P l u g - I n Fa r m
P r e fa c e -As a visiting student , I have found the fifth year design studio very different from everything I have done before during my undergraduate degree and the previous semester in Bath. The different short exercises were very helpful in formulating and solidifying the concept and the overall design scheme. The sketchbook shows the steps of the design development throughout the semester and the way the different short exercises influenced the final scheme. Some of the ideas were reinforced through the design process while others were filtered to formulate a coherent scheme. The sketchbook illustrates the journey through the chronological order of the design exercises leading to the final formal proposition. Many thanks to Toby Lewis for supervising the year and my tutor Julia who provided guidance and precious help through the whole semester.
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Contents
I - Threshold II- Place making (City mapping) III- Landscape strategy IV- Asking, Looking, Playing, Making V- Muff on Huff Puff VI- Concrete & Timber VII- External Review A VIII- Final proposal IX- Annex, Excercises & Homework
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Threshold -Week 1-
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The Found Condition
-The site is the entery point for deliveries to the SU above, the trolleys go up and down the ramp regularly to access the lift . Whilst it’s crucial to commercial operation , it is very rarely used by the public. It’s not a space in which people ever stop and look around them, they merely pass through . This passage is quickly forgotten, a non-place by design you might argue.. -And yet, for those who take the time to stop and look what has been created, perhaps by accident, it is rather an intriguing place. While more attention may have been paid to the exterior aesthetic with the facing of the concrete blocks, the coarseness of the interior has a certain charm. The texture of the walls tells the story of the space and gives an insight into it’s nature as a threshold and how people interact with it.
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t H E c E I L I N G ’ S fA B R I C A T I O N
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T h e i n s ta l l a t i o n
In this exercise we aimed to reveal and amplify the nature of this threshold by creating a ceiling that frames and encloses the volume of this space. We hoped that the intervention would encourage people to stop and take a closer look at the texures of the walls around them we’ve tried to achieve this also by controlling light to highlight the beauty of the walls and the story they tell. and we added led lights around the ceiling frame to highlight the shadow gap and cast a direct light on the adjacent walls.
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Placemaking
(City Mapping)
-Week 2-
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The Journey
During our journey from the Ashton park School to the Cabot Tower we have observed the different landscape sequences and atmospheres, we closely observed the different sounds and noises, the boundaries and the ground treatments. We identified different zones on our journey, The south western part of the journey was less urbanised and greenery took over the landscape. The upper part of the journey towards the tower was more residential with a series of different housing projects and different community spaces and gardens.
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s e c t i o n s a l o n g t h e wa y
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The fencing
We also noticed a sequence of boundaries and fences along the way which determined different typologies ofthresholds along the journey. Some boundaries seemed to be very reinforced to keep the public away from access and other fencing were simply there to determine a threshold to a specific place like the access to the tower gardens in the scond picture below.
The Housing
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The Ground treatment
-During the exercise our approach was general, however my personal observation was concentrated on the different boundaries and ground treatment revealing different edge conditions and thresholds around the site. The undefined ground treatment showed in the sketches below was found on different points along the site including our project’s site.
T h e s i t e ’ s B o u n da r i e s
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Landscape sTrategy -Week 3-
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S i t e A N a ly s i s
1- Public mouvement and crowds showing that the site is not frequented by the public
4- Water bodies : This diagram shows the water bodies surrounding the spike’s island and their proximity despite the non - exisitng visual communication.
2- The services: This diagram shows that very few social and commercial activites can be found around. The commercial and social activites are concentrated on the harbor.
3-The noise: This diagram shows the noise we can hear on the site caused by the heavy infrastructure roads around te site.
5- The bus lanes: This diagram shows the public transport around the site. The site is rather a passage and not a destination where people stay .
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T h e f o u n d s i t ua t i o n
When we first visited the site and wandered around, one of the main things that caught my attention is the neglected situation of the site. It was a beautiful chaos where the territory was being reclaimed by the wildlife on the new cut. As seen in the photos and the ground details and the boundaries of the site are confused( previously showed), the A bond has trees growing from its interiors and from the basement and the left structures are completely invaded by greenery. The train track timber is invaded bs grass and herbs. Although it’s messy, the natural invasion of nature has its aesthetics, especially on this site that was Longley considered as industrial. It manifests change and defies the human made new cut. This procedure starts by planting greenery pockets and building timber decks to allow people’s access to the different vegetation. On the long term span the pockets would start to link together forming a greater vegetation invasion axis and possibly linking the new cut to the other water bodies around the spike’s island and reinforcing the wildlife on the new cut. The landscape strategy also introducing greenery pockets and intensifying the greenery on the site to manifest change and create a green lung in the heart of Bristol. forecasting further invasions and green axis development in the city .
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Identifying the pockets
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1- Identifying The link between the water bodies as future grennery axis and stimulators for wildlife growth. 2-indentifying abandoned or non populatedareas along that can be transformed into greenery pockets . 3- The greenery pockets will invite people to meander around and stop by the site . 4- Future greenery axis formed after prosper of greenery pockets linking several areas arounf the site together
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Identifying the pockets IN SECTION A
B
C
The pockets are identified in sections to visualise the future greenery axis. A- The first pocket is on the harbor were there is a need of reinforcing the wildlife amongst all the commercial and social activities going around. Creating this link would also bring the social life that is present around the underfall yard to the site . B-The second pocket is the triangular building halfway between the site and the shortcut to the underfall yard. this axis also links the site to the harbor via greenery
C
B A
C- The third axis is on the Brunel Lock road, the place is a parking lot a t the moment interupting a long green promenade on the cumberland basin . The exisitng greenery on the promenade can be reinforced to generate the green axis.
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sECTION aActual condition of the axis
Axis after reinforcing the vegetation pockets
The previous sections show the transformation betwee the actual condition of the section where plenty of boundaries take place on the site and where the wildlife is neglected and ignored by the public. The second Section shows the future condition of the axis if only the boundaries are eliminated and greenery pockets took over. It shows simple ground treatement and a reinforcement of the existing species on the butterfly junction. It also show several public amenities installed along the journey.
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P o c k e t Zo o m - I N 1
Yorkshire fog
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Field mapple
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small toadflax
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cock’s foot
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avens herb
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fig tree
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cowparlsey
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A s k i n g Lo o k i n g playing making -Week 4-
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A s k i n g & lo o k i n g
Pourous Span
Orchestrated flow
stitching disparities
This exercise was very helpful in formulating the primary project’s concept and developing them later on . The pairs of words found during a group ideas exchange was the first stage of work during the week.
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S t i t c h i n g D I S PA R I T I E S
-The Words also come rom a further analysis of the community centre spaces which might hold spatial proximities but remain spaces of very different character. For instance, spaces like the teaching and meeting, workspace and dwelling are spaces requiring a quiet environment while they are of a very different nature as well. Other space are quiet busy and might produce hazardous noise. The word disparities hold the meaning of difference in it’s general meaning but can further explore different ways of exploring space organisation in itself. it evokes the question of how the different spaces might be gathered or separated? all in maintaining a physical and a visual link. The same idea of disparities applies to the site where In the landscape strategyI intend to link several urban places of different character but with a potential treatment creating a unity . The form translation of the word pair is translated in the disposition of the building in several units linked with the warehouse leaving between them spaces of curiosity promenade and discovery .
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P o r o u s s PA N
- The story behind the word pair up ‘Porous span’ comes from two ideas based on the landscape strategy and the future community centre. The word ‘ span ‘ represents the idea Evoked in the landscape strategy which intends to create a connection between the north of the site which is harbour and the water front on the new cut . in the aim to bring a simultaneous exchange between the economic and the social life on the harbour and the wildlife on the new cut . The word POROUS in it’s abstract meaning represents what the community centre can bring to the site and the way the building can change the nature of the site from a transition non visited place into an interesting hub drawing people in and out and branching it’s activities around the place. In the form translation of this proposition, I propose one or two different poles of the community centre in the access of the created landscape connections . linked with foot bridges and linking the building to the landscape.
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o r c h e s t r a t e d f lo w s
-The words are initially inspired from the Flock of starling , where the movement and the path of the birds is drawn and directed towards a specific place or target it is in a way applied in the landscape strategy where I propose an easier and more pleasent access to the site for pedestrians . The Word orchestrated signifies the flows and the accesses that can flow in and out from the community centre and the way they are organised . In the from proposition It is represented by a diagram taking the form of a sweeping building hosting a ground floor promenade . the building might imitates the landscape curves proposing pedestrian roof access . the form can be multiplied and altered to form a structure , a bench or even a path.
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mUFF OF A HUFF PUFF -Week 5-
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Degrowth Degrowth
Allotments
Restaurent
“vertical farming”
Café
Galery
Surprisingly the themes of the manifesto included the aspects I was searching to understand so I took as reference concept during the design journey.
Main hall
Afterwards I learnt about the Oslo Biennale Manifesto of 2019 which is called Degrowth; the manifesto consists of several points that could be summed up in reintroducing agriculture in the urban areas, providing decent housing for all and enhacing social interaction in the city.
“provide decent housing”
Agriculture in the city
kitchen
“Bring in the social life”
Crèche +meeting
During the early research stages I was exploring the growth theme within the building , how would a building grow , how would people grow and how woud nature grow and how does architectre and landscape influence this growth.
Housing Density
Live + work
Community and social interaction
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STEP 1
Concept image
Typological Diarecieved
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STEP 2
Typological Diagram
Plan and Section recieved
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STEP 3
Sections
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Model recieved
This exercise was very helpful to start the design process , the one day tasks permited a fast brainstorming and several quick proposals to be drawn. It also opened up horisons about new ideas I havent thought about before. for example creating more social and open spaces in the grid like the plan i received or stretching out fabric on the structure like the detail.
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STEP 4
A series of volumes nesting in an evolving structure Forming a primary and a secondary framework organisation units form a unity, and a unity forms a city Light penetrates contrasting and revealing the void and the volume How do they interlock, how do they evolve?
Poem
Details recieved
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cONCRETE & Timber -Week 6-7-
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Plaster Casting
I didnt have any detail in mind to cast plaster. I wanted to do a complete timber design so i started looking at landscape elements like steps or concrete planters. I also looked at thin curved wall panels like the one i got in the details and I wanted to try out the curved surface effect. I was advised o cast one face only to see the effect, I used balloons to created the curves and layed the tissu over it then casted the plaster.
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Project brainstorming
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Detail Brainstorming
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Detail Brainstorming
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Timber Detail Design
I designed a footbridge detail and fabricated a 1:5 scale model . This model was the first element that inspired the project’s idea and development . throughout the design process , the structure and the junctions were enhanced and developped. The four columns idea was first experimented with the model, the joinery is carved and secured with bolts afterwards.
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external Review A -Week -8-
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Interim Crit pin-up
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The crit went very well, Julia and the exterior crits asked me to develop construction details and to experiment how would the internal space look like, they also asked me to make the boxe disposition in the project more dynamic like using cantilivers and having balconies.
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Final Proposal -Week 2-
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Site Plan
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Key Diagrams
manmade techniques like aquaponics and hydroponics. -The project is a plug-in system. with a glulam column beam grid providing a structure for spaces growth and nature growth. The structure of the grid provides flexible space and customizable slots . The different spaces are CLT boxes that can be plugged in the glulam structure . The visitors can escalate the project along the journey by a series of staircases and elevated terraces. This escalating movement towards A bond imitates the vegetation invasion impression showed in the picture. It is a symbol of the nature invading its long industrial history in a vine like movement.
- The structure of the grid is inspired from Japanese joinery and architecture. the vertical columns are specifically designed with four secondary beams allowing the beams to get inserted in the middle facilitating different spacial dispositions. -The journey in the community centre begins with an exposition and reception space describing the different activities and cycles on the site. the journey is accompanied with a series of footbridges and a canal guiding the way through the project. the exposition space is followed with a community hall which is used as an agriculture hub where plants are grown with
This is considered as the human intervention in inciting planting and vegetation indoors. The community kitchen and garden is also a meeting space where aromatic and seasonal plants are grown indoors. The upper level above the kitchen is an indoor agriculture space acting as a community green house. It can be accessed separately from the kitchen to allow the community to access all day long depending on needs. Finally, the journey on the ground floor ends by the vegetable shop. And the footbridge journey ends by a meeting space and a workshope space situated on the 1st floor of the housing building.
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B’
A’
G R O U N D f LO O R p L A N
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5
2
3
B
A
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1-Reception Hall and Exposition space. 2- Indoor Agriculture Hub (Communinty Hall ) 3- Community Kitchen and Garden 4-Vegetable and Fruit Shop 5-Children education space (crèche)
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6
9
12 15
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B’
A’
f I R S T f LO O R p L A N
7 8
6
A
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B
6-Hydroponics Space 7- education and Workshop space 8- Meeting and Staff space 9-Community Terrace and Indoor Garden
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6
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12 15
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Section Aa’
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Section B
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lO N G I T U D I N A L v I E W
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Transversal view
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Aerial view
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o u t d o o r s n e x t to t h e c o m m u n i t y h a l l
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f r o m t h e F O ot b r i d g e
this view shows the escalating journey
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Traditional
A g r i c u lt u r e
this view shows the allotment agriculture next to the kitchen
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Community Agriculure HUb
this view shows the interior space with the indoor planters and the education seating spot
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C o m m u n i t y A g r i c u lt u r e H U b
this view shows the experimental aquaponics
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C o m m u n i t y K i tc h e n
this view shows the interior space of the kitchen and the seating spaces
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a S e l f B u i lt C o n s t r u c t i o n p r o c e s s 1
FABRICATION : The modular materials of the community center and the live-work boxes are assembled and flat packed for transport. The kit consists of CLT panels for the walls, floors and Roofs; Single, double and triple window frames and glazing; the planters kit, the Glulam beams and columns of the primary structure and the zinc panels for the waterprood roofs. All the materials are standard size of 3m large and 2.60 or 4m high.
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DELIVER: The boxes are unloaded onto the site . The Empty site serves as a facility to assemble the prefabricated timber components.
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FLAT PACKING : Flat pack boxes f prefabricated construction assemblies are transported to Cumberland Basin by truck . Each set of boxes comprises one section of the residential or community center boxes (One box is 6x6m)
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UNPACK: Flat pack assembly boxes are unpacked on site. Materials are prepped and staged under a contemporary structure to control enviromental conditions . The structural grid constructed beforehand helps providing a shelter for the materials with a simple waterproof fabric.
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CONSTRUCT: Modular mass timber components and related materials are constructed into sections of the boxes . Assembly can also be possible directly underneath the grid constructed before.
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STACK: The sections of the modular residential boxes are lifted by a crane to the exisitng primary glulam structure.
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DRAWER LIKE CONSTRUCTION: The Boxes of the different spaces composing the live-work building are slided into the righ floor. The lower surface of the boxes are equipped with metalic drawer slider and the secondary glulam beams are also equipped with a slider gap to facilitate the boxes plug in . The boxes are secured and bolted to the beams in situ after they reach their intended slot. The single boxes (6*6) or double boxes (12*6) are lifted up by the crane, If a space is bigger it is lifted by sections and assembled once it’s in it’s right place.
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K I T O F PA R T S
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1-Long Planter for shallow root herbs 2-two Planters (Shallow and deep root plants)
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3-two high planters acting as a balustrade.
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14 6 5
4-Triple, double or single glazed window frame depending on the spaces (larger frames for living areas or open spaces. 5-Double glazed operable window frame for terrace access. 6-CLT wall panel
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7-Timber cladding 8-CLT roof panel 9-Zinc waterproofing panel
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10-CLT floor panel with sliders on the bottom.
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12
11-Metal bracing cables
2 13 1 10
12-Operable plant Shaders 13-Glass balustrade 14-Primary structure composed of four glulam columns with glulam beams and secondary glulam beams.
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P o s s i b l e Pa r t s A s s e m n b l i e s 1
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Inner glazing: This layout is often used in housing boxes where a terrace is proceeding the house enterence. it also protects the inhabitants from exterior views and provides and protects from direct sunlight while conserving a widely opened and welcoming space.
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Exterior furniture + Balustrade: the enterance terrace or the cantiliver balconies provide a wide outdoor space for installing several amenities, it encourages outdoor social life and interaction between neighbors as well as growing plants.
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Exterior furniture+ Shader: the enterance terrace or the cantiliver balconies provide a wide outdoor space for installing several amenities, it encourages outdoor social life and interaction between neighbors as well as growing plants.
Outer glazing: This layout is used in office and housing boxes where the glazing provides direct sunlight from the right direction and optimises views on the site.
3
6
Shader: The shades provides sun protection for the widely opened facade., while being natural and encouraging the community to grow plants like grape vines. (fast growth) it is operable and can be combined with a glass balustrade and an interior glazing
Exterior Glazing +Interior Furniture: The wide glazed box provides views on the community centre and a main source of light for open living spaces. The double sliding glazed windows allow a free furniture disposition.
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l I V E - wO R K U N I T S C O N C E P T & p l a n s
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2
3 4
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1- CLT flat roof with zinc cladding 2- Office 3- Balcony Cantiliver 4- 2-Bedroom Apt 5- Terrace 6- Shared Terrace 7- Secondary beams 8- Primary Glulam structure 9- CLt core containing stairs and an elevator shaft.
The live work spaces are developed simultaneously on the same level to permit individuals space evolution depending on each the person’s or the family needs and growth.
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for example starting from a single bedroom can be developed into a 3 or 4 bedroom apartement by adding another CLT box on the same level. The office can be linked to the housing or left independent sharing at each time a terrace space. The housing and the work space on each level can be occupied by the same people if they’re looking for proximity or a home office typology or they can be occupied by different people, in this case the teraces in between form a kind of separation but also create a social space for interaction and sociability. Cantilivers of balconies or extra rooms can be added and adjusted depending on each client’s needs and desires. The inside core is always linked to an outside space permitting an enterance and an exit to the fire staircase linked on the A bond building.
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2 n d f lo o r H O U S I N G B U I L D I N G p l a n
work
Live
2nd floor plan Scale : 1/100
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3 r d f lo o r H O U S I N G B U I L D I N G p l a n
work
Live
3rd floor plan Scale : 1/100
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4 T H f lo o r H O U S I N G B U I L D I N G p l a n
work
Live 4th floor plan Scale : 1/100
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5 t h f lo o r H O U S I N G B U I L D I N G p l a n
work
Live
5th floor plan Scale : 1/100
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V i e w s o f t h e l I V E - wO R K
2nd floor - view on the living room
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2nd floor - view on the terrace
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2nd floor - view from the office
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2nd floor - view on the cantiliver in office
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view from deck showing the tower’s facades disposition
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T e c t o n i c d e ta i l s
A
b
I chose to detail this part of the facade in order to understand better and explore the junction between the glulam primary grid structre and the CLT boxes plugged inside.
c
The section shows different typologies of junctions. For example a junction of the timber terraces adjacent to the CLT box. The junction of the balcony with CLT box and the structure showing at the same time the operable plant shader an the glazed balustrade. The last detail is a classic detail showing the CLT box composition. The drawer sliders do not show in detail on this sections because they are on the opposite site of this section in the direction of the beams.
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D e ta i l a - T h e t e r r a c e 18
17 1
2 3 4 1- Glulam Column 5
2-Glulam Beam 3- Parpet
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4-Gutter
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5- woof fibre insulation
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6- CLT panel 7- Mmineral wool
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8-Substrate (Plasterboard 9-(Primer Limewall finish + Clay plaster base coat +Clayplaster top coat) 10- ventilation gap and waterproof 16
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14 13
12
11
10
membrane 11-Timber terrace 12- Gutter 13- Clt floor panel 14- trickling protection 15-cement screed 16-Floor timber finish 17-Zinc waterproof panel cladding 18-Mineral wool insulation
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D e ta i l B - T h e c a n t i l i v e r
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3
2
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1- operable timber plant shader 2- glass balustrade 3- operable sliding door 4- gutter
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D e ta i l C - T h e c l a s s i c t y p o l o g y
This detail is the classical box plugged inside the glulam grid. the components are the same as explained in the previous two details.
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4 bEAMS Junction nodes
The junction design is inspired from the japanese joinery. the glulam beams are carved so four of them can be joined at the same level .
The red and the pink beams are joined at mid high of the node and the yellow and beige ones are joined underneath. This first node is secured by timber pegs.
The beams are joined halfway with the glulam column. at the same level another column is joined. The half way joint permets to secure the four columns tightly with the beams using metalic bolts.
The columns are connected by a metalic cross plate and the two bolts securing the beams to the columns above are tightened .
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3- bEAM NODE
2 bEAM NODE
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cOLUMN bASE DESIGN
metalic plate at the base of each columns for fixing
The columns stand on a concrete base of uneven levels. a shadow gap is kept between the columns and the concrete on the interior edges. this is to allow plants to encrust during the project’s life span the base of the columns is framed by a shallow mettalic container. this allows the bottom of the column to store in the water and eventually allow the wild vegetation of the site to crawl inside and prosper faster. The water at the base encourages and stimulates the greenery to climb the column and take over the grid structure starting from the ground.
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V i e w u n d e r n e a t h t h e f o ot b r i d g e
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Annex e x e r c i s e s & h o m e wo r k
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Timber precedent
The Black Cloud was not just hybrid in style, mixing vernacular architecture with twenty-first century building techniques, but also in function and attitude too; a Sculpture/ Pavilion that was dystopian and utopian in equal measure, encapsulating a pessimistic vision of the future in its dark jagged panels, yet at the same time operating as a free space for debates on alternative worlds. It was a work that embraced ambiguity, a structure that could be categorized in many different ways; as a mysterious temporary landmark; a new meeting point in a well used public space; a open top shelter with a unique vista onto the sky.
Rhino exercise
As a group we considered the overall exercise as an experimental introduction to Rhino were we tried to understand the construction of a geometry and how to draw it using the different functionalities of the program. It was an introduction to the different possibilities and precision levels Rhino can achieve in drawing and illustrating complex shapes and curves. We believe the way we have drawn the geometry is simple and not fully optimised, as we didn’t use any complicated commands. The rhino exercise helped us in discovering the curve commands which were very useful during the semester to model the site’s roads and the topography as well as in creating casting molds for plaster models.
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The absolute contrast AS
B e a u t y m a n i f e s to
‘Light & Shadow’
The absolute Contrast as in “Light & shadow”
-For me beauty is in the extreme contrast between Light and shadow in a built environment.The contrast and the union of these two elements play an essential role in constructing and accelerating the experience of a constructed space, it also influences and embodies the understanding and the feeling people get in a space. -For me beauty is in the extreme con¬trast
The photo I choose is taken by the Lebanese Pho-
perience of a constructed space, it also
ules
and its interaction with people and the
ers
light
veal and sculpt a further dimension in a
ered
as
The beauty is in the playfulness of light and its between interactionLight with people and the different elements it. Both light andNajjar its negative component, shadow, retographer Serge in Beirut Souks, although and shadow in a built en- around veal and sculpt a further dimension in aspace, either by being loyal to the built creatingI illusions that we the don’tplace, often perceive or pay have visited I wasn’t ableattention to rec-to. vironment. The contrast andenvironment the unionor of The beauty relies in the way we as architects manipulate this natural element and work with it as if it were a constructed element or a material ognise it at first sight when I saw Najjar’s Phothese two elements play an essential role whereas it is in fact all the contrary of a materialised and a physical material. to. The photographer captures the way light modin constructing and accelerating the exspace
and
create
a
captivating
contrast
The photo I choose is taken by the Lebanese Photographer in Beirut although I have visitedthe the place, to recognise it attaken first within built I wasn’t space.able This photo is influences Serge and Najjar embodies the Souks, understandsight when I saw Najjar’s Photo. The photographer way light modules and create afrom captivating contrast built space. This photo is the the serieswithin “The the Architecture of Light”. ing captures and the the feeling people get space in a space. takenfrom the the series “The Architecture of Light”. Referring to Khan’s philosophies, he considers light as the “giver of all presences”, for him light plays the most essential part in linking a space to nature The as light is considered as the essential maker of materiality. Referring to Khan’s philosophies, he considbeauty is in the playfulness of light as
the
“giver
of
all
presences”,
of
materiality.
“All material in nature, the mountains and the streams and the air and we, are made of Light which hasfor beenhim spent, andplays this crumpled mass called material light the most essential part in different elements around it. Both light casts a shadow, and the shadow belongs to Light.” linking a space to nature as light is considand its negative component, shadow, respace, either by being loyal to the built environment or creating illusions that we don’t often perceive or pay attention to. The beauty relies in the way we as architects
the
essential
maker
“All material in nature, the 82 mountains and the streams and the air and we, are made of
Book precedent
“Primitive Future” by Sou Fujimoto -innovative architecture is equivalent to reflect on primitive architecture. Because architecture transpires wherever people exist. However novel architecture must be a place for humanity that is new. -To speculate on the future if architecture is equally primordial . Imagine the diversity of places people can inhabit and the possibilities of what architecture may become . primitive future is full of promising projections.
M u n i c h m o m e n to
For the master planning exercise in Munich we worked on a simple scheme trying to link two different typologies of housing separated by a noisy triple sided roaded . the two typologies were high rise social housing and small maisonette where relateively rich people live. The proposition was about creating two adjacent public squares linking both spaces and creating a scale coherence between the two distinct sides . The proposition proposed slowing downthe main triple road and adding a water feature as well as a market place to optimise sociability between the different inhabitatnts.
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Personal Reflection This semester was about going with the flow and experimenting where the small exercises could lead us, it was anout taking risks and discovering new ideas and concepts. It was a new experience in design. Throughout my undergraduate studies in France I was used to a very academic design process where the plans and the sections are the essential elements leading the comprehension and the exploration of a scheme. During this semester I was able to learn and experiment new ways and techniques of exploring and presenting my designs especially in 3d modeling and in experimenting materials in phisical models. The sustainability course we had this semester inspired the design and the courses helped me discover and explore new solutions regarding timber structures. The book report ‘ Primitive future’ helped me look differently at the design and discover untraditional architecture precedents. The philosophy of the book helped build up the concept of the plug-in farm. This semester encouraged me to apply for a master speciality in Alternative Architecture in Lyon, the master is about exploring new ways and concepts of design. If I had more time I would have explored more the landscape strategy and improved the landscape plans, sections and details.
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