVELOPED THIS PLAN BY TAKING AWAY A VOLUME, LEAVING THREE RECTANGULAR VOLUMES AROUND AN L SHAPED CENTRAL SPACE. IN THE PLAN TWO VOLUMES RUN PERPENDICULARLY TO THE AVENUE AND ONE RUNS PARALLEL TO IT. IN THIS DESIGN, IN ELEVATION, SCARPA INCLUDES VERTICAL WINDOWS WHICH RUN ALONG THE TOP OF A SOLID WALL. THE FINAL DESIGN INCLUDES TWO LARGE RECTANGULAR VOLUMES SAT PERPENDICULAR TO THE AVENUE, WITH THREE SOLID WALL. THE TWO VOLUMES ARE SEPARATED BY A CORRIDOR WHICH HAS NO WALLS, BUT INSTEAD A ROOF WHICH APPEARS TO FLOAT. THE THIRD VOLUME SITS PARALLEL TO THE AVENUE AT THE BACK OF THE PLAN.

Bottom Right: Scarpa’s development sketches

152 /

VICTORIA HASLAM

Top Right: Diagram to show development

SECTION I

ENVIRONMENTAL STRATEGY DRAINAGE

THE VENEZUELAN PAVILION HAS A FLAT ROOF, TO PREVENT THE GATHERING OF RAIN WATER ON THE ROOF SCARPA INTEGRATES THE DRAINAGE IN SUBTLE AND INTERESTING WAYS. THERE ARE THREE DRAINS LEADING FROM THE ROOF OF THE PAVILION: THESE ARE PLACED SO THERE IS ONE DRAIN FOR EACH VOLUME. THE DRAIN ON THE FIRST VOLUME FACES DOWN AT THE STAIRS LEADING TO THE ENTRANCE. THE SECOND VOLUME THE LOWEST HEIGHT OF THE THREE VOLUMES. THE DRAIN SITS ROUND TO THE LEFT HAND SIDE OF THE PAVILION. THE LAST DRAIN IS LOCATED ON THE THIRD VOLUME, AT THE BACK OF T HE PAVILION, ROUND THE CORNER FROM COURTYARD.

VICTORIA HASLAM

THE BUILDING REQUIRES THREE DRAINS BECAUSE THE BUILDING HAS THREE DIFFERENT HEIGHTS OF ROOF .

Left Image: photo of the Pavilion from the front with circles to indicate where drains are right image: roof plan diagram showing location of drains and photos of the drain in that location.

SECTION I

ENVIRONMENTAL STRATEGY DAYLIGHTING AND VENTILATION

THE PAVILION WAS DESIGNED IN 1954, WHEN THERE WAS NO REGULATIONS FOR HEATING AND VENTILATION, THEREFORE SCARPA’S DESIGN DOES NOT IMPLEMENT EITHER OF THESE TWO STRATEGIES. AS THE BUILDING IS A PAVILION USED AS AN EXHIBITION SPACE THERE IS NOT REALLY MUCH NEED FOR HEATING, HOWEVER WITH THE ABSENCE OF A HEATING AND VENTILATION STRATEGY THERE IS THE APPEARANCE OF MOULD WITHIN THE BUILDING.

830

217

424

THIS MOULD IS ALSO DUE TO WATER ENTERING THE BUILDING, FOR VARIOUS GAPS, MOST NOTICEABLY AROUND THE WINDOWS, WHERE PLANTS ARE INVADING THE BUILDING FROM THE OUTSIDE. STRATEGY -AS SCARPA’S DESIGN ENCOURAGED THE INTERACTION BETWEEN NATURE AND THE INTERIOR I DON’T THINK THE GAPS SHOULD BE CLOSED UP. -INSTEAD THE WALLS COULD HAVE A HYDROPHOBIC BARRIER APPLIED TO REPEL THE RAIN WATER WHICH ENTERS THROUGH THE GAPS AROUND THE WINDOW -AS THE BUILDING IS A PAVILION, I DON’T THINK IT IS NECESSARY TO PROVIDED A HEATING STRATEGY -HOWEVER THE DESIGN COULD INCLUDE A SIMPLE VENTILATION STRATEGY SUCH AS STACK VENTILATION. THE AIR FROM OUTSIDE CAN ENTER THROUGH THE MAIN DOOR AND THE SIDE DOOR AND LEAVE THROUGH VENTS INSTALLED IN THE WALLS OF THE TALLER VOLUMES.

Middle Right: Section showing ventilation if a stack ventilation strategy was installed. Bottom Right: Drawing to show plants invading interior through windows.

VICTORIA HASLAM

Top Right: Section showing shadows inside building, with Lux levels.

/ 153

154 /

/ 155

156 /