A
ims of academic portfolio
Vili-valtteri Welroos 102237966
BA Architecture
Academic Portfolio 2013/14 Stage 3 Newcastle University APL
Objectives: - to showcase and reflect on the work accomplished during Stages 3 and 2. - to record the ideas, processes and results of my work as a designer. - to introduce myself as a designer. - to showcase the architectural ideas,
techniques,
observations
and experiences I have gathered during my education at Newcastle University APL.
This document provides
a visual narrative of my progress as an architecture student, and demonstrates approach
my
towards
personal architecture.
It should be read together with the contents of my graduation ‘container’.
On this initial timeline,
I have attempted to outline key
Simplicity, Economy, Home. key moments:
moments within my education from first year until this present moment and beyond. I perceive my progress as a continuum of work which has a conversation with my previous
Stage 2 Placed,
work, not simply working towards a
Displaced
‘deadline’.
- small urban project: a house for two.
This page even has some
key moments:
glimpses of 1st year work which is not present on the portfolio. This
Stage 1 Portfolio A place of Refuge
timeline is an essential visual aid to showcase my progress as a student and should be read at the same time as my year design report.
Stage 1 Charrette group-work
key moments: modelmaking
Cookery School - medium-sized urban project.
key moments: Photoshop CS5 Sketch-up Pro Hand-drawing Photography
key moments:
improved handdrawing and autoCAD skills
- first experience collating a portfolio of architectural work (A1 portrait)
Dec 2012
Sep 2012
May 2012
Feb 2012
Timeline
- first minor design project in Kielder forest 40m2
Dec 2011
Sep 2011
2 I
development of handdrawing skills and personal approach to architecture
*subject to obtaining >2.1
Graduation Academic project portfolio Final Review
[this document]
Graduation project: ‘building on what is already built’ - Lit & Phil
Civic Centred key moments:
Stage 3 Can Ricart site-visit, Barcelona
- Indesign - Revit - Choice of a tight site.
key moments: Section- Stage 2 alley Academic Portfolio key key moments: moments:
- heritage and historic buildings. - initial group development.
- group- - Indesign work - Learning
key moments: - utilising the skills gathered throughout my studies to design a medium sized public building.
Can Ricart Final Review key moments: Adobe illustrator
- making a brief which informs the design and its purpose.
- from macro to micro scale technology.
Journal
Dissertation
Technology
External Graduation Examiner Show interview
Stage 5* M.Arch
Newcastle University APL
Stage 4: YEAR OUT
Sep 2015
Jun 2014
May 2014
Feb 2014
Dec 2013
Sep 2013
May 2013
Feb 2013
Dissertation topic
Exams
Ryder work-experiecnce
- site-wide strategical approaches.
Timeline
I 3
L
ist of contents
p.2-3
Timeline; a visual outline of progress throughout the BA.
p.6-55
ARC 3001 Architectural Design 3.1
p.8-34
Graduation Project: ‘Building on what is already built’ The Centre of Cultures and Heritage
p.36-53
Project 01: Can Ricart; Potential, - Framework; a factory of potentials
p.54-55
Project 00: Charrette, Apocalypse Now, thinking through making.
p.56
‘Non-design’ coursework
p.57-63
ARC 3013 Architectural Technology [related to Project 01]
p.64-67
ARC 3015 Principles and Theories of Architecture
SD*
Separate documents* Work-booklets: Can Ricart Building on what is already built
4 I
List of Contents
SD*
ARC 3060 Dissertation:
SD*
Stage 2 Portfolio
‘Analysing the Studio’
I Models produced in Stage 3
# Additional/Improved Work
work completed after/based on feedback
Year Design Report:
In this exercise of writing about my learning in
third (and graduating) year of architecture at Newcastle University I attempt to focus on the key stages of my development as an architecture student, while reflecting on and evaluating my work as part of a wider learning curve. This can be explored graphically on the timeline found at the beginning of my academic portfolio.
The following paragraphs include a self-appraisal
and reflection on the feedback received during the year, relating to the two major design projects completed: Can Ricart / ‘a factory of potentials’ & ‘building on what is already built’.
A reflective exercise
I keep diligent track of my work and progress.
However, I feel that my most crucial weakness is that I work excessively. Through this, I explore a project from a large variety of perspectives without being particularly focused on one specific aspect. I think this might also be my strength as an architecture student, since I have developed a mechanism for coping with the amount of thinking that I am constantly doing. Through keeping a Learning Journal in Stage 2, and through my explorations concerning learning within my dissertation, I started collating a work-
booklet for each project that I do. (figure 2).
I think my strength during this year has been the
compilation and collection of work continuously into my ‘work-booklets’ (found within the box), and reflecting actively on their production. Through this ‘reflectionin-action’ I think that I have developed a personal methodology of design as a process, rather than an endproduct. I could call this my personal rationale for designing architecturally.
On the other hand my weakness is clearly that my
work has not been as focused as I would have desired. I guess I sometimes think that the more work I keep on producing, the better it will be. I think it is perhaps the contrary: it is the quality of the work which truly matters. However, I have noticed that my exploration of a scheme, or project, is enhanced through a lot of ‘doing’.
This brings me to looking back at my Stage 2
the project should be further explored and explained with
portfolio in which I concluded my design report by stating
enough clarity”. This is why I focused some time during
that: Compiling this Academic Portfolio along with the
the Easter break to create a diagrammatic response to
Learning Journal has taught me many skills and showed me
the modularity of the framework which I had generated.
that I can learn a lot by doing. Hence, I have developed a
Concerning the building-scale approach, and its feeling of
fascination with the way designers learn, not only through
heaviness, a more linear solution was attempted, especially
education, but before, after and during. That is why I am
focusing on the fenestration, this would eventually contrast
looking forward to continuing my studies and my learning.
the verticality of the columns.
Compiling, collating and collecting experience is
The
graduation
project
was
key
for
my
what fascinates me most within my learning. Looking back
development, although I might not realise the full extent of
at my development, I feel that I have reached a stage way
the development just yet. I guess I cannot give a perfectly
beyond any of my initial expectations in stages 1 or 2. I
honest reflective account of my graduation project as of yet,
hope that this reflective account of my learning process will
because I don’t have enough hindsight in order to do it.
enhance my aim for life-long learning of architecture, not
Nevertheless, I have attempted to answer to the feedback
only focusing on practical skills, but continuously improving
I received in a convincing manner: ‘what about the visual
as a thinker, maker and person.
presence within city?’ - ‘is there a Victorian language being developed?’ Perhaps I am developing a sort of fascination
A response to feedback
with designing details in a meaningful and ornate manner. Details, like structure, like architecture, are there to do
The first project of the year, Can Ricart in Barcelona,
Spain, was a true challenge. The amount and complexity
more than one functional thing. I guess I have attempted to create an aesthetic which relates to the existing.
of work that I needed to accomplish in only nine weeks was overwhelming, but I feel that I developed as a student
At the very end I was warned about adding too
during that period immensely, because I started to integrate
much about my project onto the portfolio and to focus
structural design into my schemes in a holistic, sincere
on being selective (which happens to be my weakness).
way. Working on my dissertation while designing a large
Right now, after having almost finished the compilation of
scale project from the macro scale to the micro detail was
this document, I feel that I have been rather successful at
probably the hardest, yet most rewarding challenge I have
summarising my learning concisely into a document which
had to deal with so far. The integration of the architectural
has both a lot of content, but can be read without problem.
technology module into the design enhanced my thinking
I really hope that you enjoy reading it as much as I have
as a designer. I felt that thinking about the role of structure
enjoyed making it.
and detail in architectural terms strengthened my personal
approach towards architecture.
After finishing the project, I received positive
not only knowledge about architecture, a personal
feedback from my tutor, Paul Grindley, which I took forward
approach towards design as a continuous process of
into my graduation project, and which I have attempted to
making. Finally, I am looking forward to the feedback and
declare in this academic portfolio. I think that I could greatly
productive, constructive criticism I will certainly receive as
improve the mark of the Can Ricart project by following the
part of a course which is much more than just ‘a course’. It
advice given to me on my feedback sheet. “Flexibility within
is a life-style, and I just cannot get enough of it.
figure 1.
Stage 3 sketchbooks. see selection of sketchbooks in box.
In conclusion, I hope that I will have demonstrated,
figure 2. Collection of workbooklets A3 format, learning journal and Stage 2 portfolio.
Year design report
I 5
6 I
Project 02; ‘building on what is already built’
‘Building on what is already built’
Centre of Cultures and Heritage I 7
Project 02;
‘building on what is already built’
8 I
Graduation project List of Contents
I Final presentation 06.05.2014
site analysis, conceptual development of program.
p.10-11
the idea.
p.12
Centre of Cultures and Heritage...
p.14-15
site section
p.12-13
diagrammatic approach
p.11
key structural and constructional section 1:50
p.28
structural logic
p.29
plans
p.18-23
key 1:200 sections with axonometric explorations
p.24-25
references
p.33
key sections 1:100
p.26-27
developmental models 1:100
p.30-32
contextual, exploratory site model 1:200
p.30-31
sectional model of heritage archive
p.32
conceptual 1:50 models
p.30-31
work-booklet (view separate document)
SD
Project 02:
Graduation Project
‘Building on what is already built’
Project 02; ‘building on what is already built’
Centre of Cultures and Heritage The centre of cultures and heritage forms a symbiotic relationship with the Literary and Philosophical Society building in the heart of Newcastle by helping it achieve its aims: remain an independent library with a history and a heritage, while renewing and developings its educational role within the North East. This project starts with the assumption that any work of architecture can be placed with a cultural continuum and is the outcome of a complex cultural, social and political struggle. Therefore any architecture work, like any heritage building, or site, should be conceptualised as a process, rather than a revered object to preserved.
Existing floor plans of the Lit & Phil.
Views of Lit & Phil main library space
Date: January-May 2014 Duration: 14 weeks Tutors: Sam Clark Dr. Josep-Maria Garcia-Fuentes technical: Dr. Rachel Cruise
View of Lit & Phil building from Collingwood street
Graduation project:
‘building on what is already built’
I 9
Project 02;
‘building on what is already built’
The site as existing [1:1000] site location
Phase 01: Survey and Intentional Analysis an exploration of design, context and history
to/from SCOTLAND Westgate House
(demolished 2007) & Union Rooms
Cale Cross house
St Nicholas Cathedral NEWCASTLE CASTLE KEEP
WESTGATE ARCHES
10 I
Site analysis
Sleeperz Hotel
I Phase 01: Survey and Intentional Analysis
TOKYO BAR
Irving House
Bolbec Hall
The medieval centre of Newcastle-upon-Tyne has a rich history of ‘building on what is already built’: including the Newcastle Castle Keep, remnants of Hadrians wall, the Black Gate. The city has always been a node between the south and the north. More recently, the city has has been at the centre of innovation, through places like the Literary and Philosophical Society and the universities. This innovative development brought in a new fabric of railways, bridges and motor-ways to the centre of the city altering what already existed. The layering of history within the city is remarkable. A wide variety of buildings of different periods can be found embedded in the fabric of Newcastle. Designing something like an extension without considering the different layers of history would be shameful. Hence an analysis of the existing site history informed the design process and idea: to explicitly reveal the history of the site, its urban context and create a place which explores its heritage while aiming to reveal the multiple layers of the city.
Lit & Phil
Neville Hall/Mining Institute
Brief-making;
Conceptual programme based on existing function of the Lit & Phil.
meeting,
education, studying:
conversation: nurturing knowledge, since 1793
allows space 160,000 books
The Centre of Cultures and Heritage
display, showcase.
repository, bookcollection, archives.
restoration
upkeep, binding.
and
A conceptual narrative developed through an intentional analysis, and an ‘idea’ Almost all sites are a palimpsest, a layering of the past. Such layering never ceases and is constantly being altered. We are continuously adding new memories and meanings to places by our existence. In fact, most architecture is in one way or another ‘built on what is already built’. Through this process of constant layering and alteration we are leaving ruins and remnants which provide the basis on which to create new meanings for architectural projects of significance. ‘Building on what is already built’ starts with the assumption that any work of architecture can be placed within a cultural continuum and is the outcome of a complex cultural, social and political struggle. Therefore any architecture, like any heritage building, or site, should be conceptualised as a process,
rather than a revered object to preserved.
Project 02; ‘building on what is already built’
The Centre of cultures and heritage will form a symbiotic, auxiliary relationship with the Grade II* Literary and Philosophical Society building in the heart of Newcastle. Helping it to achieve its aims, remaining an independent library with a rich history and heritage, while renewing and developing its educational role within the North East. Not only does the centre provide a volumetric doubling of the spaces of the existing library, but it aims of enhance the functions already occurring within it. A place of meeting and conversation. An educational hub. A repository of intellect and memorabilia. A restoration heritage. A ‘showstore’ of culture and heritage which collectively remembers the different layers of history that it has been built on.
Project development; brief / extension rationale
I 11
Project 02;
‘building on what is already built’
Phase 02: The idea
proposing an idea to develop into an extension
a Literary Promenade:
Site-response idea
a proposal for the immediate urban context of the Literary and Philosophical Society.
Re-using the existing structure (arches) of the railway tracks below the long-stay car-park area as a basis for a new public area - a literary promenade. This area will offer new accommodation for development for the railway company, potential outdoor space for the existing hotels, and above all it will re-instate the Lit & Phil as a hub of learning and education for all. The new promenade will provide a place to go to, and a place to get something from, but also a pleasant passage-way from the Central station towards the Castle and quayside. Additionally it will promote the existing functions of the Lit & Phil, and provide space for further development while facilitating a selfsufficient future through increased commercial activity by broadening the activities taking place in the area.
Diagrammatic site model 1:200 exploring potentials of a promenade and various entrance points.
12 I
Idea diagram
I Section through literary promenade A-a
Project 02; ‘building on what is already built’
+ 0mm
a
+ 3500 mm
+ 6035 mm
A
Site plan with proposal
new existing
Site plan
I 13
Project 02;
‘building on what is already built’
14 I
The Centre of Cultures and Heritage perspective approach from the park
Centre of Cultures and Heritage
I Key image demonstrating public outdoor steps
Project 02; ‘building on what is already built’
I 15
Project 02;
‘building on what is already built’
Selected perspectives of intervention
a choreographed route through the centre.
02
01
06
07
22
01
New entrance and librarians office.
02
Entrance to the Literary promenade
16 I
Selection of perspectives of the proposal
06
Permanent Collection.
I
Choreographed route
07
Cafe
22
Performances and recitals
Project 02; ‘building on what is already built’
Key space: Heritage Archives
I 17
Project 02;
1:500 plans of the proposal
‘building on what is already built’
18.
01*.
+5500
17.
05.
06.
15.
10. 16.
07.
04. 01.
+6900
14.
03.
09. 08.
02.
+3500
11. 12.
13.
19. +6000
00.
18 I
1:500 plans of proposal
I
Ground floor plan 1:500
First floor plan 1:500
Project 02; ‘building on what is already built’ 00. 01. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21.
28. 21.
27.
23.
25.
23. 24. 25. 26. 27. 28.
24.
Lecture theatre (capacity 70) New computer cluster Heritage research offices Lead-researcher office Shared terrace. +fire escape provision. Centre presence co-ordination / interactive facade maintenance team Existing Lit & Phil Library space (remains as is) Existing Reading room Mining Insitute Library (remains as is) New Librarians office. Public market provision. Public entrance to the castle viewing platform and promenade level. Landscaped ‘historic’ park. Conference space. Terrace Viewing deck. Performance space. Mirrored light-shaft (environmental strategy; daylighting, ventilation) Toilet clusters.
26.
A. B. C. D. E. F. G.
Top floor plan 1:500
Plant room Centre of Cultures and heritage entrance reception. Book-binding and restoration. (delivery access/parking) Heritage Archival / Repository Temporary cultural exhibition. Mining Institute lecture theatre Permanent Collection Cafe( (with outdoor potential) Public seating steps
Train station Existing car-park re-configured. Royal Station Hotel. Westgateroad. Train tracks. Sleeperz Hotel Tokyo Bar
1:500 Plans of proposal
I 19
Project 02;
‘building on what is already built’
1:300 Ground floor plan
D.
01*.
C.
Irving House 05.
G.
06.
07. 04. 01.
03.
02.
08.
00.
20 I
Ground floor plan 1:300 showing site context
F.
Project 02; ‘building on what is already built’ 00. 01. 02. 03. 04. 05. 06. 07. 08.
Plant room Centre of Cultures and heritage entrance reception. Book-binding and restoration. (delivery access/parking) Heritage Archival / Repository Temporary cultural exhibition. Mining Institute lecture theatre Permanent Collection Cafe( (with outdoor potential) Public seating steps
Cooper Studios
A. B. C. D. E. F. G.
Train station Existing car-park re-configured. Royal Station Hotel. Westgateroad. Train tracks. Sleeperz Hotel Tokyo Bar
I 21
1:300 First floor plan
18.
17.
15. 10. 16.
13. 14.
09.
11. 12.
19.
22 I
First floor plan 1:300 showing public park
09. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21.
21.
A. B. C. D. E. F. G.
Lecture theatre (capacity 70) New computer cluster Heritage research offices Lead-researcher office Shared terrace. +fire escape provision. Centre presence co-ordination / interactive facade maintenance team Existing Lit & Phil Library space (remains as is) Existing Reading room Mining Insitute Library (remains as is) New Librarians office. Public market provision. Public entrance to the castle viewing platform and promenade level. Landscaped ‘historic’ park.
Train station Existing car-park re-configured. Royal Station Hotel. Westgateroad. Train tracks. Sleeperz Hotel Tokyo Bar
I 23
Project 02;
‘building on what is already built’
Sections and axonometrics exploring the detail of the proposal
t; ten s ex bind e arg ce a l ntran 0 to d ew e 1:20 e n . n i l i . a Ph ret ted de crea Lit & a fac ce the ng ntran e to i t r is Ex ew e cent n he t
axo 1. new entrance
24 I
Section B-b
I
gy olo iled n ho ta tec 0 de 2 C, r 1: o f l . tai et wn De ookl k-do b rea b
axo 2. ‘lifting’ columns
0 1:2 ft, for sha . let red way ok bo irro walk M ts. y g uc olo n. on -dow ice d h tec reak serv b nd E, a il ed a t on l De etai tilati d en v
axo 3. mirrored light-well
Project 02; ‘building on what is already built’
Split-flap display unit
ap
t-fl
ing iew o v : ax ps ste :200 g 1 tin n. ea cree s c ys bli Pu ispla d
axo 4.lowered public seating.
the
li sp
tric
n
xo
-a ite
e om
cs
ram
ag
Di
ri ma
axo 5.proposal in context
Section through promenade looking at Centre of Cultures and Heritage
I 25
Project 02;
‘building on what is already built’
26 I
Perspective section
Perspective section
through main library and extension
I
Project 02; ‘building on what is already built’
PC.
I use perspective sections to provide a feeling of the spaces within a proposal would be like.
Perspective section
I 27
Project 02;
‘building on what is already built’
Key section 1:50
Structural build-up of extension
a. Concrete pile foundation 300mm radius cast-in-
situ.
f. b. 203mm round hollow section steel column
(5500mm tall) with custom base (leaving a shadow-gap to the ground floor construction). (all structural steel exposed and painted in red intumescent paint.)
c. Custom column-top binding ‘hands’ (steel
I-sections). Light-fittings installed within (hanging from first floor primary beams). This space is used to run services (air-conditioning for the archive space). (View detail A for a 1:20 sectional explanation) (the columns essentially creates
e.
the ‘foundations’ for the extension:
d. 203mm round hollow-section steel column.
Primary structural column for the extension. The base of this column is bolted onto the top of the existing (cut/reused) railway arches. The bolt connection is linked onto the steel ‘binding’ Primary beams and roof truss attach to the column through custom detail B.
e. Space frame creates spacious top floor.
f. Roof construction: zinc clad finish, rigid insulation
300mm, secondary structure (timber battens), primary structure glulam beams attached to column-tops and space frame steel rods.
g. Structural column ‘lifting’ the base of the existing
building. This detail may be viewed at detail C.
h. evacuated tube solar collectors attached to roof
as part of the design; these will serve to power the split-
d.
c.
g.
flap facade system (detail D).
i. rain water collection system integrated within
the ventilation and lighting shafts which work as a bracing element. Service ducts and air-conditioning run within in the inner layer of the shaft. The lighting surface is mirrored fully and has occasional openings to spaces within the Centre of Cultures.
j.
exposed groundwork (‘ruins’) for permanent
collection.
28 I
Key structural section
I Structural build-up
b. a.
j.
Project 02; ‘building on what is already built’
i.
PC. h.
This is a selection of graphics used in the final presentation in order to explain the structural approach of the Centre of Heritage and Cultures. The key 1:50 section demonstrates the moment when new and existing meet and join.
re s a ral e h tu arc truc g s n b i ist su ex the e th te re. ow nera cent h e e of A to g r th l i o a f t d de oun ent b lem e
Structural exploration
I 29
Project 02;
‘building on what is already built’
Developmental model photographs
Demonstrating a continuous process of model-making as an exploration of ideas
1:200 site-model as a vessel for exploration
1:200 site-model as a vessel for exploration
1:50 conceptual model 1:50 conceptual model of binding arches
30 I
Models produced in Stage 3
I
Project 02; ‘building on what is already built’
PC.
I combine physical modelmaking with computer-aided design tools in order to develop a project. However, my models are often not as accurate representations of the design as my Revit model. I find it good to combine various scales while testing ideas.
1:50 conceptual models 1:50 sectional model 1:100 study model
1:100 exploratory structural model
1:100 display model 1:200 exploratory model
Year design report
I 31
Project 02;
‘building on what is already built’
32 I
1:50 model
Project 02; ‘building on what is already built’
PC.
References and precedents informed my design. Studying and exploring existing buildings can provide new answers. Perhaps this is what the project was about all along...
Selection of precedents used to inform the development of the graduation project.
Campos Costa Architects, Lisbon aquarium extension.
Herzog & deMeuron, Museo Blau, Barcelona.
Peter Zumthor, Shelter for Roman Ruins, Chur.
Rogers & Partners, Las Arenas, Barcelona.
J-N Baldeweg, Biblioteca Hertziana, Rome.
References
I 33
34 I
Project 01;
‘Can Ricart; potential, - Framework’
Can Ricart
Potential, - Framework I 35
Can Ricart Potential, - Framework Project 01:
Project 01;
‘Can Ricart; potential, - Framework’
A Spanish headquarters for LaMachine, a French company of urban shows based on Nantes. The proposed site is in Poblenou, Barcelona, on the site of an abandoned and derelict textile factory. A framework of steel columns is created for flexibility. The proposal for a new headquarters takes the form of a superstructure which enables the company to preserve most of the existing buildings of the site without damaging their cultural, historical and social value within Poblenou. The site-wide structure creates order and logic for the usage of the site, and within it an architecture of choice and change can take place.
The framework offers potential.
36 I
Project 01: Can Ricart
I
Final presentation photograph in bad lighting in the nest... Monday 9th December 2013
Date: October 2013 Duration: 9 weeks Tutor: Paul Grindley
Project 01;
‘Can Ricart; potential, - Framework’
#Within the public framework
I 37
Project 01;
‘Can Ricart; potential, - Framework’
Phase 01: Understanding the existing a narrative of the initial approach to Can Ricart.
A diagrammatic narrative
cultural location, Spain
cultural location, Catalunya
cultural location, Poblenou, historical location, inbetween cultural grids, pre-existing tension. problem? Barcelona
Focusing on the existing materiality of the building.
38 I
Can Ricart
I Site visit and exploration
location,
defining a rationale, framework
site specific, relating to context
Proposed framework will create potential space
Phase 01: Understanding the existing a narrative of the initial approach to Can Ricart.
client to utilise space, framework enables functionality.
functional installation to site offers potential.
Project 01;
‘Can Ricart; potential, - Framework’
enclosures vs open spaces, what is in, what is out?
existing structures, potential for re-use; historical value.
Can Ricart, developing a rationale for proposal
I 39
Project 01;
‘Can Ricart; potential, - Framework’
Phase 02: Exploring the different scales a contextual narrative.
THE PROPOSAL Aims of ‘potential, - framework’: - to preserve the existing buildings of the Can Ricart factory by building around and within their shell. The memory remains, but gets re-invented as a workshop of LaMachine. A GENERATOR of dynamism. - to create an insertion to the Can Ricart complex, which preserves it as a part of the cultural heritage of Poblenou and Barcelona. This will make it a core locus for social activities in the vicinity of the site: a place to go to. - the insertion will take the form of a flexible outdoor installation space which highlights Can Ricart as a dynamic part of Poblenou. The dynamic character of the site will enhance it as a key part of an increasingly contemporary, growing city. The flexible spaces created by a sitewide superstructure can be configured in a multiplicity of ways. This flexibility adds to any modifications that the LaMachine company might require to make and allows for any possible expansion and the removal of all of the interventions.
40 I
Can Ricart
I
Generation of proposal
- the site becomes a factory of potentials; the framework becomes the generator of dynamism. The potential spaces left by the framework become the urban blocks of Can Ricart mimicking the blocks created by the Cerda grid.
Project 01;
‘Can Ricart; potential, - Framework’
PC.
Exploration and testing in this project was done through varying scales and a diagrammatic narrative.
1:500 exploratory model
Phase 03: Individual site-wide proposal
I 41
Project 01;
Plans
‘Can Ricart; potential, - Framework’
proposed framework and proposal within.
Key: 1. Entrance Foyer 2. Reception
12.
3.Information centre 4. Cafe
15.
5. Outdoor seating area
6.
6. Atelier Foyer 7. Drawing and modelling Atelier 8. Canteen/Bistro 9. Public Exhibition space
19.
10. Exhibition Foyer 11. Main Exhibition area
18.
16.
12. Administration offices 13. Atelier viewing area 14. Workshop 15. Changing rooms 16. Design amalgamation area 17. Amalgamation regulation room 18. Tower
14.
19. Plant room
14. 1.
20. ‘Box office’
2.
21. Storage areas WC. Toilets 4.
Outdoor Areas: 22. Main parade area 23. Shaded public areas
22.
5. 23.
24. Film projection/concert space 25. Music event area 26. Framework
25. 24.
Excavated workshop plan 1:400
42 I
Can Ricart
I
Plans of proposed framework and modular pod configuration
Ground floor plan 1:400 showing site context #
Project 01;
‘Can Ricart; potential, - Framework’
7.
14.
14.
11. 11.
First floor plan 1:400
Second floor plan 1:400
I 43
Project 01;
Sections
‘Can Ricart; potential, - Framework’
of proposed workshop and pods within site.
“Building an object in movement means creating architecture that lives. Movement is the very expression of life.” (Delaroziere) The tower and crane form a central part of the proposal. The large machines created by the company can be craned out of the workshop into the large open public area for events and for the parade. Similarly the crane can be used as a way to bring deliveries into the worksho space, which is lowered. The design amalgamation area is overlooked by the drawing atelier and is the recepticle of the crane. This historic site becomes a factory of potentials: - LaMachine may use the site as they wish within the framework created (the rationale) - The potential dynamism which the framework offers proposes an infinite amount of opportunities for the clients, the public and the city.
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Long section through site
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I Crane diagram
Project 01;
‘Can Ricart; potential, - Framework’
Sectional exploration
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Project 01;
‘Can Ricart; potential, - Framework’
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Site axonometric
showing locations of events.
Sectional Site axonometric showing diagrammatic location of functions
I
Perspective section
Project 01;
‘Can Ricart; potential, - Framework’
Perspective section of the workshop space
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Project 01;
‘Can Ricart; potential, - Framework’
Designing for adaptation Finding meaning in structure
The six S’s in levels of permanence: - site: will outlast building. - structure - skin - services - space-plan - stuff
Detail 1. a. 12 metre tall 152mm square UC,
b. ‘hovering’ corten steel dressing detail (LED lighting system within), c. cast in situ bolt pockets onto 600mm x 600mm concrete pad foundation. d. Column base plate bolted onto foundation steel plate. e. 16mm steel plate used to bolt corten steel dressing detail onto column. f. Primary steel beams connecting to column supporting modular pod primary timber beams.
site map of barcelona demonstrate relationship with the rest of the city
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Can Ricart
I An exploration of the detail
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f.
e.
b. a. d. c.
Demonstrating potential:
what can LaMachine do with framework? What can the public do with the framework?
Project 01;
‘Can Ricart; potential, - Framework’
potential for modular repeatable shapes.
standardisation of elements, steel framework
P.1 Forest of columns, full potential not utilised.
P.2 LaMachine landscaped area for public joy. planting.
P.3 Public seating areas, large banners for events.
P.4 Public solar shading
Potentials of framework explored
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Project 01;
‘Can Ricart; potential, - Framework’
A-a
B-b
C-c
Section A-a
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Can Ricart
Section B-b
I Sections
Project 01;
Key 1:50 section (C-c)
‘Can Ricart; potential, - Framework’
between new and existing
a. 12 metre tall 152mm square UC, with ‘hovering’ corten steel dressing detail (LED lighting system within), connected to site by cast insitu bolt pockets onto 600mm x 600mm concrete pad foundation. Column base plate bolted onto foundation steel plate.
i.
j. f.
b.
Steel cable connecting to column dressing detail.
bracing through
c. Steel beam connecting
to column. Middle width of beam emphasised to support modular lightweight timber frame pods.
d. Lightweight timber frame pod. Prefabricated, modular.
h.
e.
8mm steel cable rod connection from column to existing masonry wall, creating structural interdependency between framework
g. e.
and existing.
f.
d.
Column connection to
walkways. c.
g. Zinc rainscreen cladding
forming tertiary structure.
b.
h. Concrete strip cast on
a.
existing masonry wall, giving structural base to curtain wall of workshop.
i. Modular roof system with ventilation system, rainwater collection, and integrated PV panels, weatherproofing the workshop. Supported by a steel Howe truss spanning 35m between columns of the framework. j. Overhead crane
Key section between new and existing
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Project 01;
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Perspectives from developed spaces
View from inside the workshop
Night render of public framework area
View from under the pods
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Can Ricart
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Developed space perspectives
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Project 01;
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View from inside the workshop ‘design amalgamation area’
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Charrette Apocalypse Now
Project 00:
Thinking through making In 2059, a worldwide struggle for control of the little remaining resources instigated protests and rioting, followed by martial law, followed by a civil war between the North and South of the country. Inhabitants are experiencing the ‘end of society’ in a very real sense. As part of a young person preservation programme, students have been issued with a government approved survival kit which includes a protective suit, basic model making materials and assorted confectionary. Students must quickly adapt their outfits and bodies in order to survive – an evolution through making. My role within the group was to document the process and eventually collate a fashion shoot of the different survival outfits develop through the week. A fashion show was organised at the end of the week. The development drawings were collated.
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Charrette Project: Apocalypse Now
Date: September 2013 Duration: 1 week
Charrette Project: Apocalypse Now
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Stage 3 non-design coursework
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p.57-63
ARC 3013 Architectural Technology [related to Project 01]
p.64-67
ARC 3015 Principles and Theories of Architecture
SD
ARC 3016 Professional Practice and Management
SD
ARC 3060 Dissertation
potential, - framework
Vili-valtteri Welroos 102237966 ARC3013 Architectural Technology Project 01, Can Ricart Stage 3, 2013/14 09.12.2013
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Part 1: Background Information
1. Background info.
Section 1.1 Structural, constructional and environmental design choices and strategies. 1.2 Site-wide structural design: [figure 1] The design for the new Spanish branch of the LaMachine company onto the site of the derelict 19th Century textile factory will take the form of a rationale that will originate potential uses for the site. The use of the site as a public space and a space for spectacles is defined by a steel column framework spaced at 3800mm and 4800mm. This imposed grid will be at odds with the existing structures of Can Ricart and align to the Cerda grid of Barcelona. This rationale (2.11) provides logic and opportunities for the client. The columns will support the newly built intervention, enable a large span for the workshop, provide space for publicity and create a dynamic environment for LaMachine to utilise at their own volition: perhaps even to rent out small ‘frames’ within the site to local street-performers and musicians . film projections and open-air concerts. The sitewide structural design for Can Ricart will not simply take the form of a series of columns, it will create well considered modular spaces. The repetitive nature of the columns and joints within the framework is crucial. Every column within the site is the same and can be recycled at the end of its lifespan. Repetition and standardisation of the elements within the steel-work will allow for economical and environmental savings to be made. The columns used within the framework are 152mm square UC, with a hidden ground connection [figure 4]. The choice of steel frame as opposed to concrete frame is its constructional flexibility: changes can easily be adopted later. Additionally steel is 30% lighter than concrete allowing for lighter foundations at the base of the columns, which is a key concept within the design: ‘touching the ground lightly’. The framework is merely an addition (an enabler of potential) for the site. This site-wide framework will preserve the site as cultural memory of Poblenou. The site-wide structural approach acknowldges that the site will outlast the intervention (Stewart Brand, Designing for adaptation), and is designed with removal in mind.
1.3 Constructional design:
The newly built element of the design follows a simple rationale and modular forms which allows for quick assembly and construction [figure 3.2]. These consist of modular lightweight timber pods which attach onto the columns through steel beams. The beams provide the support required
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for the suspended timber floor, zinc rainscreen clad walls and the roofing (figures 1.0 & 3.3). There is no direct connection between the columns of the framework and the newly built modular pods. Instead, steel beams bolted onto the columns work as the primary structure and make the framework simply the enabling structure for elevating the pods above the ground. The possibility of bolting elements together within the framework instead of making permanent joints is a key consideration within the design. This allows for easy re-use of elements once obsolete. Connections considered within this document are important, since they get repeated within the framework. They have structural and architectural purposes which have repercussion on the nature of the site as a whole. The following constructional connections will be discussed in this document: - column to ground. [figure 4] - column to beam. [figure 4] - column to existing. - beam to newly built. [figure 4] - structural bracing. [figure 4]
enclosures vs open spaces, what is in, what is out? framework creates gaps in the site. Gaps start defining potential.
An ‘in-between’ potential is generated.
Figure 1.0. key concept diagrams/sketches.
Figure 1.1. photograph of 1:200 conceptual model showing the framework on site.
1.4 Site-wide environmental design: The ground of the site is the most permanent part within the complex and hence requires respect. The columns that give meaning to the site are not a permanent addition to it; extra care is given to the way they meet the ground. They shall aim to touch the ground lightly without disturbing the groundscape too much. The workshop of the LaMachine requires considerable height and excavation will be performed within one of the existing buildings after the removal of the existing roof. The earth will be re-used to create the base for the landscaping of the site. The framework of columns will create small micro climates and potential for shade provision and could potentially be rented to local artists. The existing trees will be cut and used for modelling by LaMachine. However, new trees and green spaces can be accommodated within the framework. The roof created for the workshop will have PV panels that will provide part of the electricity for the requirements of the client. The workshop roof will also provide with natural ventilation vents and rainwater harvesting for the site.
Figure 1.2. site location plan 1:2000 showing framework, tension between the
new and old, and demolished buildings. Additionally it shows the relationship with the existing Cerda grid.
A Visual Narrative
Part 2: A Visual Narrative
2.
Section 2.1 Macro Scale Response: providing a rationale. 2.11 A rationale
cultural location, Catalunya
cultural location, Poblenou, Barcelona
historical location, inbetween grids, pre-existing tension.
cultural location, problematic?
existing structures, potential for reuse; historical value.
Like the city of Barcelona, the site requires a rationale for functioning. Public and semi-public spaces are created by a framework which is partially site-wide, leaving smaller and larger gaps (‘potential-spaces’) within it to allow for open-spaces to form within (Figure 2.0). Theese spaces become enclosed by the framework, but remain public. Every enclosed rectangular space within the grid becomes a public space within itself until it is privatised by LaMachine. These become the ‘urban blocks’ of Can Ricart, mimicking in a way what has happened in Barcelona with the Cerda plan. The spaces formed within the framework are a direct response to the Barcelona grid and by aligning to it, create a tension between the existing ‘ruins’ and the new temporary installation, which provides spaces for the LaMachine company. This logic (Section 2.22) provides a playground for LaMachine to use as they see fit. They might use the spaces for small, medium or large parades, for storage of models and props or for public display. The framework is vessel for movement. It is dynamic in nature, because change happens within it, but also around it: change is taking place constantly within the site, like in Poblenou, Barcelona, and the whole world. Not only does the site become a place to go to, but by being a dynamic part of Poblenou and Barcelona, it becomes a place to pass by, to check out what is new within and perhaps contribute to the potential of Can Ricart as a part of the public realm.
prop, model, storage. deliveries.
Figure 2.0 site plan 1:500 showing the the potential spaces created by the imposed framework. potential space 1: seating? potential space 2: display of meso models? potential space 3: trees, nature? potential space 4: installation artists? potential space 5: street performers?
defining a rationale
functional installation to site offers potential.
Figure 2.2. plans 1:1000 Framework offers potentials, can you think of any?
Figure 2.1 Longitudinal elevation showing framework, building on site, and host.
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Part 2: A Visual Narrative
3. A Visual Narrative
Section 2.2 A Narrative of the ‘in-between’: working ‘within the logic’ 2.21 Working ‘within’
This section deals with the way the framework allows for the newly built to be hosted within it. The different temporal natures hosted within the site are directly related to the constructional connections mentioned in section 1.3. By creating a rationale, the framework allows for newly built elements to be hosted for multiple, flexible purposes. These built elements have a structural and architectural connection with the framework. Additionally they create relationships between the existing buildings on the site. This relationship of tension is emphasised by the connection detail (Figure 4.0) between the two. The connection between column and ground (4.2) is an important one for the framework: it is where the imposed rationale begins. The columns will be supported by pad foundations: in-situ concrete with reinforcement placed at the bottom running in both directions, which will be hidden by a corten steel panel connected to the bottom of the columns creating a shadow-gap - an illusion of hovering above the groundscape. (Figure 4.1)
potential for modular repeatable shapes.
G.
D. F. C. E. B. A.
2.22 The logic
By following a strict grid, the framework hosts potential. LaMachine requires flexible spaces for their observing their large workshop and displaying exhibitions of their work. The framework provides for the micro scale exhibition, the meso scale (between columns (3800mm x 4800mm)) and the larger open public spaces (up to 600 sqm). The steel columns, along with the primary beams connecting them form the primary structure for buildings within the site. The secondary structure is formed by the modular lightweight timber pods which offer flexible spaces within. These are clad with zinc cladding which creates a smooth surface, contrasting the rough existing buildings.
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H.
standardisation of elements, steel framework
Figure 3.1. Working ‘within’ the framework. The in-between spaces can be inhabited, left open or utilised in multiple ways.
Figure 3.2. axonometric of single modular pod within framework. The repetition of this module allows expansion and flexibility. The primary structure of the timber pods is lightweight timber frame that can be recycled easily and fabricated quickly. This is bolted to the primary beams.
A. concrete pad foundation 600mm x 600mm B. 152mm x 152 Universal column with bolted corten steel dressing detail with integrated LED lighting. C. primary steel beam (360mm thickest point at centre - 200mm at connection) connecting to columna-
Figure 3.3. axonometric of newly built modular pods within framework showing primary and secondary and tertiary structure.
tion. D. lightweight timber frame modular pod (secondary structure) E. zinc rainscreen cladding, designed to match the height of the modular pod. F. exterior LED lighting providing lighting for the outside spaces, inte-
grated into columns. G. workshop roof. H. steel rod bracing between columns.
A Visual Narrative
Part 2: A Visual Narrative
4.
2
1
Figure 4.0 Key section, tension between existing and intervention
Connection section 1 1:50
Connection section 2 1:50
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Part 2: A Visual Narrative
5. A Visual Narrative
Section 2.3 Micro-scale response: translating into detail. 2.31 Translating The modularity and standardisation of elements means extra care should be taken when designing the architectural concept of detailing. What does the column do structurally? What does the column do architecturally? These questions were important when translating from meso scale to detail.
2.32 Chosen detail
The junction between the column and ground along with the primary beam was chosen for further exploration, because of their crucial importance as the two pedestals that hold the temporary interventions within the site. The connection between column and primary beam is not purely structural. The thickness of the beam is emphasised in its centre. This firmly creates a sort of elevated ‘foundation’ that the lightweight timber-frame pods use as their superstructure (3.2). The already-mentioned illusion of hovering column base creates an increased feeling of the intervention being something which only touches the site lightly, floating within a hovering structure. Within its immediate context, the primary steel beams meet the suspended timber floor of the modular pod, by simply being bolted together. In a similar fashion, the corten steel column base detail bolts directly into the column. (Figure 4.5) This detail creates a shadowgap underneath hiding the connection to the ground. The space left inside can host LED lighting which will create a light-gap at night. (Figure 5.1) The Jean Nouvel park south of the site uses similar architectural lighting details (5.3).
Figure 5.0 an example of Figure 5.1 light withhow the base-plate shadow- in column emphasises gap detail creates an illusion hovering at night. of hovering.
152mm square UC, b. ‘hovering’ corten steel dressing detail (LED lighting system within), c. cast in situ bolt pockets onto 600mm x 600mm concrete pad foundation.
f.
e.
d. Column base plate bolted onto foundation steel plate.
b.
e. 16mm steel plate used to bolt corten steel dressing detail onto column.
Figure 5.2 Simplified di- Figure 5.3 precedent inagram of column connec- spiration for column base tion. lighting. Located in Jean Nouvel park, south of site.
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a. 12 metre tall
a. d.
f. Primary steel beams connecting to column supporting modular pod primary timber beams.
c.
Figure 5.4 exploded axo of column to site connection
Construction
3.1 Construction Reduction
The choice of steel as the structural and architectural element for the design of the framework was key regarding construction reduction. My approach to construction reduction can be summarised in two ways: the attempt to simplify the design of the newly built, and using the existing building as a host for building around and within. The simplification of the design is done designing with modularity and standardisation in mind. The brief states a requirement of a newly built element for the site. This took the place of the modular pods aforementioned (2.21). However, the aim of the design was to re-use the entirety of the existing masonry construction to act as an enabler, a space which already exists and does not need to be created from new materials. In this way, the existing remains as a memory that is observable by the contrasting new elements. If the potential of the existing was left unused, the construction would have been much more complicated and costly. Additionally there was a belief that the existing building fabric had intrinsic social, cultural and historical value. Likewise, the site was regarded in the same way. Touching the site lightly was essential for construction reduction. Smaller concrete foundations would enable less material to be used. The choice of standard steel elements as opposed to concrete aids this by about 30%. 3.12 Doing more with more.
The site-wide strategy that was used to enable flexibility and change was crucial for LaMachine, since the way in which they would use it might change daily, monthly or yearly. This is why it was important to create an enabling framework, within which the client would be able to work. This ties in with the modularity of the elements that they could use within the framework. Stewart Brand notes that buildings have 6 layers; the site, which lasts the longest. Hence, a framework which respects the ground and can eventually be removed easily, was essential. Designing for removal would have to be done with recycling in mind. This is why most elements within the steel framework are bolted as opposed to welded.
Part 3: Construction reduction, re-use and recycling
6.
3.13 Doing more with less
An attempt in using standardised components within the design of the newly built would allow for easy construction and adaptability. This standardisation would be project specific and include standard steel column (152UC) and beams (project standard) sections, prefabricated timber-frame pods, with zinc cladding. The modularisation of the timber-frame pods will achieve economy of scale due to its repetitive manufacture. Speed of construction on site will allow for little or no disruption locally. Additionally, a high level of quality control can be achieved due to prefabrication in the regulated conditions within factory conditions. The
supply may be consistent and easily adaptable, especially since the client might need to expand, or add to the design. This will also allow the building to be relocated and reused in the future. However, the modular nature of the design used within Can Ricart is framework specific; it follows the strict grid set onto the site. The concept of designing within a framework could be utilised on any other site, if required.
Built precedents:
3.2 Building, Component and Material Reuse
The existing buildings on the site gave a good opportunity for creating a sheltered space to build within. The only buildings deemed unsuitable for re-use were located at the south east of the site. They were too small to host the light-weight timber pods and could enable a large open space to be created for multi-purpose use, if demolished. The materials reclaimed from demolition could be re-used as hardcore in the new buildings being built adjacent to the site. The shells of two of the existing buildings that were not directly related to the chosen site (Figure 2.0) will remain empty and be used as storage and potential space. LaMachine may decide to use the space for future expansion. These spaces will emphasise the cultural value of Can Ricart and a symbol of its history. The tower will be re-used as a room for the crane-operator, which defines the dynamism of the site.
moduuli 225, Gullichsen & Pallasmaa. 1968, Finland.
3.3 Building, Component and Material Recycling
Choice of materiality for the newly built elements was taken with future recycling in mind. For instance, zinc cladding rain-screen elements are approximately 90% recycled within Europe and 30% of the zinc used in newly built comes from recycling (Lyons, Materials for Architects and Builders). Most of the elements used within the newly built pods can be recycled and re-used. The steel columns used may be remelted and made into new. The lightweight timber frame pods will work as a carbon trap, and use considerably less energy to be made than steel. The choice of timber frame within a steel framework is one which ties in with the writings of Stewart Brand and his 6 S’s; the site is forever, the structure is good for 30-300 years, the skin might change every 15-20 years. Even though steel might be recycled, it offers structural potential for a long period of time. The zinc-clad skin will be easily recycled as it is part of the timber frame modules, which are intrinsically flexible in their space-planning and fabrication. The steel super-structure will also have a relationship with the existing masonry structures. It’s aim is to allow it to be re-used as potential space; instead of demolishing or refurbishing, it will create a symbiotic relationship which does not remove the inevitability of the structure eventually crumbling and remaining in a ruined state. Once this starts happening due to weathering, the masonry will be recycled and perhaps even worth exhibiting as part of a cultural and historical exhibition. In that sense, the building itself is being (not only re-used), but recycled as a part of the wider historical context of Poblenou and Barcelona.
centre pompidou, Rogers & Piano. 1977, Paris.
petit cabanon, LeCorbusier, 1952, France.
houses, Glenn Murcutt, Australia; touching the earth lightly.
tree house, Schneider & Schumacher. 2006. Bibliography:
Brand, S. How Buildings Learn, (1994). Lyons, A. Materials for Architects and Builders, 4th edition (2010).
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Principles & Theories of Architecture Arc 3015 Exhibition piece 1. Can Ricart - Collage
Global node project, puzzle framework - based on the key ideas of the Can Ricart project.(STAGE 3, NEWCASTLE UNIVERSITY)
Apologia: This exhibition piece attempts to summarise the key theoretical elements employed in the Can Ricart project (Potential, Framework), while speculating about architectural masterplans. Taking precedent from the works of Superstudio and the masterplan for Paris of LeCorbusier (Ville Radieuse), an ensemble of collages is formed. One of the key ideas of my Can Ricart project was that “the
site becomes a factory of potentials; the framework becomes the generator of dynamism. The potential spaces left by the framework become the urban blocks of Can Ricart mimicking the blocks created by the Cerda grid.”
How could I demonstrate this in an exhibition piece and perhaps speculate on the potential of having such a ‘potential framework’? The ensemble creates parallels between the different types of collages, and clearly notes that both types of collage play crucial roles in architectural representation. While the piece is an ensemble of collages, its most important part is not simply what it illustrates: a world-map, with a grid of steel columns in plan, and co-ordinates. Most importantly the piece suggests a ‘what if’ idea for architecture. ‘Without the expec-
tation of the built, the imagined and unbuilt - or the unbuildable - would have little resonance.’ (E. Diller) What if the whole world was covered
by a strict set of nodes which are of potential use? These could form sorts of havens in hostile environments, and links between them could be constructed quickly without damaging the groundscape: everything could be possible! The following contents of the ensemble of collages will be discussed within this apology: the world map, a figure ground of Barcelona, the grid, the ‘columns’, the puzzle pieces, people within the potential space, the text, the co-ordinates. While the grid of nodes speculates about a type of worldwide globally recognisable architecture of mass-production and repetition of modules: the puzzle pieces, the world map is not displayed in the usual north-to-south orientation. It goes as far as to suggest that the America’s have turned around completely (south America has been detached!): the world is somewhat on its head but this does not matter - the global grid can prevail anyhow. In a world of constant movement and change, perhaps it attempts to create the immovable (a sort of permanence) and retain the world exactly the way it is. It has a critical attitude towards preservation: can we always aim for preservation, or should we accept changes (even if they affect us in ways we cannot ignore (climate change etc)). “Maybe we can be the first to actually experience the moment that preservation is no longer a retroactive activity but becomes a prospective activity.” (Koolhaas, 2004) This collage suggests that
in an attempt to preserve the whole earth, we might create absolutely absurd scenarios: certainly already demonstrated by LeCorbusier and SuperStudio in their speculative work. Although, these could have potentially been built!! The two photomontages on the right ‘spread’ of the ensemble are in perspective, as opposed to the plan of nodes. This creates a contrast between the fact that architects sometimes work in plan without considering the three-dimensionality of spaces. Hence, I selected to show inhabited perspectives contrasting the plan. As beautiful as a rectilinear plan might look, it will certainly be experienced differently from the point of view of a human being living within it. The choice of creating a ‘spread’ within a frame was in order to divide, yet create a link between the two distinct parts of ensemble of collages. After all, the ensemble is to be understood in the context of an exhibition: it aims to represent an idea in order to make us reflect about the potential framework and the re-presentational techniques themselves. In order to facilitate the effort of drawing and compositional arrangements, I mainly used Photoshop CS6. However, simply printing an image did not suffice to convey whole complexity and key ideas behind the piece. To emphasise the fact that the nodes are indeed vertical columns of a sort added to the landscape (or sea-scape), I decided to use metal pins: in this way, the collage becomes three-dimensional. As a whole, the compositional arrangement was made as a collage of elements and this attempts to emphasise how an exhibition piece is formed.
Figure 1 . the exhibition ensemble-/-collage, which I presented. (a larger image of this may be seen on page 2.)
Precedent images:
This text is an important part of the ensemble, since it explains what is going on, so its intention is to project outward from the frame of the ensemble. Additionally, the emphasis of some phrases, and the editing of the text is part important in order to be understood appropriately. Bibliography: Diller, E. (2001) “Autobiographical Notes.” The Activist Drawing: Retracing Situationist Architectures from Constant’s New Babylon to Beyond. Eds. Catherine de Zegher and Mark Wigley. Camridge, Massachusetts and London, England: The MIT Press. 131.
Koolhaas, R. (2004) “Preservation is Overtaking Us”, in Future Anterior, 1, 2. University of Minnesota Press, Columbia University in the City of New York.
Figure 2. a collage by Superstudio; life without objects.
Figure 3. a collage/drawing by Le Corbusier, Ville Radieuse.
Lang, P. & Menking, W. (2003) ”Superstudio: Life without Objects”
(Milan: Skira editore).
Le Corbusier. (1933) “La Ville Radieuse”
Vili-valtteri Welroos 102237966 ARC 3015 Principles & Theories of Architecture
Exhbition piece 1 (/2)
Principles & Theories of Architecture Arc 3015 Exhibition piece 2. ‘building on what is already built’ - mixed media model.
Academic Portfolio, Vili-valtteri Welroos
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102237966
Vili-valtteri Welroos
‘building on what is already built’ - mixed media model.
Model as idea.
Exhibition piece 2.
ARC 3015
Exhibition piece 2. ‘building on what is already built’ - mixed media model.
Apologia /
This exhibition piece attempts to blur the boundaries between physical, computer aided model-making at different scales, levels of precision and materiality. The intention of the model is to represent the complex relationship that exists between existing structures and any additions proposed to them, while creating a diagram of an idea. The exhibition piece chosen for this module, the model, shown in Figure 1, is not a ‘final’ ‘presentation’ model. It is an exploratory model which formed an integral part of the design process.1 However, it claims its position as a beautiful piece to be exhibited, because of its merit as a key developmental and exploratory technique of representing the ideas discussed within my graduation project: almost all sites are a palimpsest, a layering of the past. Such layering never ceases and is constantly being altered. We are continuously adding new memories and meanings to places by our existence. In fact, most architecture is in one way or another ‘built on what is already built’. Through this process of constant layering and alteration we are leaving ruins and remnants which provide the basis on which to create new meanings for architectural projects of significance. Similarly through the process of model-making and diagramming produced for this ‘piece d’exhibition’, an inter-connected philosophy of making is developed.2
‘Idea as model’ /
- “Why should architects use models? If, by models, we mean those small-scale objects usually cluttering an architect’s studio, this question seems reasonable given the profession’s adoption of computer-aided design.”3 It was first in 1976 that models were exhibited and studied exclusively as more than mere props, under the auspices of Institute of Architecture and Urban studies. The purpose of this exhibition is “to clarify new means of investigating architecture in three102237966
Vili-valtteri Welroos
dimensional form. We do not seek to assemble models of buildings as propaganda for persuading clients, but rather as studies of a hypothesis, a problem, or an idea of architecture”3 . Models need not merely describe a project, but generate it. Architecture is produced in three different registers, through three different texts; drawing, writing and building. We could count four, if we consider models.3 Sometimes there are assumptions regarding models: for example - models represent buildings, models are at a smaller scale than the buildings that they represent. The model, as architects understand it, was primarily a Renaissance invention. However, they usually played a supporting role to drawings conceptually. It was Leon Battista Alberti who first declared the model as the primary vehicle of the design process.3 It is within this historical context that I wish to exhibit my model. It serves as a vehicle for exploring the idea and develops a sort of tool for diagramming.
Models for models sake /
“Most models seen in schools of architecture are process models, created in an effort to arrive at a project. They can be grouped together as seeming unfinished, fragmentary, serial and material slipshod. Such models are typically presented at the end of the semester in the sequence which they were crafted, as part of the review critique. They function along with drawings, computer renderings and other modes of research, as ways for the student to outline biography of a design; and by extension, the autobiography of the designer.” (Figure 2)
Drawing and modelling can work in parallel, with napkin sketches being easily translated into sketch-models. Such models can serve as notation, where the pieces of the model are not meant to read as architectonic forms but as other information. In other words, the act of modelling is not purely representational of the design, but works as mode of thought. Rudolf Arnheim offers the term
‘building on what is already built’ - mixed media model.
Model as idea.
‘thought-model’, which means that architects think in model form. Not only is my exhibition piece a sort of collection of thoughts in three-dimensional form, it is also an informative piece of my attitudes towards the existing.
idea /
Translating from idea to model to
The idea informs the model, while the model informs the original idea and creates a new one through the process of making. The model shown in Figure 1 is a representation of that idea. The existing structure has layers of information, which are permanently woven into its fabric. The new structure in red is attempting to impose its logic onto it and the existing is restored (white). However, the heritage which forms the integral part of the existing structure cannot be erased. Like the layers of the city, the layers of models made within the design process start informing each other. In a way, the exhibition piece is an illustration of the primary vehicle of my design process, used simultaneously with sketching, computer-aided modelling and material explorations, combined into an exploratory exhibition piece which summarises the concept of the project, ‘building on what is already built’ in a concise simplified manner. Perhaps there are parallels that can be drawn between the working methods of architects. A sketch translates into a model and vice-versa; while the diagrammatic sketch might inform the model, the exploratory model might inform the diagram and the project.4 (Figures 1 & 3)
Figure 1. Selection of photographs of developed exhibition piece, an assemblage
of models.
Figure 2. Models presented as auxiliary artefacts in the final presentation. The autobiography of the designer.
Mills, Criss.B, ‘Designing with models: A studio guide to making
1
and using design models’ (2005). Carter, Paul, ‘Material Thinking, the theory and practice of creative
2
research’ (2004). Morris, Mark. ‘Architecture and the miniature’ (2006). pp 7-42.
3
Fjeld, Per Olaf. ‘Sverre Fehn The pattern of thoughts’ (2009) p.133.
4
Exhibition piece 2.
ARC 3015
Figure 3. Diagram based on the logic of the exploratory model.
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Academic Portfolio
Vili-valtteri Welroos
102237966
Newcastle University APL
2013/14
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